Castles and Chateaux of Old Touraine and the Loire Country. M. F. Mansfield

      Louis endowed the church at Cléry, and the edifice was built in the fine flamboyant style of the period, just previous to his death, which De Commines gives as "le samedy pénultième jour d'Aoust, l'an mil quatre cens quatre-vingtz et trois, à huit heures du soir."

      Louis XI. was buried here, and the chief "sight" is of course his tomb, beside which is a flagstone which covers the heart of Charles VIII. The Chapelle St. Jacques, within the church, is ornamented by a series of charming sculptures, and the Chapelle des Dunois-Longueville holds the remains of the famous ally of Jeanne d'Arc and members of his family.

      In the choir is the massive oaken statue of Our Lady of Cléry (thirteenth century); the very one before which Louis made his vows. There is some old glass in the choir and a series of sculptured stalls, which would make famous a more visited and better known shrine. There is a fine sculptured stone portal to the sacristy, and within there are some magnificent old armoires, and also two chasubles, which saw service in some great church, perhaps here, in the times of Louis himself.

      The "Maison de Louis XI.," near the church, is a house of brick, restored in 1651, and now—or until a very recent date—occupied by a community of nuns. In the Grande Rue is another "Maison de Louis XI.;" at least it has his cipher on the painted ceiling. It is now occupied by the Hôtel de la Belle Image. Those who like to dine and sleep where have also dined and slept royal heads will appreciate putting up at this hostelry.

      The Loire at Meung

      Meung-sur-Loire was the birthplace of Jehan Clopinel, better known as Jean de Meung, who continued Guillaume de Lorris's "Roman de la Rose," the most famous bit of verse produced by the trouvères of the thirteenth century. The voice of the troubadour was soon after hushed for ever, but that thirteenth-century masterwork—though by two hands and the respective portions unequal in merit—lives for ever as the greatest of its kind. In memory of the author, Meung has its Rue Jehan de Meung, for want of a more effective or appealing monument.

      Dumas opens the history of "Les Trois Mousquétaires" with the following brilliantly romantic lines anent Meung: "Le premier lundi du mois d'Avril, 1625, le bourg de Meung, où naquit l'auteur du 'Roman de la Rose.'" (One of the authors, he should have said, but here is where Dumas nodded, as he frequently did.)

      Continuing, one reads: "The town was in a veritable uproar. It was as if the Huguenots were up in arms and the drama of a second Rochelle was being enacted." Really the description is too brilliant and entrancing to be repeated here, and if any one has forgotten his Dumas to the extent that he has forgotten D'Artagnan's introduction to the hostelry of the "Franc Meunier," he is respectfully referred back to that perennially delightful romance.

      Meung was once a Roman fortress, known as Maudunum, and in the eleventh century St. Liphard founded a monastery here.

      In the fifteenth century Meung was the prison of François Villon. Poor vagabond as he was then, it has become the fashion to laud both the personality and the poesy of Maître François Villon.

      By the orders of Thibaut d'Aussigny, Bishop of Orleans, Villon was confined in a strong tower attached to the side of the clocher of the parish church of St. Liphard, and which adjoined the château de plaisance belonging to the bishop. Primarily this imprisonment was due to a robbery in which the poet had been concerned at Orleans. He spent the whole of the summer in this dungeon, which was overrun with rats, and into which he had to be lowered by ropes. As his food consisted of bread and water only, his sufferings at this time were probably greater than at any other period in his life. Here the burglar-poet remained until October, 1461, when Louis XI. visited Meung, and, to mark the occasion, ordered the release of all prisoners. For this delivery, Villon, according to the accounts of his life, appears to have been genuinely grateful to the king.

      At Beaugency, seven kilometres from Meung, one comes upon an architectural and historical treat which is unexpected.

      In the eleventh century Beaugency was a fief of the bishopric of Amiens, and its once strong château was occupied by the Barons de Landry, the last of whom died, without children, in the thirteenth century. Philippe-le-Bel bought the fief and united it with the Comté de Blois. It was made an independent comté of itself in 1569, and in 1663 became definitely an appanage of Orleans. The Prince de Galles took Beaugency in 1359, the Gascons in 1361, Duguesclin in 1370 and again in 1417; in 1421 and in 1428 it was taken by the English, from whom it was delivered by Jeanne d'Arc in 1429. Internal wars and warfares continued for another hundred and fifty years, finally culminating in one of the grossest scenes which had been enacted within its walls—the bloody revenge against the Protestants, encouraged doubtless by the affair of St. Bartholomew's night at Paris.

      The ancient square donjon of the eleventh century, known as the Tour de César, still looms high above the town. It must be one of the hugest keeps in all France. The old château of the Dunois is now a charitable institution, but reflects, in a way, the splendour of its fourteenth-century inception, and its Salle de Jeanne d'Arc, with its great chimneypiece, is worthy to rank with the best of its kind along the Loire. The spiral staircase, of which the Loire builders were so fond, is admirable here, and dates from 1530.

      The Hôtel de Ville of Beaugency is a charming edifice of the very best of Renaissance, which many more pretentious structures of the period are not. It dates from 1526, and was entirely restored—not, however, to its detriment, as frequently happens—in the last years of the nineteenth century. Its charm, nevertheless, lies mostly in its exterior, for little remains of value within except a remarkable series of old embroideries taken from the choir of the old abbey of Beaugency.

      The Église de Notre Dame is a Romanesque structure with Gothic interpolations. It is not bad in its way, but decidedly is not remarkable as mediæval churches go.

      The old streets of Beaugency contain a dazzling array of old houses in wood and stone, and in the Rue des Templiers is a rare example of Romanesque civil architecture; at least the type is rare enough in the Orléannais, though more frequently seen in the south of France. The Tour St. Firmin dates from 1530, and is all that remains of a church which stood here up to revolutionary times. The square ruined towers known as the Porte Tavers are relics of the city's old walls and gates, and are all that are left to mark the ancient enclosure.