by Grant Allen
Then, Tombs of the Family of St. Louis, recumbent, also named: 13th and 14th cents.
* *Tomb of Louis XII, and his wife Anne de Bretagne, by Jean Juste of Tours. After the Certosa monument. Beneath, Twelve Apostles; four allegorical figures of Virtues: king and queen, in centre, recumbent; above, on canopy, king and queen kneeling. On base, reliefs of his Italian victories.
R, column commemorating Henri III, by Barthélemy Prieur.
Stand by steps leading to raised Ambulatory, only point of view for * *Tomb of Dagobert, on opposite side of choir, 13th cent. Legend of his soul, see above. Erect statues of Sigebert, his son, and Nantilde, his queen. Insist on time to view it with opera-glass.
L, * *Tomb of Henry II and Catherine de Médicis. King and queen recumbent, in marble, below; kneeling, in bronze, above. At corners, the four cardinal virtues, bronze. Also after Certosa.
Ascend steps to Ambulatory.
Below, monuments of the Valois family.
Above, L, second monument of Henri II and Catherine de Médicis, recumbent marble on bronze mattress. Observe monograms of H and D, as on Louvre.
Proceed round Ambulatory. Chapels to the L have stained-glass windows of 12th and 13th cents. Interesting subjects, which note in passing. * *Beautiful view across the church as you pass the transepts.
In the centre of the apse of the Choir (above the tombs in Crypt), is the Altar of St. Denis, with his fellow-martyrs, St. Rusticus and St Eleutherius — modern imitation of the original shrine, broken at the Revolution. During the neuvaine (nine days after St. Denis’ day — Oct. 9) the Reliquaries are exposed in the Nave, near the barrier. On one side of the Altar is a reproduction of the Oriflamme.
Beyond this Altar, continue along the South Side of the Ambulatory, to the Sacristy. Modern paintings, here, relating to the History of the Abbey. Labels beneath describe their subjects.
Adjoining it is the Treasury, containing only uninteresting modern church utensils.
Beyond the Sacristy, Tomb of Frédégonde, from St. Germain-des-Prés. Hands, feet, and face probably once painted.
Descend steps from ambulatory.
Descend to Crypt.
This, the oldest portion of the existing building, was erected by Suger, to contain the Tombs of the Three Martyrs, buried under their altar. Its architecture is the most interesting of all in the Basilica. Notice the quaint Romanesque capitals of the columns. In the centre, bones of the Royal Family, within the grating. Neglect them, and observe the arches.
In the Crypt Chapels, uninteresting modern statues (Marie Antoinette, Louis XVI, colossal figures for the Monument of the Duc de Berry, etc.). Neglect these also, and observe rather the architecture and good fragments of glass in windows, particularly a very naïve Roasting of St. Lawrence.
Return to church.
Monument of Du Guesclin, 1380.
Louis de Sancerre, 1402.
Renée de Longueville, from the Church of the Célestins.
Blanche and Jean, children of St. Louis, enamelled copper, Limoges; from other abbeys.
* *François Ier, his wife, Claude, and their three children, above. On pedestal, Scenes from his battles; High Renaissance work: Philibert Delorme, Germain Pilon, and Jean Goujon. More stately, but less interesting than Louis XII.
* *Urn, to contain heart of François Ier, from the nunnery of Hautes Bruyères.
Louis d’Orléans and Valentine of Milan, from the Church of the Célestins.
Charles d’Étampes; 1336, with 24 small figures of saints.
Leave the enclosure and return to the church. I advise you then to read this all over again, and finally, go round a second time, to complete the picture.
The Abbey and Church are closely bound up at every turn with French history. In Dagobert’s building, in 754, Pope Stephen II, flying from the Lombards, consecrated Charlemagne and his brother Carloman. In the existing Basilica, St. Louis took down the Oriflamme to set forth on his Crusade; and Joan of Arc hung up her armour as a votive offering after the siege of Orleans. But indeed, St. Denis played an important part in all great ceremonials down to the Revolution, and its name occurs on every page of old French history.
On your return to Paris, you may find this a convenient moment to visit St. Vincent de Paul, which lies two minutes away from the Gare de Nord.
