S. Vincent is generally represented carrying one babe and holding another by the hand, typical of his founding la Maison des Enfants Trouvés, which was the outcome of his first plan of gathering up children in the streets and placing them with his Sisters. Such an accumulation of little outcasts did he obtain that a special house had soon to be founded. Nor was S. Vincent out of his element at Court, for he was friendly with Cardinal Richelieu, and attended Louis XIII. in his last moments. He died, in 1660, at S. Lazare, and was canonized in 1747; but, in the words of the people, he was "l'Intendant de la Providence et Père des Pauvres." When the fine new church, dedicated to S. Vincent de Paul, was built, Hippolyte Flandrin was at the height of his reputation. He had decorated S. Germain-des-Prés with exquisite pictures, telling the whole story of the Redemption from the Old and New Testament; the churches of S. Paul at Nismes and S. Martin of Lyons were no less great successes. But the frescoes of S. Vincent were to be the painter's crowning work. The church has a feature in common with S. Apollinare Nuovo, Ravenna, namely, a long flat wall space on each side of the nave and the west end, supported by pillars, and, in the case of the Paris church, forming a gallery. This it was that Flandrin was commissioned to cover with frescoes; and just as he had gone to the Roman catacombs for his inspiration for the Romanesque church at Lyons, so he looked to Ravenna for his designs for the Paris basilica. There is great similarity of idea in the two processions, and if S. Apollinare carries off the palm for its gorgeous mosaic, it must give way to S. Vincent in beauty of form and spirituality of design. Few, if any, churches can show pictures so full of beauty as this procession to Paradise (the "Christian Panathenæa" it has been called), a magnificent army of sufferers who have gained the crown. There they walk with stately steps, a hundred and fifty men and women, carrying their emblems and their palms; and yet there is no repetition; each one has his own individuality, his own idiosyncrasy. M. Ingres was the first artist invited to undertake the work, then Delaroche; but happily, both of them declined, and Picot accepted the commission. The 1848 Revolution broke out and interrupted the work; then the new administration, struck with the beauty of the frescoes of S. Germain, wished to give over the decoration of S. Vincent to Flandrin. Naturally this great artist did not relish ousting a brother brush, and so a compromise was arranged; Picot chose the choir, and the frieze of the nave was left for Flandrin. [Illustration: S. GREGORY AND S. LEO, BY FLANDRIN.] The procession of men is on one side, that of women upon the other, both being marshalled into Paradise by Angels bearing crowns for the elect. These stand on each side of the sanctuary, symbolic of Heaven: "_Beati misericordis, Beati qui persecutionem patientur propter justitiam._"