Seeing Europe with Famous Authors Volume III Part 7

About six miles north of the original Paris stands the great Basilica of St. Denis--the only church in Paris, and I think in France, called by that ancient name, which carries us back at once to the days of the Roman Empire, and in itself bears evidence to the antiquity of the spot as a place of wors.h.i.+p. Around it, a squalid modern industrial town has slowly grown up; but the nucleus of the whole place, as the name itself shows, is the body and shrine of the martyred bishop, St. Denis. Among the numerous variants of his legend, the most accepted is that in which the apostle of Paris carries his head to this spot from Montmartre. Others say he was beheaded in Paris and walked to Montmartre, his body being afterward translated to the Abbey; while there are some who see in this legend a survival of the Dionysiac festival and sacrifice of the vine-growers round Paris--Denis--Dionysius--Dionysus.

However that may be, a chapel was erected in 275 above the grave of St.

Denis, on the spot now occupied by the great Basilica; and later, Ste.

Genevieve was instrumental in restoring it. Dagobert I., one of the few Frankish kings who lived much in Paris, built a "basilica" in place of the chapel (630), and inst.i.tuted by its side a Benedictine Abbey. The church and monastery which possest the actual body of the first bishop and great martyr of Paris formed naturally the holiest site in the neighborhood of the city; and even before Paris became the capital of a kingdom, the abbots were persons of great importance in the Frankish state.

The desire to repose close to the grave of a saint was habitual in early times, and even (with the obvious alteration of words) ante-dated Christianity--every wealthy Egyptian desiring in the same way to "sleep with Osiris." Dagobert himself was buried in the church he founded, beside the holy martyr; and in later times this very sacred spot became for the same reason the recognized burial place of the French kings. Dagobert's fane was actually consecrated by the Redeemer Himself, who descended for the purpose by night, with a great mult.i.tude of saints and angels.

The existing Basilica, tho of far later date, is the oldest church of any importance in the neighborhood of Paris. It was begun by Suger, abbot of the monastery, and sagacious minister of Louis VI. and VII., in 1121. As yet, Paris itself had no great church, Notre-Dame having been commenced some 50 years later. The earliest part of Suger's building is in the Romanesque style; it still retains the round Roman arch and many other Roman constructive features. During the course of the 50 years occupied in building the Basilica, however, the Gothic style was developed; the existing church therefore exhibits both Romanesque and Gothic work, with transitional features between the two, which add to its interest.

Architecturally, then, bear in mind, it is in part Romanesque, pa.s.sing into Gothic. The interior is mostly pure Early Gothic.

The neighborhood to Paris, the supremacy of the great saint, and the fact that St. Denis was especially the Royal Abbey, all combined to give it great importance. Under Suger's influence, Louis VI. adopted the oriflamme or standard of St. Denis as the royal banner of France. The Merovingian and Carlovingian kings, to be sure--Germans rather than French--had naturally been buried elsewhere, as at Aix-la-Chapelle, Rheims, and Soissons (tho even of them a few were interred beside the great bishop martyr). But as soon as the Parisian dynasty of the Capets came to the throne, they were almost without exception buried at St. Denis. Hence the abbey came to be regarded at last mainly as the mausoleum of French royalty, and is still too often so regarded by tourists.

But tho the exquisite Renaissance tombs of the House of Valois would well deserve a visit on their own account, they are, at St. Denis, but accessories to the great Basilica. Besides the actual tombs, too, many monuments were erected here, in the 13th century (by St. Louis) and afterward, to earlier kings buried elsewhere, some relic of whom, however, the abbey possest and thus honored. Hence several of the existing tombs are of far later date than the kings they commemorate; those of the Valois almost alone are truly contemporary.

At the Revolution, the Basilica suffered irreparable losses. The very sacred reliquary containing the severed head of St. Denis was destroyed, and the remains of the martyr and his companions desecrated. The royal bones and bodies were also disinterred and flung into trenches indiscriminately. The tombs of the kings were condemned to destruction, and many (chiefly in metal) were destroyed or melted down, but not a few were saved with difficulty by the exertions of antiquaries, and were placed in the Museum of Monuments at Paris (now the ecole des Beaux-Arts), of which Alexandre Lenoir was curator. Here, they were greatly hacked about and mutilated, in order to fit them to their new situations.

At the Restoration, however, they were sent back to St. Denis, together with many other monuments which had no real place there; but, being housed in the crypt, they were further clipt to suit their fresh surroundings.

