The Churches of Paris Part 8

During the _Neuvaine_ thousands of persons crowd into the church to visit the shrine, a few in honour, many more in the dishonour of mere curiosity; and all round the church are to be seen the same cla.s.s of itinerant vendors of goods as at the various _fetes_ and fairs. At some, they sell gingerbread, pop-guns, and penny trumpets; at others, and particularly at S. etienne, their merchandise consists of rosaries, pious books, medals, and the like; it is a curious combination of the world and heaven--the flesh in the way of comfits, _vin ordinaire_ and the devil--religious exercises and _le bon Dieu_. "Vous avez recu le bon Dieu, Madame?" "Mais oui, Mademoiselle; et apres, nous sommes alles, mon fils et moi, dejener au restaurant Voltaire," is the edifying conversation one hears in the omnibus. It is all on a par with the midnight ma.s.s and the _Reveillon_; Salvation Army drills, Mr. Howler's tabernacle, and the popular preacher over the wine vaults. Extremes meet, and people are much the same all the world over; for one earnest man or woman, you get a crowd of curiositymongers, whether the excitement be in Paris, or London, or Treves, or Ober-Ammergau; unfortunately, there is not much salt in the earth, either Protestant, Catholic, or Agnostic. But if the salt is wanting, the waxen arms and legs and crutches are numerous enough. If you glance at S. Genevieve's shrine you will see bundles and bundles; and then we scoff. Are not they evidence that there is some faith left in the world, real earnest, trustful faith which believes all things, and hopes all things. And why not? Can anyone say whether it be more silly to take a journey, long or short, say some prayers, set up some tapers, present some flowers and a few pence, than to pin your faith upon pills and potions? In the one case the power of healing is believed to be in the hands of an all-merciful G.o.d who has promised to answer our prayers when so doing will be good for us; and in the other, it is thought to reside in pills which are worth twenty times their price, in nostrums which cure and prevent all the ills to which man is subjected, and in belts and bands and other such contrivances. The intercession of those who have gone before is asked by one set of believers; while the others pray Dr.

Faith-Healer to cure them by letter, or Dr. Bread-and-Senna by his precious compound pills.

But how can S. Genevieve's bones be at S. etienne when we know they were burnt on the Place de Greve? is a question answered by the _Moniteur_ of 3 and 4 Frimaire, in the year II. (23rd and 24th November, 1793), which declares that the body was not entire; and we further know that previously, in olden time, relics of the Saint were distributed to many churches, the abbey of Ch.e.l.les amongst others.

The ordinary offices at S. etienne are in no way remarkable for splendour of ritual or of music, but one is worthy of notice--the Washing of the Feet in Holy Week. In spite of so-called uniformity, certain functions have a totally different aspect at the various churches. Take, for instance, the ceremonies of Holy Thursday, the Washing of the Feet, and the Distribution of the Bread and Wine. At many churches the priest who performs this function generally pa.s.ses down in front of an array of old men and women; each receives a loaf and a bottle of wine, and that is all. But at S. etienne it is a very quaint affair. A square portion of the nave is railed off; within sit the boys whose feet are to be washed, and upon a table are rows of loaves and bottles of wine. Then comes the _cure_, a tall, elegant-mannered man, and kneeling to each, he washes and wipes their feet, and then distributes the wine and bread. It is a very curious function; seeing all those boys taking off their boots in the middle of a church is most extraordinary; and then the quaint expressions, the keen curiosity or stupid dull gaze, the costumes and the surrounding audience, form a picture which is eminently quaint and queer.

SAINT-EUSTACHE.

[Ill.u.s.tration: THE OLD FAcADE.]

S. Eustache, often called by the ancestors of _les dames de la Halle_ Notre-Dame des Halles, though by no means one of the oldest of Parisian churches, is, after the cathedral, the largest. In plan and arrangement it is Gothic, while its decorations and details are in the Renaissance style. It has double aisles, octagonal shafts, round-headed arches, and curvilinear tracery. It was finished in 1641, having been more than a century in building; but in spite of this, the original plan was carried out, and few churches that were so long in course of construction present so harmonious an appearance. Unfortunately, the west end, the towers of which were left unfinished, was sacrificed to the stupid taste of the 18th century; Mansard de Jouy and Moreau being allowed to replace what an old print shows to have been an interesting _facade_, in keeping with the rest of the church, by the heavy structure we all know, because, forsooth, the artistic gentlemen of the day found the original to be in a "_got barbare qui choquait les yeux!_"

