When the body of St. Thomas of Aquin, brought from Italy, approached Toulouse, Louis of Anjou, brother of Charles V. of France, with archbishops and mitred abbots, at the head of one hundred and fifty thousand people, went out to meet it. Duke Louis and the principal lords of his court bore over it a canopy blazing with gold and precious stones. Around it floated six standards: on two were the arms of France, the third of Anjou, the others of the pope, the house of Aquin, and the city of Toulouse. They enshrined it magnificently in the church of the Dominicans, but it has been at St. Sernin since the Revolution. When placed in its present _châsse_ in 1852, the venerable Père Lacordaire made a panegyric of the saint, attracting an immense audience. The arms of the illustrious house of Aquin are emblazoned on his altar. In passing out of the crypts on the side opposite that which I entered is the following inscription: "After having reunited in Clermont, in the year of salvation 1096, the faithful destined to deliver the Holy Sepulchre, Pope Urban II. wished himself to consecrate this basilica, one of the most precious monuments of Christian art. The sovereign pontiff had near him Raymond IV., Count of Toulouse and of St. Gilles, that glorious prince who first displayed on his banners and on his armor the Holy Cross of the Saviour. "Popes Clement VII., Paul V.. Urban V., and Pius IV. have granted numerous privileges to this abbatial church. Those who visit its seven principal altars obtain indulgences like those acquired before the seven altars of St. Peter's church at Rome. "Charles VI., Louis XI., Francis I., Charles IX., Louis XIII., and Louis XIV., kings of France, have, in praying, passed through these holy catacombs. It is here that in all public calamities a pious population has constantly resorted to implore the powerful intercession of the holy protectors of this antique and religious city." There is hung on the walls of the crypts a curious bas-relief of the youthful Saviour, which is supposed to date from the Carlovingian age. He is in an aureola, ovoidal in form, pointed at its two extremities. Without, in the angles, are the emblems of the four evangelists. Around the head of our Saviour is a _nimbus_ in the form of a cross, on which are graven the letters _Alpha_ and _Omega_. This bas-relief was evidently the centre of an extensive work. The youthfulness of the features of Christ gives a presumption in favor of its antiquity. {108} He is often found on many Christian sarcophagi, and in many of the paintings of the catacombs at Rome, with a youthful face. M. Didron says that, from the third to the tenth century, Christ is oftener represented young and beardless, but his face, young at first, grows older from century to century, as Christianity advances in age. The ancient Christian monuments at Rome, Aries, and elsewhere represent Christ with a young and pleasing face.