The designs of the pedestal and of the iron railing that surrounded the monument were by M. Soyer, engineer; and M. Desfriches, before mentioned, presided over the whole undertaking.

The appearance of the accessories above described, doubtless, contrasted too much with the simplicity of the figures; while the style of architecture, consisting of twisted forms, which predominated in the pedestal, was equally removed from the simplicity of the antique structure. In other respects the figures were highly interesting from their unadorned appearance, and the chaste exactness observable in the costume.

At the period when this monument was erected, the artist could imagine nothing better than to delineate his heroes in the act of prayer; he had communicated truth to their attitudes and veracity never fails to be interesting; such constituted the merit of this religious monument, the tout ensemble of which was pleasing to the eye.

The sculptor who repaired this memorial, however, was guilty of a great error. The armorial bearings of France placed before Charles VII. he surrounded by a collar of the order of Saint Michael; whereas this collar and decoration were not instituted until 1469, under Louis XI., son of Charles VII.

This monument was completely broken up, and afterwards melted down to construct cannon, in 1793, when revolutionary anarchy swept every thing away in one general vortex of devastation.

In the year 1805, under the consulate of Napoleon Buonaparte, during the prefecture of J. P. Maret, and the mayoralty of Crignon - Desormeaux, another monument was raised to the memory of the heroine of Orleans.

This was the first after the epoch of the revolution that was cast in bronze. A distinction so honourable is explained in the first instauce by the circumstances under which it was erected, when every thing seemed to assume a character of united grandeur and stability; by the noble devotion of the magistrate of the department and those of the commune, as well as the generous assistance of the government, and of private individuals, who came forward to offer subscriptions in furtherance of a monument so truly national.

This statue, by M. Gois the younger, represents Jeanne d'Arc in the act of grasping a banner just carried off from the enemy, trampling under foot the English leopards, and bidding defiance to her enemies. The statue is eight feet high, and beautifully executed in all its proportions; it appears as if the bronze had become animated under the tool of the young artist. It rests upon a pedestal of veined marble nine feet by four in height, and the socle and steps are of the same material. Four bas-reliefs in bronze, placed between the cornices and astragals, are richly executed, the figures being also grouped in the happiest manner.

The first to the south represents the conflict at the Tournelles that to the west, displays La Pucelle receiving her sword from the hands of Charles VII.: that to the eastward, the coronation of the monarch in the cathedral at Rheims, with Jeanne d'Arc fulfilling the functions of constable of France: and, lastly, that to the north, the portentous moment when the bishop of Beauvais reads the judgment pronounced against the heroine, of sentence of death to be carried into execution at Rouen: while

at the bottom are represented two lachrymatories. Two of these bas-reliefs measure one foot by two feet seven inches; the other two, one foot by three.

Upon the erection of M. Gois's statue, a medal struck in bronze was distributed gratuitously to those subscribers who had given fifty francs, and one in silver to such as had contributed double that sum.

This medal has on one side a bust of the first consul, and on the reverse the effigy of Jeanne d'Arc.

We shall now speak of the monuments erected to the memory of Jeanne d'Arc in her native province: those existing in the village of Domremy will be amply described when we treat of the humble dwelling wherein La Pucelle was born. Independent of this memorial, the native village of our heroine presents other features worthy the notice of the antiquary and the historian. Tradition has handed down to the present day the history of a chapel called Our Lady of La Pucelle, consecrated in the village church; and, in consequence of the remains of many of her descendants being deposited there, it was likewise denominated the Chapel of the Dulys. Claude Dulys, curate of Domremy and Greux in 1550, was interred there, as appears from his will. The repairs which the church underwent in 1600, together with the ravages of revolutionary fury, have obliterated the major part of the epitaphs, inscriptions, and armorial bearings, tending to substantiate these facts. Notwithstanding this, however, two columns which decorate the principal. altar still bear two escutcheons displaying the arms of Dulys, supported by two angels seated on their capitals.

Their workmanship is mediocre, and their cumbrous proportions are sufficient testimonies of their origin. It is probably in this chapel that the figure was formerly placed which M. Gerardin fixed over the archway of the portal of Jeanne d'Arc's dwelling. Those persons who visited the monument prior to its restoration, recollect having seen it surmounted by a mutilated statue. Although it was then blended with the stone-mason's work, and only presented a front view, it was nevertheless impossible not to recognise the figure of a kneeling female warrior; but the little connexion between this statue and the monument over which it was placed, easily led to a supposition that it had not been originally destined to occupy that spot. The place for receiving the arch over the door of M. Gerardin's new house was immediately perceptible; but that for the figure now under consideration was no where to be found. Since it has been disencumbered from the mason's work, its kneeling posture is fully identified, and what had been previously conjectural is incontestably proved; namely, that it originally formed part of a monumental effigy for an oratory, where it was most probably placed before an image of the Virgin Mary, in whom during her life Jeanne placed such implicit confidence.

As we have no positive proof respecting the oratory where this sculpture originally stood, we conceive that simple conjecture may suffice to stamp it as having formed a decoration of the before-mentioned, chapel of Dulys. The coincidence of the indications still existing of two angels bearing the arms of the family, and above all, the statue being in possession of M. Gerardin, seem to con

firm this opinion. For how could it have fallen into the hands of the last proprietor of the house belonging to the descendants of our heroine's father, unless it had been as the property of those who, when the chapel was demolished, carefully removed it from the church to preserve it in their dwelling, with which it devolved, by means of the last of the Dulys family who died at Domremy, to the predecessors of M. Gerardin the elder? However, be the origin of the sculpture what it may, it no doubt formed part of a monument raised to the glory of Jeanne d'Arc, and destined to hand down her features, her exploits, and her virtues, to remotest posterity.

Such are the monuments existing at Domremy, not to mention those consecrated by popular veneration; such as a particular tract of land constituting a vineyard near the ruins of a chapel, called in that country Our Lady of Beaumont, where it is traditionally told that La Pucelle offered up her orisons, and which is still known by the title of La Pucelle, as well as a fountain situated near those vineyards and above the wood of oaks.

It is also affirmed that memorials of Jeanne existed in the church of Greux, but its partial re-erection and the effects of the revolution have caused them to disappear. The town of Vaucouleurs, which furnished means for equipping the heroine when the lord de Baudricourt sanctioned her journey to Chinon, and which was uniformly inhabited by the descendants of Jean Dulys, one of her brothers and provost of the place, did not raise any effigy of note to her memory. However, when a spontaneous feeling prompted the people of that town to take up arms for the protection of social order against the assaults of anarchy, such was