Finally, when the Basilica was restored under Viollet-le-Duc, the tombs were replaced as nearly as possible in their old positions; but several intruders from elsewhere are still interspersed among them. Louis XVIII.

brought back the mingled bones of his ancestors from the common trench and interred them in the crypt. As regards the tombs, again, bear in mind these facts. All the oldest have perished; there are none here that go back much further than the age of St. Louis, tho they often represent personages of earlier periods or dynasties. The best are those of the Renaissance period. These are greatly influenced by the magnificent tomb of Giangaleazzo Visconti at the Certosa di Pavia, near Milan. Especially is this the case with the n.o.ble monument of Louis XII., which closely imitates the Italian work. Now, you must remember that Charles VIII. and Louis XII. fought much in Italy, and were masters of Milan; hence this tomb was familiar to them; and their Italian experiences had much to do with the French Renaissance. The Cardinal d'Amboise, Louis's minister, built the Chateau de Gaillon, and much of the artistic impulse of the time was due to these two. Henceforth recollect that tho Francois I. is the prince of the Renaissance, Louis XII. and his minister were no mean forerunners....

The interior is most beautiful. The first portion of the church which we enter is a vestibule or Galilee under the side towers and end of the Nave.

Compare Durham. It is of the age of Abbot Suger, but already exhibits pointed arches in the upper part. The architecture is solid and ma.s.sive, but somewhat gloomy.

Descend a few steps into the Nave, which is surrounded by single aisles, whose vaulting should be noticed. The architecture of this part, now pure Early Gothic, is extremely lovely. The triforium is delicate and graceful.

The windows in the clerestory above it, representing kings and queens, are almost all modern. Notice the great height of the Nave, and the unusual extent to which the triforium and clerestory project above the n.o.ble vaulting of the aisles. Note that the triforium itself opens directly to the air, and is supplied with stained-gla.s.s windows, seen through its arches. Sit awhile in this light and lofty Nave, in order to take in the beautiful view up the church toward the choir and chevet. Then walk up to the Barrier near the Transepts, where sit again, in order to observe the Choir and Transepts with the staircase which leads to the raised Ambulatory. Observe that the transepts are simple. The ugly stained gla.s.s in the windows of their clerestory contains ill.u.s.trations of the reign of Louis Philippe, with extremely unpicturesque costumes of the period. The architecture of the Nave and Choir, with its light and airy arches and pillars, is of the later 13th century.

The reason for this is that Suger's building was thoroughly restored from 1230 onward, in the pure pointed style of that best period. The upper part of the Choir, and the whole of the Nave and Transepts was then rebuilt-- which accounts for the gracefulness and airiness of its architecture when contrasted with the dark and heavy vestibule of the age of Suger.

Note from this point the arrangement of the Choir, which, to those who do not know Italy, will be quite unfamiliar. As at San Zeno in Verona, San Miniato in Florence, and many other Romanesque churches, the Choir is raised by some steps above the Nave and Transepts; while the Crypt is slightly deprest beneath them. In the Crypt, in such cases, are the actual bodies of the saints buried there; while the Altar stands directly over their tombs in the Choir above it.

Marly-Le-Roi

By Augustus J. C. Hare

[Footnote: From "Days Near Paris."]

The tram stops close to the Abreuvoir, a large artificial tank, surrounded by masonry for receiving the surplus water from the fountains in the palace gardens, of which it is now the only remnant. Ascending the avenue on the right, we shall find a road at the top which will lead us, to the left, through delightful woods to the site of the palace. Nothing remains but the walls supporting the wooded terrace.

It is difficult to realize the place as it was, for the quincunces of limes which stood between the pavilions on either side of the steep avenue leading to the royal residence, formerly dipt and kept close, are now huge trees, marking still the design of the grounds, but obscuring the views, and, by their great growth, making the main avenue very narrow. St. Simon exaggerates the extravagance of Louis XIV. at Marly, who spent there four and a half million francs between 1679 and 1690, and probably as much or more between 1690 and 1715, perhaps in all ten or twelve millions, which would represent fifty million francs at the present time. Nevertheless the expense of the amus.e.m.e.nts of Louis XIV. greatly exceeded the whole revenue of Henri IV., and those of the early years of Louis XIII.

From the central pavilion in which the flattery of Mansart placed him as the sun, Louis XIV. emerged every morning to visit the occupiers of the twelve smaller pavilions, Les Pavilions des Seigneurs, the constellations, his courtiers, who came out to meet him and swelled his train. These pavilions, arranged on each side of the gardens, stood in double avenues of clipt lime-trees looking upon the garden and its fountains, and leading up to the palace.

