Here are the rest of my Seine boat ride videos. Still catching up.
Here are the rest of my Seine boat ride videos. Still catching up.
A while back I posted on floating through Paris (https://laurettadimmick.com/2019/06/07/floating-through-paris-aboard-a-bateau/) and meant to write today’s post then. I didn’t get it done.
Today, I post the rest of my pictures from that seriously enjoyable boat ride along the Seine.









































The alpha and omega.

One of the most charming things about Paris are the riverside kiosks selling books and posters. It is said that within a generation, these will no longer survive. Catch them while you can!
If there is a more beautifully constructed space on earth than Sainte-Chapelle, then I have yet to find it! Glass and color and stone have never been more masterfully combined than in this place. It’s alchemy.
Feast your eyes!
The Sainte-Chapelle, an architectural gem set within the Palais de la Cité, was founded by King Louis IX (later to become Saint Louis) in the mid-13th century to house the relics of the Passion.
Originally at the service of the monarchy, the building is composed of the lower chapel, used by the Palace staff, and the upper chapel, reserved to the King and his entourage, where the relics were kept. The stained glass windows, set in the Flamboyant Gothic architecture, are one of a kind.
Sainte-Chapelle (Holy Chapel) – Upper Chapel, Paris, France
First, I take you on a guided tour starting at the facade and going into the upper and lower chapels, ending with a video of the exterior work that is going on now. For you history buffs, my usual spiel is at the end. :-)








