Pere Du Breul (one of the Benedictines of S. Germain des Pres), writing in 1612 in his _Theatre des Antiquites de Paris_, speaks of the church as follows: "Ce sera un des plus beaux batiments de l'Europe, s'il peut etre parfait comme il a ete commence; car rien n'y manque pour ce qui est de la perfection de l'architecture, soit pour le haut exhauss.e.m.e.nt, les fenetres et ouvertures, et aussi l'enrichiss.e.m.e.nt des diverses frises et moulures de toutes sortes et facons. Toutefois, pour la grande depense qu'il y conviendrait faire, il est demeure imparfait jusques a present." To meet this _grande depense_, the chancellor Sequier, and the _Surintendant de finance_, Claude de Bullion, supplied a considerable sum.

But a church existed upon the same site long before the foundation stone of the present building was laid by Jean de La Barre in 1532. Whether there is any truth in the tradition that the Romans erected a temple dedicated to Cybele upon the spot during the reign of Julian the Apostate, based probably upon the discovery of a large bronze head of the G.o.ddess at the entrance to the Rue Coquilliere, there is no doubt that a chapel under the patronage of S. Agnes was built in the early ages of Christianity, for an account of its foundation is given by Gilles Corrozet, the first of the historians of Paris. It appears that a certain citizen named Jean Alais, in consideration of his help in financial matters, obtained from the king the right to levy a tax of a penny upon every basket of fish sold in the market. Remorse overtaking this modern publican, he begged his sovereign to revoke the tax; but the victims gained nothing by the repentance, as the privilege was accorded to another citizen, with an augmentation of the tax. Thereupon Alais, dying of remorse, was buried near the chapel he had founded in expiation of his sins, at the spot where a stream pa.s.sed through the market. A large stone was placed hard by, which served as a bridge in time of rain and flood--hence, _Pont Alais_.

Thus the legend. But the chapel is mentioned for the first time in authentic doc.u.ments of the year 1213, when it is described as situated on the vast territory belonging to S. Germain l'Auxerrois (the eldest daughter of Notre-Dame), at a little distance from the cemetery of the Holy Innocents, upon the road leading from the capital to Montmartre.

Whoever may have been the founder, it is mentioned in this same year (1213) as a parish, for the _cure_ appealed to the abbot of S.

Genevieve, and the dean of Notre-Dame de Chartres, in the matter of a squabble between himself and the dean of S. Germain l'Auxerrois. Ten years later, it is called the church of S. Eustache, in a charter giving the sentence delivered by the bishop of Paris and two of his canons in another squabble between Simon, _prestre de l'eglise Saint-Eustache_, and the dean of S. Germain, who seems to have been of a combative temperament. This _cure's_ name figures at the head of the list of rectors of the church, which ends with another of the same name, the grand abbe Simon who was seized by the Communists, and all but received martyrdom with Archbishop Darboy and the _cure_ of the Madeleine, Duguerry. L'abbe Le Beuf records the increase of population, and the necessary want of a larger church; consequently some relics of S.

Eustache preserved at S. Denis were brought to Paris, and became the reason for the subst.i.tution of the Roman warrior for the gentle maiden Agnes as patron of the church. But later, the two Saints were combined in the patronage, probably from the crypt under the Lady Chapel bearing Agnes' name--a crypt that would be more truthfully called a cellar, from the use it is, or was, put to by a neighbouring fruiterer. The lease may have run out lately, in which case it now belongs to the church; as the clergy had determined to regain possession as soon as possible.

What appearance the first church presented, we know not, but in 1429 the high altar was advanced a foot into the chancel, and the altar of S.

Gregory destroyed, to make a pa.s.sage to the crypt of S. Agnes. In 1434, the church was enlarged "_pour la multiplication du peuple_"; and again in 1466, an addition required the demolition of the greater part of a house in the Rue de Sejour (now Rue du Jour), next to the Hotel de Royaumont. Thirty years later the bishop gave the churchwardens a little piece of ground situated at the corner of Pont-Alais, in the Rue Montmartre, in order to extend the building still farther.

