Seeing Europe with Famous Authors Volume III Part 2

The organ was rumbling forth a deep, lugubrious ba.s.s, accompanied with heavy chanting of priests, out of which sometimes rose the clear, young voices of choristers, like light flas.h.i.+ng out of the gloom. The church, between the arches, along the nave, and round the altar, was hung with broad expanses of black cloth; and all the priests had their sacred vestments covered with black. They looked exceedingly well; I never saw anything half so well got up on the stage. Some of these ecclesiastical figures were very stately and n.o.ble, and knelt and bowed, and bore aloft the cross, and swung the censers in a way that I liked to see.

The ceremonies of the Catholic Church were a superb work of art, or perhaps a true growth of man's religious nature; and so long as men felt their original meaning, they must have been full of awe and glory. Being of another parish, I looked on coldly, but not irreverently, and was glad to see the funeral service so well performed, and very glad when it was over. What struck me as singular, the person who performed the part usually performed by a verger, keeping order among the audience, wore a gold-embroidered scarf, a c.o.c.ked hat, and, I believe, a sword, and had the air of a military man....

When we left the Madeleine we took our way to the Place de la Concorde, and thence through the Elysian Fields (which, I suppose, are the French idea of heaven) to Bonaparte's triumphal arch. The Champs Elysees may look pretty in summer; tho I suspect they must be somewhat dry and artificial at whatever season.--the trees being slender and scraggy, and requiring to be renewed every few years. The soil is not genial to them. The strangest peculiarity of this place, however, to eyes fresh from moist and verdant England, is, that there is not one blade of gra.s.s in all the Elysian Fields, nothing but hard clay, now covered with white dust. It gives the whole scene the air of being a contrivance of man, in which Nature has either not been invited to take any part, or has declined to do so.

There were merry-go-rounds, wooden horses, and other provision for children's amus.e.m.e.nts among the trees; and booths, and tables of cakes, and candy-women; and restaurants on the borders of the wood; but very few people there; and doubtless we can form no idea of what the scene might become when alive with French gayety and vivacity.

As we walked onward the Triumphal Arch began to loom up in the distance, looking huge and ma.s.sive, tho still a long way off. It was not, however, till we stood almost beneath it that we really felt the grandeur of this great arch, including so large a s.p.a.ce of the blue sky in its airy sweep.

At a distance, it impresses the spectator with its solidity; nearer, with the lofty vacancy beneath it. There is a spiral staircase within one of its immense limbs; and, climbing steadily upward, lighted by a lantern which the door-keeper's wife gave us, we had a bird's eye view of Paris, much obscured by smoke or mist. Several interminable avenues shoot with painful directness right toward it.

On our way homeward we visited the Place Vendome, in the center of which is a tall column, sculptured from top to bottom, all over the pedestal, and all over the shaft, and with Napoleon himself on the summit. The shaft is wreathed round and round about with representations of what, as far as I could distinguish, seemed to be the Emperor's victories. It has a very rich effect. At the foot of the column we saw wreaths of artificial flowers, suspended there, no doubt, by some admirer of Napoleon, still ardent enough to expend a franc or two in this way.

The Hotel des Invalides and Napoleon's Tomb

By Augustus J. C. Hare

[Footnote: From "Walks In Paris." By arrangement with the publisher, David McKay. Copyright, 1880.]

We emerge from the Rue de Grenelle opposite the gardens to the north of the magnificent Hotel des Invalides, planned by Henri IV., and begun by Louis XIV. in 1671, as a refuge for old soldiers, who, before it was built, had to beg their bread on the streets.

The inst.i.tution is under the management of the Minister of War, and nothing can be more comfortable than the life of its inmates. The number of these is now small; in the time of Napoleon I., when the inst.i.tution was called the "Temple of Mars," it was enormous.

