shrine to him in the Abbey of Saint Genevieve in Paris. This shrine had a statue and a number of epitaphs and was probably where the veneration of St. Clovis began. Despite Clovis's presence in Paris, his cultus was largely based in the south of France. Abbot Aymeric de Peyrat (d. 1406), the author of the History of the Moissac Abbey, claimed that his own monastery was founded by St. Clovis and there were many monasteries named in his honour. Aymeric not only referred to Clovis as a saint but also prayed for St. Clovis's intercession. There were also known to be shrines dedicated to Clovis in Église Sainte-Marthe de Tarascon and Saint-Pierre-du-Dorât. Boniface Symoneta, Jacques Almain and Paulus Aemilius Veronensis gave hagiographic accounts of Clovis's life and at the time it was common to include Clovis's life in collections of the lives of the saints. It has been suggested that the reason that the French state promoted the veneration of Clovis in the south was to establish a border cult that would cause Occitans to venerate the northern-led French state by venerating its founder. Another reason could be that Clovis was a preferable foundation figure for the House of Valois as their predecessors were the Direct Capetians who looked back to Charlemagne whose veneration had been widely recognised. In contrast to the theory of St. Clovis's cult being a primarily northern-supported movement, Amy Goodrich Remensnyder suggests that St. Clovis was used by Occitans to reject the northern concept of the monarchy and to reinstate their autonomy as something granted by the saint. St. Clovis had the role of a more militarised royal saint than the pious Louis IX of France. As a saint, Clovis was important as he represented the spiritual birth of the nation and provided a chivalrous and ascetic model for French political leaders to follow. The veneration of St. Clovis was not exclusive to France as a print by the Holy Roman woodcut designer Leonhard Beck made for the Habsburg monarchs depicts Clovis as St. Chlodoveus, St. Boniface's Abbey in Munich depicted St. Chlodoveus as a saint worthy of emulation because of his advocacy, and the Florentine Baroque painter Carlo Dolci painted a large depiction of St. Clovis for the Imperial Apartment in the Uffizi Gallery. St. Clovis had no known official canonisation, neither was he beatified, so his sainthood was only ever recognised by popular