Seeing Europe with Famous Authors Volume III Part 4

--built on the line of the city walls just to the south of the Porte St.

Antoine, surrounded by its own moat. It consisted of eight round towers, each bearing a characteristic name, connected by ma.s.sive walls, ten feet thick, pierced with narrow slits by which the cells were lighted. In the early times it had entrances on three sides, but after 1580 only one, with a drawbridge over the moat on the side toward the river, which led to outer courts and a second drawbridge, and wound by a defended pa.s.sage to an outer entrance opposite the Rue des Tournelles.

Close beside the Bastille, to the north, rose the Porte St. Antoine, approached over the city fosse by its own bridge, at the outer end of which was a triumphal arch built on the return of Henri II. from Poland in 1573. Both gate and arch were restored for the triumphal entry of Louis XIV. in 1667; but the gate (before which Etienne Marcel was killed, July, 1358), was pulled down in 1674.

The Bastille was taken by the people, July 14, 1789, and the National a.s.sembly decreed its demolition.... The ma.s.sive circular pedestal upon which the Colonne de Juillet now rests was intended by Napoleon I. to support a gigantic fountain in the form of an elephant, instead of the column which, after the destruction of the Bastille, the "tiers etat" of Paris had asked to erect "a Louis XVI., restaurateur de la liberte publique." It is characteristic of the Parisians that on the very same spot the throne of Louis Philippe was publicly burned, February 24, 1848.

The model for the intended elephant existed here till the middle of the reign of Louis Philippe, and is depicted by Victor Hugo as the lodging of "Le pet.i.t Gavroche."

The Pantheon and St. Etienne-Du-Mont

By Grant Allen

[Footnote: From "Paris."]

The medieval church of Ste. Genevieve, having fallen into decay in the middle of the eighteenth century, Louis XV. determined to replace it by a sumptuous domed edifice in the style of the period. This building, designed by Soufflot, was not completed till the Revolution, when it was immediately secularized as the Pantheon, under circ.u.mstances to be mentioned later. The remains of Ste. Genevieve, which had lain temporarily meanwhile in a sumptuous chapel of St. etienne-du-Mont (the subsidiary church of the monastery) were taken out by the Revolutionists; the medieval shrine, or reliquary (which replaced St. eloy's), was ruthlessly broken up; and the body of the patroness and preserver of Paris was publicly burned in the Place de Greve.

This, however, strange to say, was not quite the end of Ste. Genevieve. A few of her relics were said to have been preserved: some bones, together with a lock of the holy shepherdess's hair, were afterward recovered, and replaced in the sarcophagus they had once occupied. Such at least is the official story; and these relics, now once more enclosed in a costly shrine, still attract thousands of votaries to the chapel of the saint in St. etienne-du-Mont.

The Pantheon, standing in front of the original church, is now a secular burial-place for the great men of France. The remains of Ste. Genevieve still repose at St. etienne. Thus it is impossible to dissociate the two buildings, which should be visited together; and thus too it happens that the patroness of Paris has now no church in her own city. Local saints are always the most important; this hill and Montmartre are still the holiest places in Paris.

Proceed, as far as the garden of the Thermes, as on the excursion to Cluny. Then continue straight up the Boulevard St. Michel. The large edifice visible on the right of the Rue des ecoles to your left, is the new building of the Sorbonne, or University. Further up, at the Place du Sorbonne, the domed church of the same name stands before you. It is the University church, and is noticeable as the earliest true dome erected in Paris. The next corner shows one, right, the Luxembourg garden, and left, the Rue Soufflot, leading up to the Pantheon.

The colossal domed temple which replaces the ancient church of Ste.

Genevieve was begun by Soufflot, under Louis XV., in imitation of St.

Peter's, at Rome. Like all architects of his time, Soufflot sought merely to produce an effect of pagan or "cla.s.sical" grandeur, peculiarly out of place in the shrine of the shepherdess of Nanterre. Secularized almost immediately on its completion, during the Revolution, the building was destined as the national monument to the great men of France, and the inscription, "Aux Grands Hommes la Patrie Reconnaissante," which it still bears, was then first placed under the sculptures of the pediment.

Restored to worship by the Restoration, it was again secularized under the Third Republic in order to admit the burial of Victor Hugo. The building itself, a vast bare barn of the pseudo-cla.s.sical type, very cold and formal, is worthy of notice merely on account of its immense size and its historic position; but it may be visited to this day with pleasure, not only for some n.o.ble modern paintings, but also for the sake of the reminiscences of Ste. Genevieve which it still contains. The tympanum has a group by David d'Angers, representing France distributing wreaths to soldiers, politicians, men of letters, men of science, and artists.