After visiting St. Denis the reader will probably find it desirable to examine certain objects from the Treasury of the Basilica now preserved in the Louvre. They are mostly contained in the Galerie d’Apollon, in the glass case nearest the window which looks out upon the Seine. (Position of cases liable to alteration: if not here, look out for it elsewhere in the same room.) The most important of these objects is an antique Egyptian vase in porphyry, which Abbot Suger had mounted in the 12th cent. in a silver-gilt frame, as an eagle. It contains an inscription composed by the Abbot in Latin hexameters, and implying that it was to be used for the service of the altar. Near it is an antique Roman sardonyx vase, also mounted as a jug by Suger in the 12th cent., and from the same Treasury: its inscription says, “I, Suger, offer this vase to the Lord.” Also, another in rock-crystal, which has been similarly treated: it bears the name of Alienor d’Aquitaine: she gave it to Louis VII, who passed it on to Suger: a 12th cent. inscription on the base records these facts, as well as its dedication to Sts. Rusticus and Eleutherius. The same case contains a beautiful Carlovingian serpentine paten, which formed part of the treasure of Dagobert’s Abbey. Observe, close by, the beautiful silver-gilt Madonna, characteristic French work of the 14th cent., offered by Queen Jeanne d’Evreux to the Abbey of St. Denis, and bearing an easily-deciphered inscription in old French. Note that the Madonna in this royal offering carries in her hand the fleur-de-lis of France. Compare this work mentally with the other early French Madonnas we have already observed in the Mediæval Sculpture Room.
Among other objects in this same case observe the curious double cross, with cover and lid to contain it; where the inscription above the head of the inner cross indicates the natural origin of the doubling. Close inspection of this object will explain to you many little points in others. Several similar Crucifixions, with Madonna and St. John and attendant angels, are in the same room: compare them with it. To the R is a good relief of the Maries at the Sepulchre; a double crucifix with St. John and the Madonna; and a reliquary fashioned to contain the arm of St. Louis of Toulouse. Most of these objects are sufficiently explained by the labels: the antique inscriptions, sometimes in Greek, are easily legible. (Beautiful view out of window to L.)
The examination of this case will form a point of departure for the visitor who cares to examine the minor art-works in the Galerie d’Apollon and other rooms of the Louvre. I have left them till now, for the sake of the peg on which to hang them. I will therefore note here, in this connection, one or two other things which may assist the reader in the examination of the remainder, leaving him, as usual, to fill in the details of the scheme by personal observation and comparison of objects.
Walk down the centre of the Galerie d’Apollon, on the side towards the windows, passing the tawdry crown jewels, and the many exquisite Classical or Renaissance works in the cabinet beyond it, all of which you can afterwards examine at your leisure. (Some of the antique busts in precious stones come from Abbey Treasuries, where they were preserved and sanctified during the Middle Ages.) But in the last case save one, observe, near the centre, a very quaint little figure of St. Lawrence, lying comfortably on his gridiron, and holding in his hands a tiny reliquary, almost as big as himself — a finger with a nail on it, intended for the reception of a bone of the Saint’s own little finger. This odd little reliquary, French 14th cent., when compared with that for the arm of St. Louis of Toulouse, will help you to understand many similar reliquaries, both here and elsewhere. The martyr is put there as a mode of signifying the fact— “This is a bone of St. Lawrence.” Above it, note again five charming crosiers, containing respectively representations of the Madonna enthroned, the Annunciation
, the Coronation of the Virgin, again the Annunciation, and a decorative design of great beauty. Note their date and place of origin on the labels. When once your attention has been called to the occurrence of such definite scenes in similar objects, you will be able to recognise them at once for yourself in many like situations. In the Annunciation to the L, observe once more the very odd way in which the usual lily is carefully obtruded between the angel Gabriel and Our Lady. Some obvious barrier between the two was demanded by orthodoxy: here, the decorative device by which the difficulty has been surmounted is clever and effective. Between this crosier and that of the Coronation, look again at a queer little reliquary, held by the Madonna and Child, with a glass front for the exhibition of the relic. Another Madonna, close by to the L, similarly holds on her lap a charming little reliquary basin. The same case contains several coffers and reliquaries in champlevé enamel, the most interesting of which is the Coffer of St. Louis, with decorative designs showing Romanesque tendencies. At the far end of the case, two charming silver-gilt angels, 14th cent., also bearing reliquaries. Examine in detail all the objects in this most interesting case. They will help, I hope, to throw light upon others which you will see elsewhere.