The Sainte-Chapelle (holy chapel) is the royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the River Seine in Paris.
Construction began after 1238; the chapel was consecrated on 26 April 1248. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ’s Crown of Thorns – one of the most important relics in medieval Christendom, later hosted in the nearby Notre-Dame Cathedral until the 2019 fire, which it survived.
Along with the Conciergerie, the Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution, and restored in the 19th century, it has one of the most extensive 13th-century stained glass collections anywhere in the world.
The royal chapel is a prime example of the phase of Gothic architectural style called “Rayonnant,” marked by the feeling of weightlessness and strong vertical emphasis. It stands squarely upon a lower chapel, which served as parish church for all the inhabitants of the palace, which was the seat of government. The King Louis IX was later recognized as a saint by the Catholic Church. His title became Saint Louis.
The Sainte-Chapelle, in the courtyard of the royal palace on the Île de la Cité (now part of a later administrative complex known as La Conciergerie), was specifically built to house Louis IX’s collection of relics of Christ, which included the Crown of Thorns, the Image of Edessa and some thirty other items.
Louis purchased his Passion relics from Baldwin II, the Latin emperor at Constantinople, for the sum of 135,000 livres, though this money was actually paid to the Venetians, to whom the relics had been pawned. The relics arrived in Paris in August 1239, carried from Venice by two Dominican friars.
Upon arrival, King Louis hosted a week-long celebratory reception for the relics. For the final stage of their journey they were carried by the King himself, barefoot and dressed as a penitent, a scene depicted in the Relics of the Passion window on the south side of the chapel.
The relics were stored in a large and elaborate silver chest, the Grand-Chasse, on which Louis spent a further 100,000 livres.
The entire chapel, by contrast, cost 40,000 livres to build. In 1246, fragments of the True Cross and the Holy Lance were added to Louis’ collection, along with other relics. The chapel was consecrated on 26 April 1248 and Louis’ relics were moved to their new home with great ceremony.
As well as serving as a place of worship, the Sainte-Chapelle played an important role in the political and cultural ambitions of King Louis and his successors. With the imperial throne at Constantinople occupied by a mere Count of Flanders, and with the Holy Roman Empire in uneasy disarray, Louis’ artistic and architectural patronage helped to position him as the central monarch of western Christendom. In this way, the Sainte-Chapelle fit into a long tradition of prestigious palace chapels.
Just as the Emperor could pass privately from his palace into the Hagia Sophia in Constantinople, so now Louis could pass directly from his palace into the Sainte-Chapelle.
More importantly, the two-story palace chapel had obvious similarities to Charlemagne’s palatine chapel at Aachen (built 792–805)—a parallel that Louis was keen to exploit in presenting himself as a worthy successor to the first Holy Roman Emperor.
The contemporary visitor entering the courtyard of the Royal Palace would have been met by the sight of a grand ceremonial staircase (Grands Degres) to their right and the north flank and eastern apse of the Sainte-Chapelle to their left.
The chapel exterior shows many of the typical characteristics of Rayonnant architecture—deep buttresses surmounted by pinnacles, crocketted gables around the roof-line and vast windows subdivided by bar tracery.
The internal division into upper and lower chapels is clearly marked on the outside by a string-course, the lower walls pierced by smaller windows with a distinctive spherical triangle shape. Despite its decoration, the exterior is relatively simple and austere, devoid of flying buttresses or major sculpture and giving little hint of the richness within.
No designer-builder is named in the archives concerned with the construction. In the 19th century it was assumed (as with so many buildings of medieval Paris) to be the work of the master mason Pierre de Montreuil, who worked on the remodelling of the Royal Abbey of Saint-Denis and completed the south transept façade of Notre-Dame Cathedral in Paris. Modern scholarship rejects this attribution in favor of Jean de Chelles or Thomas de Cormont, and the hand of an unidentified master mason from Amiens.
The Sainte-Chapelle’s most obvious architectural precursors include the apsidal chapels of Amiens Cathedral, which it resembles in its general form, and the Bishop’s Chapel (c. 1180s) of Noyon Cathedral, from which it borrowed the two-story design. As has often been argued, however, the major influence on its overall design seems to have come from contemporary metalwork, particularly the precious shrines and reliquaries made by Mosan goldsmiths.
The Parisian palatine chapel, built to house a reliquary, was itself like a precious reliquary turned inside out (with the richest decoration on the inside). Although the interior is dominated by the stained glass, every inch of the remaining wall surface and the vault was also richly colored and decorated. Analysis of remaining paint fragments reveals that the original colours were much brighter than those favoured by the 19th-century restorers and would have been close to the colors of the stained glass. The quatrefoils of the dado arcade were painted with scenes of saints and martyrs and inset with painted and gilded glass, emulating Limoges enamels, while simulated rich textiles hangings added to the richness of the interior.
Above the dado level, mounted on the clustered shafts that separate the great windows, are 12 larger-than-life-sized sculpted stone figures representing the 12 Apostles (six of these are replicas—the damaged originals are now in the Musée du Moyen Age). Each carries a disk marked with the consecration crosses that were traditionally marked on the pillars of a church at its consecration. Niches on the north and south sides of the chapel are the private oratories of the king and of his mother, Blanche of Castile.
The most famous features of the chapel, among the finest of their type in the world, are the great stained-glass windows, for whose benefit the stone wall surface is reduced to little more than a delicate framework. Fifteen huge mid-13th-century windows fill the nave and apse, while a large rose window with Flamboyant tracery (added to the upper chapel c. 1490) dominates the western wall.
Arranged across 15 windows, each 15 metres high, the stained glass panes depict 1,113 scenes from the Old and New Testaments recounting the history of the world until the arrival of the relics in Paris.
Despite some damage, the windows display a clear iconographical program. The three windows of the eastern apse illustrate the New Testament, featuring scenes of The Passion (center) with the Infancy of Christ (left) and the Life of John the Evangelist (right). By contrast, the windows of the nave are dominated by Old Testament exemplars of ideal kingship/queenship in an obvious nod to their royal patrons. The cycle starts at the western bay of the north wall with scenes from the Book of Genesis (heavily restored).
The next ten windows of the nave follow clockwise with scenes from Exodus, Joseph, Numbers/Leviticus, Joshua/Deuteronomy, Judges, (moving to the south wall) Jeremiah/Tobias, Judith/Job, Esther, David and the Book of Kings.
The final window, occupying the westernmost bay of the south wall brings this narrative of sacral kingship right up to date with a series of scenes showing the rediscovery of Christ’s relics, the miracles they performed, and their relocation to Paris in the hands of King Louis himself.