Here a slight digression may not be out of place to relate the legend of S. Eustache, whose _fete_ day occurs on September 20th, a day, among several others, when the church is visited by crowds, some of whom go to pray, and others to hear the exquisite music for which S. Eustache is famous. When the 20th falls on a weekday, the festival is transferred to the following Sunday.

S. Eustache was a Roman soldier and captain of the guards of the Emperor Trajan. His name in early life was Placidus, and he had a beautiful wife and two fine sons. He lived in great style, practised all the heathen virtues, notably those of charity and loyalty, and was not only a brave warrior, but withal, a great huntsman. Now it happened one day, while sporting in the forest, that a beautiful white stag appeared before him, having a cross of radiant light between its horns, and on the cross an image of the Redeemer. Being astonished and dazzled by the vision, he fell upon his knees, and lo! a voice came from the crucifix and cried to him: "Placidus, why pursuest thou Me? I am Christ, whom thou hast hitherto served without knowing Me? Dost thou now believe?"

And Placidus fell with his face upon the ground and said, "Lord, I believe!" And the voice said: "Thou shalt suffer many tribulations for my sake, and shalt be tried by many temptations; but be strong and of good courage, I will not forsake thee." To which Placidus replied, "Lord, I am content. Give thou me but patience to suffer!" And when he looked up again, the wondrous vision had faded away. Then he arose and returned to his wife, and the next day the whole family was baptised, Placidus adopting the name of Eustatius.

But it came about as was foretold by the vision. All his possessions were spoiled by robbers, and his beautiful and loving wife was taken away by pirates; poverty stared him in the face, and affliction pursued him. Then one day, as he wandered forth with his children, he came to a swollen river which he was obliged to cross; and being troubled as to his means of fording the torrent, he took one child in his arms and swam across, leaving the other on the bank. Having placed the little one in a safe nook, he returned for the other; but when in mid-stream he saw a wolf come out of the forest, and carry off one child, while a lion appeared upon the opposite bank, and seizing the other babe, carried it off and made away with it! Then the wretched father tore his hair and gave way to weeping and lamentations; but remembering his promise to suffer for Christ's sake, he dried his tears and prayed for patience and resignation. So he came to a village where he lived peacefully for fifteen years by the labour of his hands; but at the end of that time, the Emperor Adrian being on the throne, sent out messengers to all parts of the Empire to seek for Placidus, as he had need of him; and at length they found him, and he was restored to his former position, and led his troops to victory. But although the Emperor loaded him with honours and wealth, his heart was sad for the loss of his wife and children.

Meanwhile the latter had been rescued from the jaws of the wolf and the lion, and his wife had escaped from the hands of the pirates; so it came about, after many years, that they all met again and were re-united; and Eustace said in his heart: "Surely all my sorrows are now at an end."

But it was not so; for the Emperor desiring to celebrate a mighty victory over the Barbarians by a great sacrifice to the G.o.ds, and Eustace and his family refusing to offer incense, they were shut up in a brazen bull, and a fire being kindled under it, they all perished together. Such is the legend, which, like all the stories of the lives of Saints and early martyrs, shows forth the steadfastness with which they clung to their faith, and the simplicity with which they practised the virtues of fort.i.tude, patience, resignation, and courage. There is a certain similarity between the legend of S. Eustace and that of S.

Hubert; but in art they are easily distinguished, as the former is in Cla.s.sic or warrior costume, and the latter is represented either as a huntsman or a priest. Pictures of S. Eustace are not uncommon; in the Pitti Palace there is one by Soggi; and somewhere I have seen one by Domenichino. The traditional date of the martyrdom of S. Eustace is 118, which is much earlier than that of the other patron of the church, the simple maiden Agnes, who suffered in 304, and whose _fete_ day is January 21st. The legend of this Saint is one of the most authentic, and one of the oldest, being mentioned by S. Jerome, in the 4th century, as popular throughout the world. Hymns and homilies had been written in her honour from the earliest times; and her youth and beauty, added to her innocence, had combined to invest her person with a charm and a fascination which few of the Saints possess.

Agnes was a Roman maiden of thirteen, filled with all the good gifts of the Holy Spirit, having loved and followed Christ from her infancy, and being withal most beautiful, when the son of the Prefect pa.s.sed her way.

