PARK AND CEMETERY, 
I 82 
wife; the Princess Marie, Louis Philippe and his 
queen, Marie Amelie; Mme. Adelaide, sister of the 
king, and the Duchess d’Aumale, with her chil- 
dren; in short, all members of the royal family, 
save only the Duchess de Nemours and the Comte 
de Paris, who were buried at Weybridge, England. 
These tombs are ornamented with statues and bas- 
reliefs, several of which have a real artistic value. 
One of the most remarkable of these is that of 
King Louis Philippe and his queen, the work of the 
1. TOMBS OF THE DOWAGER DUCHESS OF ORLEANS AND 
OF THE PRINCESS ADELAIDE. 
2. TOMBS OF KING LOUIS PHILLIPPE AND QUEEN AMELIE. 
5. TOMBS OF THE DUG DE PEN l'HIEVRE AND OF THE 
CHILDREN OF THE COMPTE DE PARIS. 
sculptor, Antonin Mercie. The king is represented 
as standing, bold in demeanor, in full dress and 
draped with the royal mantel. The two figures are 
very fine, and their expression, in so violent antithe- 
sis — the one indicative of the royal authority, and 
the other that of the severest family virtues — are 
entirely characteristic. Louis Philippe, in exile, 
wrote in his will: “I ask that wherever I may die, 
my body may be taken without display to Dreux, 
there to be placed in a tomb situated before the 
altar of the virgin." This wish was realized only in 
1876. 
A group of an entirely different character is that 
perpetuating the memory of the two children of the 
Comte de Paris, who died in infancy, the Princes 
Charles Philippe Marie and Jacques Antoine Marie. 
It consists of two infants under the tutelar cross 
and above a cloud which is bearing them away to 
the heavens. At the side the Due de Penthievre, 
simply draped in his winding sheet, with a crown 
3. TOMBS OF THE. PRINCESS OF SALERNO, AND THE DUKE 
AND DUCHESS OF ORLEANS. 
4. CHAPEL OF ST. LOUIS AT DREUX — TOMB OF DUCHESS 
D’AUMALE AND THE ONE RESERVED FOR THE 
DUKE D’AUMALE. 
upon his head and a chaplet in his hands, reposes 
upon a marble tomb, under the protection of an 
angel with arms extended over him. 
These monuments, classically artistic, with their 
rigid effigies, suggesting the idea of eternal repose 
are quite numerous, and several are reproduced in 
the engravings. That of the Duchess de Salerno 
resting in a sort of niche, partly inclosed by a deco- 
rative motive half Gothic, half Renaissance, is from 
the chisel of Chapu. — Views from 1' Illustration, 