Above, the Sainte-Chapelle rises above the rooflines of the royal palace. Miniature by the Limbourg brothers, c. 1400
Much of the chapel as it appears today is a re-creation, although nearly two-thirds of the windows are authentic. The chapel suffered its most grievous destruction in the late eighteenth century during the French Revolution, when the steeple and baldachin were removed, the relics dispersed (although some survive as the “relics of Sainte-Chapelle” in the treasury of Notre Dame de Paris), and various reliquaries, including the grande châsse, were melted down.
The Sainte-Chapelle was requisitioned as an archival depository in 1803. Two metres’ worth of glass was removed to facilitate working light and destroyed or put on the market. Its well-documented restoration, completed under the direction of Félix Duban in 1855, was regarded as exemplary by contemporaries and is faithful to the original drawings and descriptions of the chapel that survive.
The Sainte-Chapelle has had various stages of restoration from the 1970s onwards. Air pollution, the elements, and the large number of visitors all cause damage to the stained glass windows. Also, in 1945 a layer of external varnish had been applied to protect the glass from the dust and scratches of wartime bombing. This had gradually darkened, making the already fading images even harder to see.
In 2008, a more comprehensive seven-year programme of restoration was begun, costing some €10 million to clean and preserve all the stained glass, clean the facade stonework and conserve and repair some of the sculptures. Half of the funding was provided by private donors, the other half coming from the Villum Foundation.
Included in the restoration was an innovative thermoformed glass layer applied outside the stained glass windows for added protection. The project was completed in 2015 in time for the 800th anniversary of the birth of St. Louis, who had ordered the construction of the chapel.
https://www.monuments-nationaux.fr/en/Discovery-area/Sainte-Chapelle-Paris
There’s a revered business association in Italy called the UISI, or the Unione Imprese Storiche Italiane, which in English means: the association of Italian Historical Businesses.
In order to become a member of this august group, a company must have been in business for over 150 years and owned by the same family that started the business originally. This association was begun in Florence and only includes as members businesses that represent the great tradition and history for which Italy is known.
I only recently learned of this association when I visited a great textile store in the Oltrarno section of Florence. There are no signs announcing this shop; you must be in the know to find it.
It isn’t hidden, au contraire, it is located smack dab between a very famous little artistic studio of the street artist, Clet, and the ancient church of San Nicola.
Check it out online and visit it if you are in the market for some fine Italian textiles: towels, sheets, draperies, and some ceramics.
I recently had the good fortune to visit Saint-Denis in Paris and see not only a gorgeous Gothic cathedral, but the tombs of French royalty. Caterina de’ Medici’s tomb is among them and, since I live in Florence (like she did) and was visiting Paris (like she did…that’s where the similarities end!), I started asking questions about her.
Well, she was quite a gal! Her story is endlessly fascinating. She was, of course, the Italian noblewoman, who just happened to also become the queen of France (from 1547 until 1559) by marriage to King Henry II. The 3 following kings were all her sons, and she played a big role in their respective reigns.
For me, my interest was stoked when earlier this month I visited the tomb in Paris that she designed for her husband and herself. It almost always begins for me with a work of art! Caterina meticulously planned the funerary monument, but what we see today in Paris is not exactly what she planned, not by a long shot.

The tomb of Henry II and Catherine de’ Medici, St. Denis, Paris
But, even for the Queen of France, the best laid plans don’t always pan out.
The view above of the actual tomb in Saint-Denis, in a northern suburb of Paris, is pretty grand, no? The King and Queen are depicted in kneeling in positions of perpetual prayer atop the ensemble. These 2 statues are far from the most impressive ones in this church that serves as the burial place for French royalty. Especially the figure and face of Caterina: not particularly well conceived. She looks rather wan.

So, let’s review her history. Caterina de’ Medici was born on 13 April in 1519 in the Republic of Florence, the only child of Lorenzo II de’ Medici, Duke of Urbino, and Madeleine de la Tour d’Auvergne, the countess of Boulogne.
Caterina’s parents were a young couple who had only been married the year before, at Amboise, as part of the alliance between King Francis I of France, the father of the future king Henry II, and the bride’s uncle, non other than Medici Pope Leo X. This arranged marriage was a seal to the pact between France and the the Roman Catholic Church, and against the Holy Roman Emperor Maximilian I who had his own ambitions for the lands the other two leaders ruled.
Only 20 days after Catherina’s birth in April of 1519, her mother died, probably from puerperal fever or the plague and, unfortunately, he father died one day later “worn out by disease and excess.” Thus, before she was a month old, Caterina was an orphan.
But, she was a very wealthy orphan, and she had very powerful relatives.
King Francis of France, who had sponsored Caterina’s mother, Madeleine de la Tour d’Auvergne, the countess of Boulogne, as Lorenzo de’ Medici’s bride, wanted Caterina to be raised at the French court. But she had equally powerful relatives on her father’s side. And, indeed, Pope Leo X had other plans for her.
Medici Pope Leo X was Caterina’s uncle and he took responsibility for Caterina’s upbringing. She was first cared for by her paternal grandmother, Alfonsina Orsini (wife of Piero de’ Medici). After Alfonsina’s death in 1520, one-year-old Caterina joined her cousins and was raised by her aunt, Clarice de’ Medici.
The death of Pope Leo X in 1521 briefly interrupted Medici power, but Cardinal Giulio de’ Medici was elected Pope Clement VII in 1523. The new pope and his surrogates looked after Caterina and she grew up in the Palazzo Medici Riccardi in Florence. The Florentine people affectionately called her duchessina (“the little duchess”), in deference to her unrecognized claim to the Duchy of Urbino.