On the terrace in front of the building are a number of cannon, trophies taken in different campaigns. Standing before the hotel is the statue of Prince Eugene. On either side of the entrance are statues of Mars and Minerva by Coustou the younger. In the tympanum of the semicircle over the center of the facade is Louis XIV. on horseback. Behind the facade is a vast courtyard surrounded by open corridors lined with frescoes of the history of France; those of the early history on the left by Benedict Ma.s.son, 1865, have much interest. In the center of the facade opposite the entrance is the statue of Napoleon I. Beneath this is the approach to the Church of St. Louis, built 1671-79, from designs of Liberal Bruant, and in which many banners of victory give an effect of color to an otherwise colorless building....

The Tomb of Napoleon, under the magnificent dome of the Invalides, which was added to the original church by Jules Hardouin Mansart, and is treated as a separate building, is entered from the Place Vauban at the back, or by the left cloister and a court beyond.

On entering the vast interior, a huge circular s.p.a.ce is seen to open, beneath the cupola painted by Charles de Lafosse and Jouvenet, and, in it, surrounded by caryatides and groups of moldering banners, the huge tomb of Finland granite, given by the Emperor Nicholas. Hither the remains of the great Emperor were brought back from St. Helena by the Prince de Joinville, in 1841, tho Louis Philippe, while adopting this popular measure as regarded the dead, renewed the sentence of exile against the living members of the Bonaparte family.

Four smaller cupolas encircle the great dome. In the first, on the right, is the tomb of Joseph Bonaparte. On the left are the tombs of Jerome Bonaparte, with a statue, and of his eldest son and the Princess Catherine of Wurtemberg. The other two cupolas are still empty.

Descending the steps behind the splendid baldacchino, we find black-marble tombs of Marshals Duroc and Bertrand guarding the approach to that of Napoleon I. His own words, taken from his will, appear in large letters over the entrance: "I desire my ashes to lie on the sh.o.r.es of the Seine among the people of France whom I loved so deeply."

The sentiment, the tomb, and the dome have a unique splendor. A white- marble statue of Napoleon I. by Stuart is in a black-marble chapel. His Austerlitz sword, the crown voted by Cherbourg, and colors taken in his different battles, were formerly shown in a "chapelle ardente."

The Palais de Justice and the Sainte Chapelle

By Grant Allen

[Footnote: From "Paris."]

Go along the Rue de Rivoli as far as the Square of the Tour St. Jacques.

If driving, alight here. Turn down the Place du Chatelet to your right. In front is the pretty modern fountain of the Chatelet; right, the Theatre du Chatelet; left, the Opera Comique. The bridge which faces you is the Pont- au-Change, so-called from the money-changers' and jewelers' booths which once flanked its wooden predecessor (the oldest in Paris), as they still do the Rialto at Venice, and the Ponte Vecchio at Florence.

Stand by the right-hand corner of the bridge before crossing it. In front is the Ile de la Cite. The square, dome-crowned building opposite you to the left is the modern Tribunal de Commerce; beyond it leftward lie the Marche-aux-Fleurs and the long line of the Hotel-Dieu, above which rise the towers and spire of Notre Dame. In front, to the right, the vast block of buildings broken by towers forms part of the Palais de Justice, the ancient Palace of the French kings, begun by Hugh Capet. The square tower to the left in this block is the Tour de l'Horloge. Next, to the right, come the two round towers of the Conciergerie, known respectively as the Tour de Cesar and the Tour de Montgomery. The one beyond them, with battlements, is the Tour d'Argent. It was in the Conciergerie that Marie Antoinette, Robespierre, and many other victims of the Revolution were imprisoned.

These medieval towers, much altered and modernized, are now almost all that remains of the old Palace, which, till after the reign of Louis IX.

(St. Louis), formed the residence of the Kings of France. Charles VII.

gave it in 1431 to the Parlement or Supreme Court. Ruined by fires and re-building, it now consists for the most part of ma.s.ses of irregular recent edifices. The main modern facade fronts the Boulevard du Palais.