The device of the sun was carried out in the palace itself, where all the smaller apartments circled round the grand salon, the king and queen having apartments to the back, the dauphin and dauphine to the front, each apartment consisting of an anteroom, bedroom, and sitting-room, and each set being connected with one of the four square saloons, which opened upon the great octagonal hall, of which four faces were occupied by chimney- pieces and four by the doors of the smaller saloons. The central hall occupied the whole height of the edifice, and was lighted from the upper story.

The great ambition of every courtier was to be of the Marly circle, and all curried favor with the king by asking to accompany him on his weekly journey to Marly. The Court used to arrive at Marly on a Wednesday and leave it on a Sat.u.r.day; this was an invariable rule. The king always pa.s.sed his Sundays at Versailles, which was his parish. ... The leading figure at Marly was Mme. de Maintenon, who occupied the apartments intended for Queen Marie Therese, but who led the simplest of lives, bored almost to extinction. She used to compare the carp languis.h.i.+ng in the tanks of Marly to herself--"Like me they regret their native mud." ... At first Mme. de Maintenon dined, in the midst of the other ladies in the square salon which separated her apartment from that of the king; but soon she had a special table, to which a very few other ladies, her intimates, came by invitation.

Marly was the scene of several of the most tragic events in the life of Louis XIV. "Everything is dead here, there's no life in any thing," wrote the Comtesse de Caylus, niece of Mme. de Maintenon, from Marly to the Princess des Ursins, after the death of the d.u.c.h.esse de Bourgogne. And, in a few days afterward, Marly was the scene of the sudden death of the Dauphin, Duc de Bourgogne, the beloved pupil of Fenelon. Early in the morning after the death of his wife, he was persuaded, "ill and anguished with the most intimate and bitterest of sorrows," to follow the king to Marly, where he entered his own room by a window on the ground floor.

It was also at Marly--"ill-omened Marly"--that the Duc de Berry, the younger grandson of Louis XIV., and husband of the profligate daughter of the Duc d' Orleans--afterward Regent, died, with great suspicion of poison, in 1714. The MS. memorials of Mary Beatrice by a sister of Chaillot, describe how, when Louis XIV. was mourning his beloved grandchildren, and that queen, whom he had always liked and respected, had lost her darling daughter Louisa, she went to visit him at Marly where "they laid aside all Court etiquette, weeping together in their common grief, because, as the Queen said, 'We saw that the aged were left, and that death had swept away the young.'" St. Simon depicts the last walk of the king in the gardens at Marly on August 10, 1715. He went away that evening to Versailles, where he died on September 1.

Marly was abandoned during the whole time of the Regency, and was only saved from total destruction in 1717, when the Regent Philippe d'Orleans had ordered its demolition, by the spirited remonstrance of St. Simon....

The great pavilion itself only contained, as we have seen, a very small number of chambers. The querulous Smollett, who visited Marly in 1763, speaks of it as "No more than a pigeon-house in respect to a palace." But it was only intended as the residence of the king.

During the repairs necessary in the reign of Louis XV., who built Choisy and never lived at Marly, the cascade which fell behind the great pavilion was removed. Mme. Campan describes the later Marly of Louis XVI., under whom the "Marly journey" had become one of the great burdens and expenses of royal life. The Court of Louis XVI. was here for the last time on June 11, 1789, but in the latter years of Louis XVI., M. de Noailles, governor of St. Germain, was permitted to lend the smaller pavilions furnished to his friends for the summer months. Marly perished with the monarchy, and was sold at the Revolution, when the statues of its gardens were removed to the Tuileries. A cotton mill was for a time established in the royal pavilion; then all the buildings were pulled down and the gardens sold in lots!

Still the site is worth visiting. The Grille Royale, now a simple wooden gate between two pillars with vases, opens on the road from St. Germain to Versailles, at the extremity of the Aqueduct of Marly. Pa.s.sing this, one finds oneself in an immense circular enclosure, the walls of which surround the forest on every side.

The Village of Auteuil

By Henry Wadsworth Longfellow

[Footnote: From "Outre-Mer." Published by Houghton, Mifflin Co.]

The sultry heat of summer always brings with it, to the idler and the man of leisure, a longing for the leafy shade and the green luxuriance of the country. It is pleasant to interchange the din of the city, the movement of the crowd, and the gossip of society, with the silence of the hamlet, the quiet seclusion of the grove, and the gossip of a woodland brook.