I do not intend to go at equal length through all the cases in this interesting room; but your visit to St. Denis ought now to have put you in a fit frame of mind for comprehending the meaning of most of these works by the light of the hints already given. I will only therefore call special attention to the beautiful decorative box, containing a book of the Gospels, in French enamel-work and jewellery of the 11th cent., in the last window on the right, before you reach the Rotonde d’Apollon. This valuable book-cover is also from the Abbey Treasury of St. Denis. It exhibits the usual Crucifixion, with the Madonna and St. John, and the adoring angels, together with figures of the symbols of the Evangelists, whose names are here conveniently attached to them. The next case, to the R of this one, also contains champlevé enamels of the 12th and 13th cents., all of which should similarly be examined. Note among them, to the extreme R in the case, a very quaint quatrefoil with St. Francis receiving the Stigmata; a subject with which you will already be familiar from Giotto’s treatment, and whose adaptation here to a decorative purpose is curious and enlightening. Next to it, L, a Death of the Virgin. Further on, two delicious little plaques — one, of Abraham and Melchisedech, with St. Luke — (Abraham, as soldier, being attired in the knightly costume of the Bayeux Tapestry); and the other of the Offering of Isaac, with St. Mark; two of a series of the Evangelists with Old Testament subjects. Above these, the Emperor Heraclius killing Chosroes, with cherubim. Still higher, a most exquisite Adoration of the Magi. Also Christ in Glory, in a mandorla, with the symbols of the Evangelists; and two closely similar Crucifixions, with a Madonna and St. John, and adoring angels. Compare these with the similar subject in the first case we visited. This frame also contains three charming saints in Byzantine style, a good St. Matthew, and a little King David holding a psalter. Do not leave one of the objects in this window unidentified and unexamined.
I notice all these decorative treatments here merely in order to suggest to the reader the way in which the knowledge he has gained of the fabric of St. Denis may be utilised to examine works of art from the great Abbey both here and at Cluny. You will find it useful to visit both collections on your return from such a church, in order to mentally replace in their proper surroundings works now divorced from it. Some other good objects from the same Treasury may also be seen at the Bibliothèque Nationale.
VII. THE OUTER RING, ETC.
[PARIS, outside the great Boulevards comprises by far the larger part of the existing city. Nevertheless, it contains comparatively few objects of historical or artistic importance, being almost entirely modern and merely residential. Walks and drives in this part of Paris are pleasing, of course, as exhibiting the life of the great town, and they embrace many points of passing interest, such as the Trocadéro, the Champs Élysées, the Champ-de-Mars, the Place de l’Étoile, the Arc de Triomphe, the Parc Monceau, the church of the Sacré-Cœur on the height of Montmartre, etc., etc. Most of these the visitor will find out for himself. They do not need any explanation or elucidation.
Among the very few objects of historical interest in this district, I would call special attention to the Maison de François Ier, on the Cours-la-Reine, at the first corner after you pass the Palais de l’Industrie. This beautiful little gem of domestic Renaissance architecture was erected for François Ier at Moret, near Fontainebleau, in 1527, probably as a gift for Diane de Poitiers, the mistress of Henri II, though it is also asserted that the king built it for his sister, Queen Margaret of Navarre. It was taken down in 1826, and rebuilt on the present site. The style recalls that of the Renaissance palaces of Venice. The delicate and beautiful decorative work of the pilasters, etc., and the dainty portrait medallions deserve inspection. Do not miss this charming little building, which should be compared with Jean Goujon’s portion of the Louvre, and with the Renaissance remains at the École des Beaux-Arts and elsewhere.
A collection to which a few hours may be devoted, in the same connection, by those who have time, is the Musée Carnavalet, which lies, however, within the Boulevards. The building is a fine Renaissance mansion, once the residence of Madame de Sévigné. Many of the objects preserved here have a purely sentimental and to say the truth somewhat childish interest, consisting as they do of relics of the Great Revolution or other historical events, which derive whatever value they happen to possess from their sentimental connection only. But some of the objects have real artistic and historical importance; so have the decorations by Jean Goujon. When you have seen everything else enumerated here, you may give with advantage a Thursday morning to this somewhat scratch collection. The most important objects are those in the garden.
