than many of her frequently painted portraits.
The tomb itself is fourteen feet high by ten
broad, and twelve and a half long: it is adorned
with twelve composite columns of dark blue
marble, and twelve white marble pilasters; at
the angles are bronze figures representing the
cardinal virtues, all of which were wanting to
the characters of the originals. On the opposite
side of the nave, more sumptuous than either of
the tombs just named, is that of Francis the
First, and—in her lifetime his—neglected
Queen Claude, who has bequeathed her name
to the luscious green gage, of which tradition
says, she was very fond, having nothing
else to be fond of. Primaticcio designed, and
Jean Goujon and other artists of note,
sculptured the details of this glorious specimen of
the Rennaissance. The effigies of the royal dead
repose upon a superb cenotaph, ornamented
with a frieze representing the battles of
Marignan and Croisolles, and above the cenotaph
is reared a grand arch covered with arabesques
and bas-reliefs; sixteen fluted Ionic columns
support the entablature, above which in white
marble, appear, in a kneeling attitude, the statues
of Francis and Claude and their three children.
As this description is not intended to answer
the purpose of a guide-book, let us pass over
the decorated memorial columns, bronze doors,
and other ornamental work, to come to the royal
vaults, where lie the empty coffins of the
disinterred Bourbons, some of which, covered
with violet-coloured velvet, and shining with
gold or silver, rest upon iron bars. The crypt
contains many monuments of the kings of the
first and second races; the most remarkable of
which are the marble sarcophagus in which
Charlemagne was interred at Aix-la-Chapelle;
a marble statue of that monarch; five statues
in stone of Louis the First, Charles the Second,
Louis the Second, Charles the Third, and Charles
the Fourth; and cenotaphs (some of them with
statues) of Charles Martel; Pepin le Bref and
Queen Bertha; Carloman, son of Pepin; Louis
and Carloman, sons of Louis le Bègue; and
Eudes, Count of Paris. Next come the
monuments of the Bourbon dynasty, consisting of
cenotaphs, with one or two statues in stone or
marble. The following is their order: Hugues
Capet; Robert le Pieux, and Constance d' Arles,
his queen; Constance of Castile, queen of
Louis the Seventh; Henry the First; Louis
the Sixth; Philip Augustus; Louis the Eighth.
The chapel of St. Louis is very remarkable; it
contains figures and busts which are painted
and gilt; the busts are, St. Louis and Marguerite,
his queen; and the statues, the Count de
Nevers and Robert de Clermont, his two sons.
The other more remarkable cenotaphs are those
of Queen Blanche; Philippe le Hardi; Charles,
King of Sicily, brother to St. Louis; Philippe
le Bel; Louis the Tenth; Blanche, daughter of
St. Louis; Philippe le Long; Charles le Bel;
Jeanne de Navarre, daughter of Louis le Hutin;
Charles d'Alençon, brother of Philippe the
Sixth; Philippe the Sixth; Jean le Bon;
Jeanne de Bourgogne, queen of Charles the
Sixth; Charles the Fifth; Marguerite, daughter
of Philippe le Long; Charles the Sixth, and
Isabeau de Bavière, his queen; and Charles the
Seventh, their son. This list might be
extended, but it is long enough already, and only
given to show who thc tenants were whom the
mob of Paris so rudely disturbed. Yet one
more worthy, perhaps the worthiest of all, must
not be omitted—one of Froissart's most famous
heroes—the Constable Du Guesclin, who lives
again in marble, though his heart lies far away,
buried in the church of St. Sauveur at Dinan in
Brittany, whither it had been removed from the
old church of the Jacobins in that town, long
since destroyed. It was reserved for Jacobins of
another kind to evince the respect they felt for
the mighty warrior. Turenne, also, was among
the illustrious dead, and a figment invented by
the old Swiss who used to show the monuments,
set forth that his remains were saved from
cremation by order of Robespierre! He, who,
in his lust for blood, spared neither sex nor age,
was not very likely to be moved to sympathy
for the great soldier of Louis the Fourteenth!

But a very imperfect idea of the contents of
Saint Denis would be obtained were what was
termed " le trésor de l'Abbaye" omitted from
this enumeration. This " trésor" was composed
of reliquaries, sacred vases, precious metals, and
royal ornaments of the greatest value, and rich
as other churches were in objects of the same
description, Saint Denis passed for the richest
in France. To say nothing of the relics of
saints, which were of all sorts, enshrined in gold
and silver, were to be seen:—the sceptre of
Dagobert, of solid gold, enamelled, with an ornament
at one extremity representing an eagle bearing a
young man (probably the rape of Ganymede);
the throne of gilt bronze of the same king (now
in the Imperial Library in Paris), supposed to be
the workmanship of Saint Eloi, modern
imitations of which have been widely distributed;
the crown of Charlemagne (which long served
to crown the kings of France), his sceptre,
adorned with a fleur-de-lys, his hand-of-justice,
his sword and his spurs, all of gold, and
enriched with precious stones; an enamelled
brooch, set with jewels, which fastened the
mantle of Saint Louis, and the hand-of-justice,
on which he probably leant when he sat in judgment
under the oak of Vincennes, as well as the
sword he wore in the crusade to Damietta,
where he died, and the ring he used as his seal,
a magnificent sapphire, on which was engraved
the dead of the king, with the letters S. L.
(Sigillum Ludovici); the agate chalice and
serpentine patena of the celebrated Abbot Suger,
to whom not only Saint Denis, but all France,
was so deeply indebted; the crown of Queen
Jeanne d'Evreux, the wife of Charles the Fourth,
which, up to the time when the ceremony was
discontinued (Marie de Medicis being the last
so honoured), was used for the coronation of the
French queens; the sword of the Maid of
Orleans; the crowns and sceptres of Henry the
Fourth, and of the four kings after him who
bore the name of Louis; and, finally, that