times, and even (with the obvious alteration of words) ante-dated
Christianity--every wealthy Egyptian desiring in the same way to "sleep
with Osiris." Dagobert himself was buried in the church he founded, beside
the holy martyr; and in later times this very sacred spot became for the
same reason the recognized burial place of the French kings. Dagobert's
fane was actually consecrated by the Redeemer Himself, who descended for
the purpose by night, with a great multitude of saints and angels.

The existing Basilica, tho of far later date, is the oldest church of any
importance in the neighborhood of Paris. It was begun by Suger, abbot of
the monastery, and sagacious minister of Louis VI. and VII., in 1121. As
yet, Paris itself had no great church, Notre-Dame having been commenced
some 50 years later. The earliest part of Suger's building is in the
Romanesque style; it still retains the round Roman arch and many other
Roman constructive features. During the course of the 50 years occupied in
building the Basilica, however, the Gothic style was developed; the
existing church therefore exhibits both Romanesque and Gothic work, with
transitional features between the two, which add to its interest.
Architecturally, then, bear in mind, it is in part Romanesque, passing
into Gothic. The interior is mostly pure Early Gothic.

The neighborhood to Paris, the supremacy of the great saint, and the fact
that St. Denis was especially the Royal Abbey, all combined to give it
great importance. Under Suger's influence, Louis VI. adopted the oriflamme
or standard of St. Denis as the royal banner of France. The Merovingian
and Carlovingian kings, to be sure--Germans rather than French--had
naturally been buried elsewhere, as at Aix-la-Chapelle, Rheims, and
Soissons (tho even of them a few were interred beside the great bishop
martyr). But as soon as the Parisian dynasty of the Capets came to the
throne, they were almost without exception buried at St. Denis. Hence the