For the Champs Élysées, the Arc de Triomphe, and the other buildings or promenades of wealthy, modern, western Paris, the guidance of Baedeker is amply sufficient.
The buildings already enumerated and the objects noted in them form the most important sights in Paris, and are as many as the tourist is likely to find time for visiting during a stay of some weeks. If, however, he can add a few days to his sojourn, I give briefly some hints as to a list of other objects worthy his notice — taking it for granted, of course, that he will find his way to the Champs Élysées, the Bois de Boulogne, the theatres, etc., by the light of nature, not unaided by Baedeker. Amid the mass of information tendered in the ordinary Guides, the visitor scarcely knows how to distinguish the necessary from the optional. This short list may help him in his selection.
In the old region on the South Side (between the river and Cluny) are two churches worth inspection by the antiquarian: (1) St. Julien-le-Pauvre, the former chapel of the old Hôtel Dieu, which here occupied both banks, spreading to the spot now covered by the statue of Charlemagne; transitional; 12th cent.; and (2) St. Séverin, dedicated to two local Gallic saints, of the same name; good flamboyant Gothic; its interesting portal commemorates St. Martin, part of whose famous cloak was kept in a chapel here; the façade was brought from St. Pierre-aux-Bœufs, on the Île de la Cité, demolished in 1837; good modern reliefs on altar represent episodes in the lives of the two saints — St. Séverin the Abbot healing Clovis, and St. Séverin the Hermit ordaining St. Cloud. Altogether, a church to be visited and understood, rich in historic interest.
Among churches of the later period, the domes and their development are worthy of study, as illustrating the ideal of the 17th and 18th cents. The earliest was St. Paul et St. Louis (originally Jesuit), 1627, with a massive and gaudy Louis XIV doorway; interior, florid and tawdry, after the Jesuit fashion. Next comes the Sorbonne, 1635, interesting from its original connection with St. Louis (his confessor, Robert de Sorbon, founded the hostel, of which this is the far later church, for poor theological students); it is the first important dome, and contains an overrated monument to Richelieu by Lebrun, executed by Girardon. If you have plenty o
f time, you may visit it. Then the Invalides, 1705, now containing the tomb of Napoleon. Lastly, the Panthéon, already described. If visited in this order, they form an instructive series. Note the gradual increase in classicism, which culminates in the Madeleine. The earlier domes resemble those of the Rome of Bernini: the later grow more and more Grecian in their surroundings. The Institut (included here for its dome) and Val-de-Grâce are sufficiently inspected with a glance in passing.
The churches of the innermost Paris are mostly dedicated to local saints; those of the outer ring of Louis XIV to a somewhat wider circle of Catholic interest; among them, St. Roch, the famous plague-saint, deserves a visit; it is rococo and vulgar, but representative. The churches in the outer ring are of still broader dedication, often to newer saints of humanitarian or doctrinal importance. Among these quite modern buildings, St. Vincent-de-Paul ranks first, on account of its magnificent frieze by Flandrin, running round the nave, and representing a procession of saints and martyrs, suggested by the mosaics in Sant’ Apollinare Nuovo at Ravenna; this the visitor should on no account omit; it lies near the Gare du Nord, and is a good example of the basilica style, successfully adapted to modern needs. Baedeker will here efficiently serve you. But, though artistically fine, Flandrin’s frescoes are not nearly so effective as the original mosaics in Theodoric’s basilica. The other great modern churches — St. Augustin, St. Ambroise, La Trinité, Notre-Dame-de-Lorette, Ste. Clotilde, etc. — need only be visited by those who have plenty of time, and who take an intelligent interest in contemporary Catholicism. But, if you can manage it, you should certainly mount the hill of Montmartre, the most sacred site in Paris, both for the sake of the splendid view, for the memories of St. Denis (the common legend says, beheaded here; a variant asserts, buried for the first time before his translation to the Abbey of St. Denis), and for the interesting modern Byzantine-Romanesque pile of the Sacré-Cœur which now approaches completion. Close by is the quaint old church of St. Pierre-de-Montmartre, and behind it a curious belated Calvary.