Cross the bridge. The Tour de l'Horloge on your right, at the corner of the Boulevard du Palais, contains the oldest public clock in France (1370). The figures of Justice and Pity by its side were originally designed by Germain Pilon, but are now replaced by copies. Walk round the Palais by the quay along the north branch of the Seine till you come to the Rue de Harlay. Turn there to your left, toward the handsome and imposing modern facade of this side of the Palais de Justice. The interior is unworthy a visit. The Rue de Harlay forms the westernmost end of the original Ile de la Cite. The prow-shaped extremity of the modern island has been artificially produced by embanking the sites of two or three minor islets. The Palace Dauphine, which occupies the greater part of this modern extension, was built in 1608; it still affords a characteristic example of the domestic Paris of the period before Baron Haussmann.

Continue along the quay as far as the Pont-Neuf, so as to gain an idea of the extent of the Ile de la Cite in this direction. The center of the Pont-Neuf is occupied by an equestrian statue of Henri IV., first of the Bourbon kings. Its predecessor was erected in 1635, and was destroyed to make cannon during the great Revolution. Louis XVIII. re-erected it. From this point you can gain a clear idea of the two branches of the Seine as they unite at the lower end of the Ile de la Cite. To your right, looking westward, you also obtain a fine view of the Colonnade of the Old Louvre, with the southwestern gallery, and the more modern buildings of the Museum behind it.

Now, walk along the southern quay of the island, round the remainder of the Palais de Justice, as far as the Boulevard du Palais. There turn to your left, and go in at the first door of the Palace on the left (undeterred by sentries) into the court of the Sainte Chapelle, the only important relic now remaining of the home of Saint Louis. You may safely neglect the remainder of the building.

The thirteenth century was a period of profound religious enthusiasm throughout Europe. Conspicuous among its devout soldiers was Louis IX., afterward canonized as St. Louis. The saintly king purchased from Baldwin, Emperor of Constantinople, the veritable Crown of Thorns, and a fragment of the True Cross--paying for these relics an immense sum of money. Having become possest of such invaluable and sacred objects, Louis desired to have them housed with suitable magnificence. He therefore entrusted Pierre de Montereau with the task of building a splendid chapel (within the precincts of his palace), begun in 1245, and finished three years later, immediately after which the king set out on his Crusade. The monument breathes throughout the ecstatic piety of the mystic king; it was consecrated in 1248, in the name of the Holy Crown and the Holy Cross, by Eudes de Chateauroux, Bishop of Tusculum and papal legate.

Three things should be noted about the Sainte Chapelle. (1) It is a chapel, not a church; therefore it consists (practically) of a choir alone, without nave or transepts. (2) It is the domestic Chapel of the Royal Palace. (3) It is, above all things, the Shrine of the Crown of Thorns. These three points must be constantly borne in mind in examining the building.

Erected later than Notre-Dame, it represents the pointed style of the middle of the thirteenth century, and is singularly pure and uniform throughout. Secularized at the Revolution, it fell somewhat into decay; but was judiciously restored by Viollet-le-Duc and others. The "Messe Rouge," or "Messe du St. Esprit," is still celebrated here once yearly, on the re-opening of the courts after the autumn vacation, but no other religious services take place in the building. The Crown of Thorns and the piece of the True Cross are now preserved in the Treasury at Notre Dame.

Examine the exterior in detail from the court on the south side. More even than most Gothic buildings, the Sainte Chapelle is supported entirely by its ma.s.sive piers, the wall being merely used for enclosure, and consisting for the most part of lofty windows. As in most French Gothic buildings, the choir terminates in a round apse, whereas English cathedrals have usually a square end. The beautiful light fleche or spire in the center has been restored. Observe the graceful leaden angel, holding a cross, on the summit of the chevet or round apse. To see the facade, stand well back opposite it, where you can observe that the chapel is built in four main stories--those, namely, of the Lower Church or crypt, of the Upper Church, of the great rose window (with later flamboyant tracery), and of the gable-end, partially masked by an open parapet studded with the royal fleurs-de-lis of France. The Crown of Thorns surrounds the two pinnacles which flank the fourth story.