The interior is in the shape of a Greek cross (with equal arms). Follow round the walls, beginning from the right. In the right aisle are paintings (modern) looking like frescoes, and representing the preaching of St. Denis, by Galand; and the history of Ste. Genevieve--her childhood, recognition by St. Germain l'Auxerrois, miracles, etc., delicate and elusive works, by Puvis de Chavannes. The paintings of the South Transept represent episodes in the early history of France. Chronologically speaking, they begin from the east central corner. Choir, Death of Ste.

Genevieve, and Miracles before her Shrine, by Laurens. Apse of the tribune, fine modern (archaic) mosaic, by Hebert, representing Christ with the Guardian Angel of France, the Madonna, Jean d'Arc, and Ste. Genevieve.

Stand under the dome to observe the proportions of the huge, bare, unimpressive building. Left, or Northern Transept, east side, the history of Jeanne d'Arc; she hears the voices; leads the a.s.sault at Orleans; a.s.sists at the coronation of Charles VII. at Rheims; and is burned at Rouen. West side, St. Louis as a child instructed by Blanche of Castille; administering justice in the Palace; and a captive among the Saracens.

North aisle, history of Ste. Genevieve and St. Denis. The building is thus at once the apotheosis of patriotism, and the lasting memorial of the part borne by Christianity in French, and especially Parisian, history.

As you descend the steps of the Pantheon, the building that faces you to the left is the Mairie of the 5th Arrondiss.e.m.e.nt; that to the right, the ecole de Droit. Turn to the right along the north side of the Pantheon.

The long, low building which faces you is the Bibliotheque Ste. Genevieve.

Nothing now remains of the Abbey of Ste. Genevieve except the tall early Gothic tower seen to the right near the end of the Pantheon, and rising above the modern buildings of the Lycee Henri IV. The singularly picturesque and strangely-mingled church across the little square is St.

etienne-du-Mont, which we now proceed to visit.

Stand in the left-hand corner of the Place to examine the facade. The church was begun (1517) as late Gothic; but before it was finished, the Renaissance style had come into fashion, and the architects accordingly jumbled the two in the most charming manner. The incongruity here only adds to the beauty. The quaintly original Renaissance portal bears a dedication to St. Stephen the Protomartyr, beneath which is a relief of his martyrdom, with a Latin inscription, "Stone destroyed the temple of the Lord," i.e., Stephen, "Stone rebuilds it." Right and left of the portal are statues of Sts. Stephen and Genevieve, whose monograms also appear on the doors. In the pediment is the usual representation of the Resurrection and Last Judgment. Above it, the rose window, on either side of which, in accordance with Italian rather than with French custom (showing Italian Renaissance influence) are the Angel of the Annunciation and the Madonna receiving his message. In the third story, a gable-end.

Singular tower to the left, with an additional round turret, a relic of the earlier Gothic building. The whole facade (17th century) represents rather late Renaissance than transitional architecture.

The interior is the most singular, and in some ways the most picturesque, in Paris--a Gothic church, tricked out in Renaissance finery. The nave is flanked by aisles, which are divided from it by round pillars, capped by a singular bal.u.s.trade or gallery with low, flat arches, simulating a triforium. The upper arches are round, and the decorations Renaissance; but the vaulting, both of nave and aisles, with its pendant keystones, recalls the Gothic style, as do also most of the windows. Stand near the entrance, in the center of the nave, and look up the church.

The most striking feature is the beautiful Renaissance jube or rood-loft (the only one now left in Paris) which divides the Choir from the body of the building. This rood-loft still bears a crucifix, for the reception of which it was originally intended. On the arch below are two charmingly sculptured Renaissance angels. The rood-loft is flanked by two spiral staircases, which are wholly unique architectural features. Notice also the exquisite pendentive of the roof at the point of intersection of the nave and short false transepts.

Now walk up the right aisle. The first chapel is the Baptistery, containing the font and a modern statue of the boy Baptist. Third chapel, St. Antony of Padua. The fourth chapel contains a curious Holy Sepulcher, with quaint life-size terra-cotta figures of the 16th century. Fifth chapel, a gilt cha.s.se. Notice the transepts, reduced to short arms, scarcely, if at all, projecting beyond the chapels. From this point examine the exquisite Renaissance tracery of the rood-screen and staircases. Then pa.s.s under the fine Renaissance door, with lovely decorative work, into the ambulatory. The Choir is in large part Gothic, with late flamboyant tracery. The apparent triforium is continued round the ambulatory.

The splendid gilded shrine in the second choir-chapel contains the remains of Ste. Genevieve, or what is left of them. Candles burn perpetually around it. Hundreds of votaries here pay their devotions daily to the Patroness of Paris. The shrine, containing what is alleged to be the original sarcophagus of the Saint (more probably of the 13th century) stands under a richly-gilt Gothic tabernacle, adorned with figures legibly named on their pedestals. The stained-gla.s.s window behind it has a representation of a processional function with the body of the Saint, showing this church, together with a view of the original church of Ste.

