interred them in the crypt. As regards the tombs, again, bear in mind
these facts. All the oldest have perished; there are none here that go
back much further than the age of St. Louis, tho they often represent
personages of earlier periods or dynasties. The best are those of the
Renaissance period. These are greatly influenced by the magnificent tomb
of Giangaleazzo Visconti at the Certosa di Pavia, near Milan. Especially
is this the case with the noble monument of Louis XII., which closely
imitates the Italian work. Now, you must remember that Charles VIII. and
Louis XII. fought much in Italy, and were masters of Milan; hence this
tomb was familiar to them; and their Italian experiences had much to do
with the French Renaissance. The Cardinal d'Amboise, Louis's minister,
built the Chateau de Gaillon, and much of the artistic impulse of the time
was due to these two. Henceforth recollect that tho Francois I. is the
prince of the Renaissance, Louis XII. and his minister were no mean
forerunners....

The interior is most beautiful. The first portion of the church which we
enter is a vestibule or Galilee under the side towers and end of the Nave.
Compare Durham. It is of the age of Abbot Suger, but already exhibits
pointed arches in the upper part. The architecture is solid and massive,
but somewhat gloomy.

Descend a few steps into the Nave, which is surrounded by single aisles,
whose vaulting should be noticed. The architecture of this part, now pure
Early Gothic, is extremely lovely. The triforium is delicate and graceful.
The windows in the clerestory above it, representing kings and queens, are
almost all modern. Notice the great height of the Nave, and the unusual
extent to which the triforium and clerestory project above the noble
vaulting of the aisles. Note that the triforium itself opens directly to
the air, and is supplied with stained-glass windows, seen through its