The chapel consists of a lower and an upper church. The Lower Church is a mere crypt, which was employed for the servants of the royal family. Its portal has in its tympanum (or triangular s.p.a.ce in the summit of the arch) the Coronation of the Virgin, and on its center pillar a good figure of the Madonna and Child. Enter the Lower Church. It is low, and has pillars supporting the floor above. In the polychromatic decoration of the walls and pillars, notice the frequent repet.i.tion of the royal lilies of France, combined with the three castles of Castille, in honor of Blanche of Castille, the Mother of St. Louis.

Mount to the Upper Chapel (or Sainte Chapelle proper) by the small spiral staircase in the corner. This soaring pile was the oratory where the royal family and court attended service; its gorgeousness bespeaks its origin and nature. It glows like a jewel. First go out of the door and examine the exterior and doorway of the chapel. Its platform was directly approached in early times from the Palace. The center pillar bears a fine figure of Christ. In the tympanum (as over the princ.i.p.al doorway of almost every important church in Paris and in the district) is a relief of the Last Judgment. Below stands St. Michael with his scales, weighing the souls; on either side is depicted the Resurrection, with the Angels of the Last Trump. Above, in the second tier, is Christ, holding up His hands with the marks of the nails, as a sign of mercy to the redeemed: to right and left of Him angels display the Crown of Thorns and the True Cross, to contain which sacred relics the chapel was built.

On the extreme left kneels the Blessed Virgin; on the extreme right, Sainte Genevieve. This scene of the Last Judgment was adapted with a few alterations from that above the central west door of Notre Dame, the Crown of Thorns in particular being here significantly subst.i.tuted for the three nails and spear. The small lozenge reliefs to right and left of the portal are also interesting. Those to the left represent in a very nave manner G.o.d the Father creating the world, sun and moon, light, plants, animals, man, etc. Those to the right give the story of Genesis, Cain and Abel, the Flood, the Ark, Noah's Sacrifice, Noah's Vine, etc., the subjects of all which the visitor can easily recognize, and is strongly recommended to identify for himself.

The interior consists almost entirely of large and lofty windows, with magnificent stained gla.s.s, in large part ancient. The piers which divide the windows and alone support the graceful vault of the roof, are provided with statues of the twelve apostles, a few of them original. Each bears his well-known symbol. Spell them out if possible. Beneath the windows, in the quatrefoils of the arcade, are enamelled gla.s.s mosaics representing the martyrdoms of the saints--followers of Christ, each wearing his own crown of thorns: a pretty conceit wholly in accord with St. Louis's ecstatic type of piety. Conspicuous among them are St. Denis carrying his head, St. Sebastian pierced with arrows, St. Stephen stoned, St. Lawrence on his gridiron, etc. The apse (formerly separated from the body of the building by a rood-screen, now destroyed), contains the vacant base of the high altar, behind which stands an arcaded tabernacle, now empty, in whose shrine were once preserved the Crown of Thorns, the fragment of the True Cross, and other relics.

Among them in the later times was included the skull of St. Louis himself in a golden reliquary. Two angels at the summit of the large center arch of the arcade bear a representation of the Crown of Thorns in their hands.

Above the tabernacle rises a canopy or baldacchino, approached by two spiral staircases; from its platform St. Louis and his successors, the kings of France, were in the habit of exhibiting with their own hands the actual relics themselves once a year to the faithful. The golden reliquary in which the sacred objects were contained was melted down in the Revolution. The small window with bars to your right, as you face the high altar, was placed there by the superst.i.tious and timid Louis XI., in order that he might behold the elevation of the Host and the sacred relics without being exposed to the danger of a.s.sa.s.sination. The visitor should also notice the inlaid stone pavement, with its frequent repet.i.tion of the fleur-de-lis and the three castles. The whole breathes the mysticism of St. Louis; the lightness of the architecture, the height of the apparently unsupported roof, and the magnificence of the decoration, render this the most perfect ecclesiastical building in Paris.

In returning from the chapel, notice on the outside, from the court to the south, the apparently empty and useless porch, supporting a small room, which is the one through whose grated window Louis XI. used to watch the elevation.

The Hotel de Ville and the Conciergerie

By Augustus J. C. Hare

[Footnote: From "Walks In Paris." By arrangement with the publisher, David McKay. Copyright, 1880.]