Genevieve, the remaining tower, and adjacent houses, historically most interesting. The window beyond the shrine also contains the history of Ste. Genevieve--her childhood, first communion, miracles, distribution of bread during the siege of Paris, conversion of Clovis, death, etc.

Indeed the long sojourn of the body of Ste. Genevieve in this church has almost overshadowed its dedication to St. Stephen, several memorials of whom may, however, be recognized by the attentive visitor--among them, a picture of his martyrdom (by Abel de Pujol) near the entrance to the choir. The Protomartyr also stands, with his deacon's robe and palm, in a niche near the door of the sacristy, where left and right are frescoes of his Disputation with the Doctors, and his Martyrdom. The chapel immediately behind the high altar is, as usual, the Lady Chapel. The next contains a good modern window of the Marriage of the Virgin.

Examine in detail all the windows; one of the mystic wine-press is very interesting. Votive offerings of the city of Paris to Ste. Genevieve also exist in the ambulatory. Curious frescoes of the martyrdom of the 10,000 Christians on Mount Ararat on the north side. The best view of the choir is obtained from the north side of the ambulatory, opposite the shrine of Ste. Genevieve. In the north aisle notice St. Louis with the Crown of Thorns. Stand again in the center of the nave, near the entrance, and observe the curious inclination of the choir and high altar to one side-- here particularly noticeable, and said in every case to represent the droop of the Redeemer's head on the cross.

As you emerge from the door, observe the cold and bare side of the Pantheon, contrasted with the internal richness of St. etienne. Curious view of the late Gothic portion of the church from the little Place on the north side. Return by the Rue Cujas and Rue St. Jacques, pa.s.sing the Lycee Ste. Barbe, Lycee Louis-le-Grand, University, and other scholastic buildings, which give a good idea of the character of the quarter.

St. Roch

By Augustus J. C. Hare

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

Englishmen are often specially imprest with Paris as a city of contrasts, because one side of the princ.i.p.al line of hotels frequented by our countrymen looks down upon the broad, luxurious Rue de Rivoli, all modern gaiety and radiance, while the other side of their courtyards open upon the busy working Rue St. Honore, lined by the tall, many-windowed houses which have witnessed so many revolutions. They have all the picturesqueness of innumerable balconies, high, slated roofs, with dormer windows, window-boxes full of carnations and bright with crimson flowers through the summer, and they overlook an ever-changing crowd, in great part composed of men in blouses and women in white ap.r.o.ns and caps.

Ever since the fourteenth century the Rue St. Honore has been one of the busiest streets in Paris. It was the gate leading into this street which was attacked by Jeanne d'Arc in 1429. It was the fact that the Cardinal de Bourbon and the Due de Guise had been seen walking together at the Porte St. Honore that was said to have turned half the moustache of Henri of Navarre suddenly white, from a presentiment of the crime which has become known as the Ma.s.sacre of St. Bartholomew. Here, in 1648, the barricade was raised which gave the signal for all the troubles of the Fronde. It was at No 3--then called L'Auberge des Trois Pigeons--that Ravaillac was lodging when he was waiting to murder Henry IV.; here the first gun was fired in the Revolution of July, 1830, which overturned Charles X.; and here, in the Revolution of 1848, a b.l.o.o.d.y combat took place between the insurgents and the military. Throughout this street, as Marie Antoinette was first entering Paris, the poissardes brought her bouquets, singing:

"La rose est la reine des fleurs.

Antoinette est la reine des coeurs."

("The rose is the queen of flowers, Antoinette is the queen of hearts") and here, as she was being taken to the scaffold, they crowded round her execution-cart and shouted:

"Madame Veto avait promis De faire egorger tout Paris, Mais son coup a manque Grace a nos canonniers; Dansons la carmagnole Au bruit du son Du canon!"

("Madame Veto had promised to have the throat cut of all Paris, but her attempt failed, thanks to our gunners. Let us dance the carmagnole to the music of the cannon's roar!")

Turning east toward Old Paris, we pa.s.s, on the right of the Rue St.

Honore, the Church of St. Roch, of which Louis XIV. laid the foundation- stone in 1633, replacing a chapel built on the site of the Hotel Gaillon.

The church was only finished, from designs of Robert de Cotte, in 1740.

The flight of steps which leads to the entrance has many a.s.sociations.

"Before St. Roch," says De Goncourt, "the tumbrel in which was Marie Antoinette, stopt in the midst of howling and hooting. A thousand insults were hurled from the steps of the church as it were with one voice, saluting with filth their queen about to die. She, however, serene and majestic, pardoned the insults by disregarding them." It was from these steps, in front of which an open s.p.a.ce then extended to the Tuileries gardens, that Bonaparte ordered the first cannon to be fired upon the royalists who rose against the National Convention, and thus prevented a counter-revolution. Traces of this cannonade of 13 Vendemiaire are still to be seen at the angle of the church and the Rue Neuve St. Roch.

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