Palazzo Medici, Florence
In 1527, the Medici were overthrown in Florence by a faction opposed to the regime of Pope Clement’s representative, Cardinal Silvio Passerini, and Catherine was taken hostage and placed in a series of convents. In the last convent, the Santissima Annuziata delle Murate, which was her home for three years, it is believed she was happy.
The city finally surrendered on 12 August 1530. Pope Clement VII had no choice but to crown Charles Holy Roman Emperor in return for his help in retaking the city. The Pope summoned Catherine from her beloved convent to join him in Rome, where he is said to have greeted her with open arms and tears in his eyes.
Then he set about the business of finding her a husband.
While we don’t have any images of Caterina as a young maiden, we do have an eye witness description: on her visit to Rome, the Venetian envoy described Caterina as “small of stature, and thin, and without delicate features, but having the protruding eyes peculiar to the Medici family.
Suitors, however, lined up for her hand, including James V of Scotland who in 1530 twice sent the Duke of Albany to Pope Clement VII to arrange a marriage.
But, when Francis I of France proposed his second son, Henry, Duke of Orléans, as the husband for Caterina in early 1533, Pope Clement VII jumped at the offer. Henry was a prize catch for Catherine who, despite her wealth, was of common origin.
And so it came to be that in 1533, at the age of fourteen, Catherina married the 14 year old Henry, second son of King Francis I and Queen Claude of France.
Below: King Henry II as a child.

The wedding was a grand affair, marked by extravagant display and gift-giving. It took place in the Église Saint-Ferréol les Augustins in Marseille on 28 October 1533. Prince Henry danced and jousted for Catherine. The fourteen-year-old couple left their wedding ball at midnight to perform their nuptial duties. The bridegroom arrived in the bedroom with his father, King Francis, who is said to have stayed until the marriage was consummated. The King noted that “each had shown valor in the joust.” Pope Clement VII visited the newlyweds in bed the next morning and added his blessings to the night’s proceedings.
Catherine saw little of her husband in their first year of marriage, but the ladies of the court treated her well, impressed with her intelligence and keenness to please. However, the death of Pope Clement VII a year later, in September of 1534, undermined Caterina’s standing in the French court.
The next pope, Paul III, broke the alliance with France and refused to pay her huge dowry. King Francis lamented, “The girl has come to me stark naked.”
Meanwhile, Prince Henry showed no interest in Catherine as his wife; instead, he openly took mistresses. For the first ten years of the marriage, Catherine failed to produce any children. In 1537, Philippa Duci, one of Henry’s mistresses, gave birth to a daughter, whom he publicly acknowledged. This proved that Henry was fertile and added to the pressure on Caterina, or Catherine, to produce a child.
In 1536, Henry’s older brother, Francis, caught a chill after a game of tennis, contracted a fever and died shortly after, leaving Henry the heir to the crown as the dauphin. As dauphine, Catherine was expected to provide a future heir to the throne. According to the court chronicler Brantôme, “many people advised the king and the Dauphin to repudiate her, since it was necessary to continue the line of France.” Divorce was discussed.
In desperation, Catherine tried every known trick for getting pregnant, such as placing cow dung and ground stags’ antlers on her “source of life,” and drinking mule’s urine. On 19 January 1544, she at last gave birth to a son.
After becoming pregnant once, Catherine had no trouble doing so again. She may have owed her change of fortune to the physician Jean Fernel, who had noticed slight abnormalities in the couple’s sexual organs and advised them how to solve the problem.
Catherine quickly conceived again and on 2 April 1545 she bore a daughter, Elisabeth. She went on to give Henry a further eight children, six of whom survived infancy, including the future Charles IX (born 27 June 1550); the future Henry III (born 19 September 1551); and Francis, Duke of Anjou (born 18 March 1555). The long-term future of the Valois dynasty, which had ruled France since the 14th century, seemed assured.