Whether the name was given to her because of her lamblike innocence or otherwise, is not recorded. The young man no sooner beheld her than he loved her pa.s.sionately, and asked her in marriage. But Agnes repelled him, even though he came laden with gold and gems, and costly ornaments; and, unlike poor Gretchen, she cried: "Away from me, tempter! for I am already betrothed to a lover who is greater and fairer than any earthly suitor. To him I have pledged my faith, and he will crown me with jewels compared to which thy gifts are dross.... The music of His divine voice has sounded in mine ears; He is so fair that the sun and moon are ravished by His beauty, and so mighty is He that the Angels are but His servants."

Hearing these words the youth naturally felt consumed by jealousy and rage; and he went home, only to fall ill of a fever, and to be sick almost unto death. The wise medicine men immediately discovered the cause, and told the Prefect that the illness being unrequited love, their potions could avail nothing. Then the great man questioned his son, who replied: "My father, unless I can take me Agnes to wife, I die." Now the Prefect, Semp.r.o.nius, loved his son tenderly, and so he went weeping to Agnes' parents, and besought them to intercede for the youth. But Agnes made the same answer, and Semp.r.o.nius was much angered that she should prefer another to his son, and asked who this great prince might be to whom Agnes was betrothed. And some one said: "Knowest thou not that the maiden hath been a Christian from her infancy; and her husband of whom she speaks is none other than Jesus Christ?" When the Prefect heard this, he rejoiced greatly, for he knew he could force Agnes to marry his son, by threats of imprisonment; for an edict had gone forth against the Christians. And so he sent for Agnes, and told her that since she was resolved not to marry, she must enter the service of the G.o.ddess Vesta. But Agnes replied: "Thinkest thou that I, who would not listen to thy son, who is yet a man and can hear and see and move and speak, will bow down to vain images, which are but senseless wood and stone; or, what is worse, to the demons who inhabit them?"

When Semp.r.o.nius heard this he fell into a fury; he loaded Agnes' limbs with chains, and threatened her with death; and as nothing would prevail, he ordered her to be exposed to the most degrading outrages; but being stripped of her garments, she fell on her knees and prayed, and immediately her hair became so thick and long that it formed a complete covering. Then, although the onlookers were dismayed, they shut her up in a chamber, and left her. And suddenly she saw a bright and glistening garment, with which she clothed herself, praising G.o.d and saying: "I thank thee, O Lord, that I am found worthy to put on the garment of Thine elect!" And the whole place was filled with miraculous light, brighter than the sun at noonday.

Then the young man thought that if he visited her, Agnes would give way; but as soon as he entered her chamber he was struck blind, and fell into convulsions. And the mother and father appearing, and falling into lamentations and weeping, Agnes was moved with compa.s.sion, and prayed that their son might be restored to health; and her prayer was granted.

Then Semp.r.o.nius would have saved Agnes; but the people caused a tumult, and cried out that the maid was a witch and a sorceress, and therefore worthy of death. And so she was judged and thrown into the fire; but the flames, refusing to touch her, severely scorched the executioners, which still more irritated Semp.r.o.nius and the people. Then the wicked Prefect commanded the executioners to slay her; and she, looking up to Heaven, yielded up her pure spirit to her G.o.d. And it happened that when her friends were one day praying at her tomb, in the cemetery on the Via Nomentana, she appeared unto them arrayed in white, with a lamb whiter than snow. And she said: "Weep not, dry your tears, and rejoice with exceeding joy; for me a throne is prepared by the side of Him who on earth I preferred to all others, and to whom I am united for ever in Heaven." And having thus spoken, she vanished.

