Note from this point the arrangement of the Choir, which, to those who do not know Italy, will be quite unfamiliar. As at San Zeno in Verona, San Miniato in Florence, and many other Romanesque churches, =the Choir is raised= by some steps above the Nave and Transepts; while =the Crypt= is slightly depressed beneath them. In the Crypt, in such cases, are the actual bodies of the saints buried there; while the Altar stands directly over their tombs in the Choir above it. Look every way from this point at the tombs within sight, at the Choir and Transepts, and at the steps of the Ambulatory. Do not be in a hurry to enter. On the contrary, sit awhile longer in the body of the Nave, =outside= the barrier, and read what follows. [The custodians hurry you so rapidly through the reserved part of the church that it will be well =before entering the enclosure= to glance through the succeeding notes, explanatory of what you are about to see. The remarks to be read _as you go round the building_ I insert separately, in the briefest possible words, as aids to memory. The tomb of =Louis XII= (d. 1515) and his wife, Anne de Bretagne (d. 1514), is the earliest of the great Renaissance tombs in France, and the first in order in this Basilica. Long believed to be of Italian workmanship, it is now known to be the production of Jean Juste of Tours, unknown otherwise, but supposed to be a Florentine. It is imitated from the Giangaleazzo Visconti, already mentioned, in the Certosa di Pavia. This tomb, the first you see, struck the keynote for such works of the Renaissance in France. It is a good and apparently French imitation of the Italian original, and it fitly marks Louis XII’s place in the artistic movement. Remember his statue by Lorenzo da Mugiano in the Louvre, and his connection with Cardinal d’Amboise and the Château de Gaillon.