Above: Portrait of Henry II by François Clouet
Catherine’s ability to bear children, however, failed to improve her marriage. One year into their marriage, in 1534, Henry, at the age of 15, had taken as his mistress the 38-year-old Diane de Poitiers, whom he adored for the rest of his life. Even so, he respected Catherine’s status as his consort.
When King Francis I died on 31 March 1547, Catherine became queen consort of France. She was crowned in the basilica of Saint-Denis, the very same church for which she later designed her mortuary monument, on 10 June 1549.
Henry allowed Catherine almost no political influence as queen. Although she sometimes acted as regent during his absences from France, her powers were strictly nominal. Moreover, Henry was a cad: he gave the Château of Chenonceau, which Catherine had wanted for herself, to Diane de Poitiers. Diane took her place at the center of power, dispensing patronage and accepting favors. She was Henry’s chief mistress and wielded much influence over the king.

Painting of Diane de Poitiers by Francois Clouet
The imperial ambassador reported that in the presence of guests, Henry would sit on Diane’s lap and play the guitar, chat about politics, or fondle her breasts. Diane never regarded Catherine as a threat. She even encouraged the king to spend more time with Catherine and sire more children.
In 1556, Catherine nearly died giving birth to twin daughters, Joan and Victoria. Surgeons saved her life by breaking the legs of Joan, who died in her womb. The surviving daughter, Victoria, died seven weeks later. Catherine had no more children.

Above: Catherine de’ Medici, as queen of France. A Venetian envoy remarked of Catherine when she was about 40 years old “Her mouth is too large and her eyes too prominent and colourless for beauty, but a very distinguished-looking woman, with a shapely figure, a beautiful skin and exquisitely shaped hands.”
Henry’s reign saw the rise of the Guise brothers, Charles, who became a cardinal, and Henry’s boyhood friend Francis, who became Duke of Guise. Their sister, Mary of Guise, had married James V of Scotland in 1538 and was the mother of Mary, Queen of Scots. At the age of five and a half, Mary was brought to the French court, where she was promised to the Dauphin, Francis. Catherine brought her up with her own children at the French court, while Mary of Guise governed Scotland as her daughter’s regent.
In April of 1559, Henry signed the Peace of Cateau-Cambrésis with the Holy Roman Empire and England, ending a long period of the so-called “Italian Wars.” The treaty was sealed by the betrothal of Catherine’s thirteen-year-old daughter, Elisabeth, to Philip II of Spain. Their proxy wedding, in Paris on 22 June 1559, was celebrated with festivities, balls, masques, and five days of jousting in the Place des Tournelles in Paris, now known as the Place des Vosges.
King Henry took part in the jousting during the celebrations of his daughter’s wedding, sporting Diane’s black-and-white colors. He defeated the dukes of Guise and Nemours, but the young Gabriel, comte de Montgomery, knocked him half out of the saddle. Henry insisted on riding against Montgomery again, and this time, Montgomery’s lance shattered in the king’s face.
Henry reeled out of the clash, his face pouring blood, with splinters “of a good bigness” sticking out of his eye and head. Catherine, Diane, and Prince Francis all fainted. Henry was carried to the Château de Tournelles, where five splinters of wood were extracted from his head, one of which had pierced his eye and brain.
Catherine stayed by his bedside, but Diane kept away, “for fear,” in the words of a chronicler, “of being expelled by the Queen.”
For the next ten days, Henry’s state fluctuated. At times he felt well enough to dictate letters and listen to music. Slowly, however, he lost his sight, speech, and reason, and on 10 July 1559 he died, aged 40.
From that day, Catherine took a broken lance as her emblem, inscribed with the words lacrymae hinc, hinc dolor (“from this come my tears and my pain”), and wore black mourning in memory of Henry II.
Henry’s untimely death in 1559 thrust Catherine into the political arena as mother of the frail fifteen-year-old King Francis II.
Francis II became king at the age of fifteen in 1559. In what has been called a coup d’état, the Guise brothers, the Cardinal of Lorraine and the Duke of Guise, seized power the day after Henry II’s death and quickly moved themselves into the Louvre Palace with the young couple. Don’t forget that the Duke’s niece, Mary, Queen of Scots, had married Francis the year before.
The intense fights over religion came to the fore and the influential Guise brothers set about persecuting the Protestants with zeal. Catherine adopted a moderate stance and spoke against the Guise persecutions, though she had no particular sympathy for the Huguenots, whose beliefs she never shared.
The Protestants looked for leadership first to Antoine de Bourbon, King of Navarre, and then, with more success, to his brother, Louis de Bourbon, Prince of Condé, who backed a plot to overthrow the Guises by force.
When the Guises heard of the plot, they moved the court to the fortified Château of Amboise. The Duke of Guise and his troops attacked the rebels when they appeared and killed many of them, including the commander, La Renaudie. Others they drowned in the river or strung up around the battlements while Catherine and the court watched.
In June 1560, Michel de l’Hôpital was appointed Chancellor of France. He sought the support of France’s constitutional bodies and worked closely with Catherine to defend the law in the face of the growing anarchy. Neither saw the need to punish Protestants who worshipped in private and did not take up arms.
On 20 August 1560, Catherine and the Chancellor advocated this policy to an assembly of notables at Fontainebleau. Historians regard the occasion as an early example of Catherine’s statesmanship.
Meanwhile, Condé raised an army and in autumn 1560 began attacking towns in the south. Catherine ordered him to court and had him imprisoned as soon as he arrived. He was tried in November, found guilty of offences against the crown, and sentenced to death. His life was saved by the illness and death of the King Francis II, as a result of an infection or an abscess in his ear.
When Catherine realized that Francis was going to die, she made a pact with Antoine de Bourbon by which he would renounce his right to the regency of the future king, Charles IX, in return for the release of his brother, Condé.
As a result, when Francis died on 5 December 1560, the Privy Council appointed Catherine as governor of France (gouvernante de France), with sweeping powers. In this way she was regent on behalf of her ten-year-old son King Charles IX. She wrote to her daughter Elisabeth: “My principal aim is to have the honor of God before my eyes in all things and to preserve my authority, not for myself, but for the conservation of this kingdom and for the good of all your brothers.”
Catherine’s three sons reigned in an age of almost constant civil and religious wars in France. The problems facing the monarchy were complex and daunting, but Catherine was able to keep the monarchy and the state institutions functioning, if only at a minimum level.
At first, Catherine compromised and made concessions to the rebelling Calvinist Protestants, or Huguenots, as they became known. She failed, however, to grasp the theological issues that drove their movement.
Later she resorted, in frustration and anger, to hard-line policies against them. In return, she came to be blamed for the excessive persecutions carried out under her sons’ rule, in particular for the St. Bartholomew’s Day massacre of 1572, in which thousands of Huguenots were killed in Paris and throughout France.

