At the Restoration, however, they were sent back to St. Denis, together with many other monuments which had no real place there; but, being housed in the crypt, they were further clipt to suit their fresh surroundings. Finally, when the Basilica was restored under Viollet-le-Duc, the tombs were replaced as nearly as possible in their old positions; but several intruders from elsewhere are still interspersed among them. Louis XVIII. brought back the mingled bones of his ancestors from the common trench and 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 Château de Gaillon, and much of the artistic impulse of the time was due to these two. Henceforth recollect that tho François 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.