It was a feeling of this kind that prompted me, during my residence in the North of France, to pa.s.s one of the summer months at Auteuil, the pleasantest of the many little villages that lie in the immediate vicinity of the metropolis. It is situated on the outskirts of the Bois de Boulogne, a wood of some extent, in whose green alleys the dusty city enjoys the luxury of an evening drive, and gentlemen meet in the morning to give each other satisfaction in the usual way. A cross-road, skirted with green hedge-rows, and overshadowed by tall poplars, leads you from the noisy highway of St. Cloud and Versailles to the still retirement of this suburban hamlet. On either side the eye discovers old chateaux amid the trees, and green parks, whose pleasant shades recall a thousand images of La Fontaine, Racine, and Moliere; and on an eminence, overlooking the windings of the Seine, and giving a beautiful tho distant view of the domes and gardens of Paris, rises the village of Pa.s.sy, long the residence of our countrymen Franklin and Count Rumford....

It was to the Bois de Boulogne that I looked for my princ.i.p.al recreation.

There I took my solitary walk, morning and evening; or, mounted on a little mouse-colored donkey, paced demurely along the woodland pathway. I had a favorite seat beneath the shadow of a venerable oak, one of the few h.o.a.ry patriarchs of the wood which had survived the bivouacs of the allied armies. It stood upon the brink of a little gla.s.sy pool, whose tranquil bosom was the image of a quiet and secluded life, and stretched its parental arms over a rustic bench, that had been constructed beneath it for the accommodation of the foot-traveler, or, perchance, some idle dreamer like myself. It seemed to look round with a lordly air upon its old hereditary domain, whose stillness was no longer broken by the tap of the martial drum, nor the discordant clang of arms; and, as the breeze whispered among its branches, it seemed to be holding friendly colloquies with a few of its venerable contemporaries, who stooped from the opposite bank of the pool, nodding gravely now and then, and gazing at themselves with a sigh in the mirror below....

I entered, too, with some enthusiasm, into all the rural sports and merrimakes of the village. The holidays were so many little eras of mirth and good feeling; for the French have that happy and suns.h.i.+ne temperament --that merry-go-mad character--which renders all their social meetings scenes of enjoyment and hilarity. I made it a point never to miss any of the fetes champetres, or rural dances, at the wood of Boulogne; tho I confess it sometimes gave me a momentary uneasiness to see my rustic throne beneath the oak usurped by a noisy group of girls, the silence and decorum of my imaginary realm broken by music and laughter, and, in a word, my whole kingdom turned topsy-turvy with romping, fiddling, and dancing. But I am naturally, and from principle, too, a lover of all those innocent amus.e.m.e.nts which cheer the laborer's toil, and, as it were, put their shoulders to the wheel of life, and help the poor man along with his load of cares. Hence I saw with no small delight the rustic swain astride the wooden horse of the carrousel, and the village maiden whirling round and round in its dizzy car; or took my stand on the rising ground that overlooked the dance, an idle spectator in a busy throng. It was just where the village touched the outward border of the wood. There a little area had been leveled beneath the trees, surrounded by a painted rail, with a row of benches inside. The music was placed in a slight balcony, built around the trunk of a large tree in the center; and the lamps, hanging from the branches above, gave a gay, fantastic, and fairy look to the scene. How often in such moments did I recall the lines of Goldsmith, describing those "kinder skies" beneath which "France displays her bright domain," and feel how true and masterly the sketch--

"Alike all ages; dames of ancient days Have led their children through the mirthful maze, And the gray grandsire, skilled in gestic lore, Has frisked beneath the burden of threescore."

Nor must I forget to mention the fete patronale--a kind of annual fair, which is held at midsummer, in honor of the patron saint of Auteuil. Then the princ.i.p.al street of the village is filled with booths of every description; strolling players, and rope-dancers, and jugglers, and giants, and dwarfs, and wild beasts, and all kinds of wonderful shows, excite the gaping curiosity of the throng; and in dust, crowds, and confusion, the village rivals the capital itself. Then the goodly dames of Pa.s.sy descend into the village of Auteuil; then the brewers of Billancourt and the tanners of Sevres dance l.u.s.tily under the greenwood tree; and then, too, the st.u.r.dy fishmongers of Bretigny and Saint-Yon regale their fat wives with an airing in a swing, and their customers with eels and crawfish....