Miniature of Catherine de’ Medici, a rare portrait of Catherine before she was widowed in 1559, when she adopted the veil and severely plain dress of a widow.
Some historians have excused Catherine from blame for the worst decisions of the crown, though evidence for her ruthlessness can be found in her letters. In practice, her authority was always limited by the effects of the civil wars. Her policies, therefore, may be seen as desperate measures to keep the Valois monarchy on the throne at all costs, and her patronage of the arts as an attempt to glorify a monarchy whose prestige was in steep decline.
Without Catherine, it is unlikely that any of her sons would have remained in power. The years during which they reigned have been called “the age of Catherine de’ Medici.” Catherine was certainly the most powerful woman in sixteenth-century Europe.
On 5 January 1589, Catherine died at the age of sixty-nine, probably from pleurisy. L’Estoile wrote: “those close to her believed that her life had been shortened by displeasure over her son’s deed.” He added that she had no sooner died than she was treated with as much consideration as a dead goat.
Below: the effigies of Catherine and Henry, in Saint-Denis.

Because Paris was held by enemies of the crown, Catherine had to be buried provisionally at Blois. Eight months later, Jacques Clément stabbed Henry III to death. At the time, Henry was besieging Paris with the King of Navarre, who would succeed him as Henry IV of France. Henry III’s assassination ended nearly three centuries of Valois rule and brought the Bourbon dynasty into power. Years later, Diane, daughter of Henry II and Philippa Duci, had Catherine’s remains reinterred in the Saint-Denis basilica in Paris. In 1793, a revolutionary mob tossed her bones into a mass grave with those of the other kings and queens.
Whenever I am lucky enough to come back to Paris, this view knocks me out all over again.











I love to visit this beautiful shop in Paris! I may not wear tutus anymore, but I still love them! And toe shoes, and tights. Tutus and toe shoes and leotards, oh my!











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