Most painters of modern times have depicted the Saint as a shepherdess, somewhat after the Chelsea china pattern, and a few have given her the suggestiveness of the nymphs of Boucher. Watteau's is a charming picture, but the graceful maiden scarcely comes up to our ideal of the pious little peasant girl of Nanterre. Guérin's is pure and refined, if somewhat affected, but one feels inclined to hail our old friend with the fiend behind her puffing or blowing the bellows as a more worthy reading of the character of S. Geneviève. In the church of S. Merri there is a very curious picture representing the maid surrounded by her sheep, and enclosed by a circle of huge stones after the manner of those at Stonehenge. The legend of feeding the besieged Parisians is said to be the origin of the _pain bénit_ of the Paris churches, a custom peculiar to the old Parisian rite, and almost the only one kept up since that use was superseded by the Roman, some few years since. This blessed bread is a large _brioche_ offered by some of the parishioners, and brought into church in procession during the offertory. It is usually piled up on a stage and decorated with flowers and lights, the whole being carried on the shoulders of acolytes. Preceded by the beadle and donor, it is taken to the altar and sprinkled with holy water; some prayers are said, the donor is presented with a pax to kiss, and the procession then returns to the sacristy, where the bread is cut up and put into baskets, which are then carried round the church, and the _brioche_ distributed among the congregation. One often sees strangers refuse this, thinking it something peculiarly popish; indeed, I was once assured by a friend that he had been offered the Sacrament, "which of course he had refused." But we may be certain that if the _pain bénit_ were considered so exceedingly holy, promiscuous strangers would not get the chance of partaking of it. It rather figures a sort of amicable meal after the manner of the early Agapæ, and is a very pretty ceremony; besides, it is always refreshing to witness any little peculiarity in ritual, instead of the dull uniformity which recent papal decrees have enforced over western Europe. In the 9th century S. Geneviève became the patron of the abbey; and some of the capitals of the church of that period are now in the court of the École de Beaux-Arts. In the 13th century the church was rebuilt, but gradually falling into decay, it was condemned in the reign of Louis XV., and demolished in 1801-7 to make way for the Rue Clovis. When the crypt was destroyed a large quantity of stone coffins, medals, pottery, shields and lances of Gallo-Roman and Mérovingian workmanship were found.