_, a magnificent sepulchral monument, the tomb
of Francois II., the last Duc de Bretagne, and Marguerite de Foix, his
second wife, erected to their memory by their daughter Anne. This
remarkable mausoleum was executed in 1502-07, after designs of Jehan
Perreal, by Michel Colomb and his pupils, Regnault and Jean de Chartres,
with the assistance of Jerome de Fiesole, who contributed the ornamental
portion. It fortunately escaped demolition at the Revolution, and was
brought hither and placed in the south transept from the Eglise des
Carmes in 1817. It is a wonderful exemplification of the very best
quality of Renaissance. The main portion of the tomb is of marble, with
black mouldings somewhat shattered in places, but not so much so as to
affect the contour or design. The effigies lie recumbent upon a slab,
their feet resting on a lion and a greyhound, upheld by a series of
miniature figures of the twelve apostles in niches of red marble. At
the corners are four nearly life-size figures, depicting Justice, with
sword and scales, said to be a portrait of the Duchess Anne; Power,
strangling the dragon of Heresy; Prudence, a double face, showing also
Wisdom, with mirror and compass; and Temperance, bearing a curb-bit and
a lantern. A tablet at the head bears the figures of St. Louis and
Charlemagne, and one at the foot, those of St. Francis of Assisi and
Ste. Marguerite, the patrons of the duke and duchess.

_PART IV

Central France_

[Illustration: ST. ETIENNE _d'AUXERRE_]

I

ST. ETIENNE D'AUXERRE

The entrance to the Burgundian city of Auxerre is more or less confused
if one would, at the first glance, attempt to recognize its cathedral
from among the three fine churches which in true mediaeval fashion loom
up over the river Yonne; not that the entrance is not pleasing: the
reverse is actually the case, though one's way into the town lies
through newly made roads. However, upon contemplation of the pleasant
prospect of town and river, he would be an uninspired person indeed who
would not be able to pick out the Cathedral of St. Etienne, with its
singular reddish brown roof, from among its less imposing neighbours. It
is the central building of the three, and it rises majestically above
all, enhanced by the fine grouping of its one lone tower.

As a type to admire, the cathedral, be it said, is not of a superlative
quality; but as a thing of beauty in many of its details and because of
its aforesaid