Monuments formerly at S. Denis 52 " from S. Germain-des-Près 6 " " Notre-Dame de Corbeil 2 " " S. Geneviève 1 " " S. Catherine-du-Val 2 " " des Cordeliers 3 " " des Jacobins 7 " " des Célestins 12 " " des Minimes 2 " " des Grands-Jésuites 1 " " l'abbaye de Royaumont 6 " " l'abbaye de Maubuisson 2 " " l'abbaye de Poissy 1 " " l'abbaye de Notre-Dame à Soissons 1 " " l'abbaye de Haute Bruyère 1 " " la collégiale de Saint-Cloud 2 " of origin unknown 13 " new or made up of fragments 53 ---- 167 [Illustration: TOMB OF LOUIS XII., AND COLUMN OF FRANÇOIS II.] By far the most beautiful tomb is that of Louis XII. "Sur le lieu de la sépulture de Louis XII. et de la reyne Anne, le roy François leur gendre et successeur à la couronne, leur à fait dresser un très-somptueux mausolée de fin marbre blanc, à deux estages, qui est une des belles pièces de l'Europe, pour ne pas dire la plus belle."[30] Dom Jacques Doublet and Germain Millet both attributed the work to Ponzio; but Félibien, reading a passage in a Latin commentary printed by Jean Brèche in 1550, discovered the true author: "Voyez le monument" (says Brèche) "de marbre consacré à Louis XII., travaillé avec un artifice admirable et plein d'élégance, dans notre très-illustre cité de Tours, par Jean Juste, statuaire du plus grand talent." The discovery of an order for payment of 400 _écus_ to Juste in a letter from the king to Cardinal Duprat, sets the matter at rest if the date of Ponzio's arrival did not also do so.[31] The tomb was taken to S. Denis in 1527; whereas Ponzio did not arrive in France until about 1530. This way of attributing all that is good in art to Italy was formerly very common. Even in our own time all branches of French art were looked upon by our fathers as frivolous and trivial. Italian Renaissance was trivial enough, but French Renaissance utterly meretricious. To the insane worshippers of the "Gothic style," it alone was pure. The sumptuous grandiosities of Louis XIV. were tolerable, because they aimed at being Classic. The portico of the Panthéon or the colonnade of the Louvre were considered fine; but the elegancies of Jean Goujon were wanting in severity. Even Watteau, though admitted to be graceful, was "meretricious"; Berlioz amongst musicians was only "noisy and claptrap;" and sculpture and