I found another source of amus.e.m.e.nt in observing the various personages that daily pa.s.sed and repa.s.sed beneath my window. The character which most of all arrested my attention was a poor blind fiddler, whom I first saw chanting a doleful ballad at the door of a small tavern near the gate of the village. He wore a brown coat, out at elbows, the fragment of a velvet waistcoat, and a pair of tight nankeens, so short as hardly to reach below his calves. A little foraging cap, that had long since seen its best days, set off an open, good-humored countenance, bronzed by sun and wind. He was led about by a brisk, middle-aged woman, in straw hat and wooden shoes; and a little barefooted boy, with clear, blue eyes and flaxen hair, held a tattered hat in his hand, in which he collected eleemosynary sous. The old fellow had a favorite song, which he used to sing with great glee to a merry, joyous air, the burden of which ran "Chantons l'amour et le plaisir!" I often thought it would have been a good lesson for the crabbed and discontented rich man to have heard this remnant of humanity--poor, blind, and in rags, and dependent upon casual charity for his daily bread, singing in so cheerful a voice the charms of existence, and, as it were, fiddling life away to a merry tune.

I was one morning called to my window by the sound of rustic music. I looked out and beheld a procession of villagers advancing along the road, attired in gay dresses, and marching merrily on in the direction of the church. I soon perceived that it was a marriage-festival. The procession was led by a long orang-outang of a man, in a straw hat and white dimity bobcoat, playing on an asthmatic clarionet, from which he contrived to blow unearthly sounds, ever and anon squeaking off at right angles from his tune, and winding up with a grand flourish on the guttural notes.

Behind him, led by his little boy, came the blind fiddler, his honest features glowing with all the hilarity of a rustic bridal, and, as he stumbled along, sawing away upon his fiddle till he made all crack again.

Then came the happy bridegroom, drest in his Sunday suit of blue, with a large nosegay in his b.u.t.ton-hole; and close beside him his blus.h.i.+ng bride, with downcast eyes, clad in a white robe and slippers, and wearing a wreath of white roses in her hair. The friends and relatives brought up the procession; and a troop of village urchins came shouting along in the rear, scrambling among themselves for the largess of sous and sugar-plums that now and then issued in large handfuls from the pockets of a lean man in black, who seemed to officiate as master of ceremonies on the occasion.

I gazed on the procession till it was out of sight; and when the last wheeze of the clarionet died upon my ear, I could not help thinking how happy were they who were thus to dwell together in the peaceful bosom of their native village, far from the gilded misery and the pestilential vices of the town.

On the evening of the same day, I was sitting by the window, enjoying the freshness of the air and the beauty and stillness of the hour, when I heard the distant and solemn hymn of the Catholic burial-service, at first so faint and indistinct that it seemed an illusion. It rose mournfully on the hush of evening--died gradually away--then ceased. Then, it rose again, nearer and more distinct, and soon after a funeral procession appeared, and pa.s.sed directly beneath my window. It was led by a priest, bearing the banner of the church, and followed by two boys, holding long flambeaux in their hands. Next came a double file of priests in their surplices, with a missal in one hand and a lighted wax taper in the other, chanting the funeral dirge at intervals--now pausing, and then again taking up the mournful burden of their lamentation, accompanied by others, who played upon a rude kind of ba.s.soon, with a dismal and wailing sound.

Then followed various symbols of the church, and the bier borne on the shoulders of four men. The coffin was covered with a velvet pall, and a chaplet of white flowers lay upon it, indicating that the deceased was unmarried. A few of the villagers came behind, clad in mourning robes, and bearing lighted tapers. The procession pa.s.sed slowly along the same street that in the morning had been thronged by the gay bridal company. A melancholy train of thought forced itself home upon my mind. The joys and sorrows of this world are so strikingly mingled! Our mirth and grief are brought so mournfully in contact! We laugh while others weep--and others rejoice when we are sad! The light heart and the heavy walk side by side and go about together! Beneath the same roof are spread the wedding-feast and the funeral-pall! The bridal-song mingles with the burial-hymn! One goes to the marriage-bed, another to the grave; and all is mutable, uncertain, and transitory.

It is with sensations of pure delight that I recur to the brief period of my existence which was pa.s.sed in the peaceful shades of Auteuil. There is one kind of wisdom which we learn from the world, and another kind which can be acquired in solitude only. In cities we study those around us; but in the retirement of the country we learn to know ourselves.