As we have seen, the devotion paid to S. Agnes is of so early a period that it is quite possible the first chapel in the Halles dedicated to her memory may date back to the 8th or 9th century; but nothing authentic is recorded before the 13th century, and no part of the present church of S. Eustache and S. Agnes is earlier than the 16th century, when it was commenced during the reign of Francois I^{er.} L'abbe Le Beuf gives the name of the architect as Charles David, and undoubtedly one of that name was attached to the church, as the fact is recorded upon an epitaph. But as he died in 1650, at the age of ninety-eight, he must have been born in 1552; and, the church having been commenced in 1532, this David could only have been a master of the works, carrying out the design of some predecessor. A theory has been propounded that this may have been Dominico da Cortona (Boccadoro), the architect of the Hotel de Ville, or one of his pupils, who followed him from Italy; the evidence brought forward being the similarity of some of the details of the two buildings. S. Eustache was commenced, as we have seen, in 1532, the Hotel de Ville in the following year; but beyond this and a resemblance between the niches for statues of the two edifices, there is absolutely no evidence for the supposition, and the name of the architect of S. Eustache remains a hidden mystery. That he was an accomplished artist, a man having an eye for great effects, with a first-rate sense of proportion, the church bears witness, although it has had its detractors ever since it was finished. Too Gothic for the men patronized by Louis XIV., its Renaissance element shocked the artistic taste of their successors; called a _barbarous style_ by the first, because of its Gothic plan, its Renaissance detail was _pernicious_ to the aesthetic instincts of the latter. It is amusing to read Mr. Dibden's opinion of the church in his _Picturesque Tour_,[66]

as it is that of a cultured traveller, and probably is an example of the judgment pa.s.sed upon S. Eustache by the artists of his day. "Next in importance to S. Gervais is the Gothic church of S. Eustache; a perfect specimen, throughout, of that adulterated style of Gothic architecture (called its restoration!) which prevailed at the commencement of the reign of Francis I. Faulty, and even meretricious, as is the whole of the interior, the choir will not fail to strike you with surprise and gratification. It is light, rich, and lofty. This church is very large, but not so capacious as S. Gervais, while its situation is, if possible, still more objectionable." How the good parson could compare the two churches, apparently to the advantage of S. Gervais, seems extraordinary; for no unbia.s.sed person can fail to be impressed by the beauty of the proportions of S. Eustache, its length and height, its effective choir, and its grand, but simple, altar. With the exception of its gla.s.s chandeliers, all the furniture and accessories are in keeping with the building; there is nothing tawdry, nor in bad taste; and it lends itself more effectively than even Notre-Dame to processions and grand ceremonials.

[Ill.u.s.tration: SAINT-EUSTACHE FROM THE HALLES CENTRALES.]

After its commencement the building seems to have struggled on for eight years; when, for want of funds, it remained stationary until 1552, although some of the altars had been consecrated by the Bishop of Megare sixteen years previously. In 1552 it was helped on again by Lenten offerings, in return for dispensations to consume b.u.t.ter and milk. How much these dispensations produced, and how long the funds lasted, we are not informed; but civil war and religious troubles stopped the works again, and it was not until 1624 that they were resumed. Both Sauval and du Breul speak of the choir having been commenced in that year, and the latter's description of it is interesting as showing its original form.

"Le chur est un des plus beaux et un des plus grands de Paris apres celui de Notre-Dame, large, s.p.a.cieux, garni de quatre rangees de chaises; l'autel est fort haut en forme de frontispice, enrichi de six colonnes de marbre, d'un riche tableau au fond et d'un tabernacle ample et grand de bois cisele et dore. Toute la cloture de ce chur est composee de piliers de cuivre et de marbre. Au derriere est un autre autel de bois ou l'art de la menuiserie n'est pas epargne, non plus que l'or et le marbre, et dans cet autel est le sainct ciboire ou repose le saint Sacrement." Of the west front, the destruction of which, with two chapels erected by Colbert and decorated by Mignard, is the cause of the disproportion of length to height, Du Breul thus speaks: "Le portail est fort ma.s.sif, ill.u.s.tre d'ouvrages et ciselures de pierre. Au-dessus de la grande porte par dehors est une galerie environnee de bal.u.s.tres; au deux coings de ce portail sont commencees deux grosses tours. En celle de main droicte sont les cloches. Aux deux costes de devant sont les images de pierre de Saint Eustache et de Sainte Agnes, patrons de la dite eglise et au dehors un a.s.sez ample parvis entoure de piliers." Writing a century later Piganiol de la Force only speaks of this part of the church. "Il etait forme par six piliers b.u.t.tants d'environ trente pieds de saillie au dela du pignon, dont deux aux encoignures de dix pieds d'epaisseur; deux autres de treize pieds servaient a soutenir la poussee des arcades interieures qui exigeait une grande solidite. Ces quatre piliers formaient trois travees; dans celle du milieu etait la porte d'entree; les deux autres avaient ete construites pour porter deux tours, et dans leur interieur M. Colbert avait fait construire deux chapelles, l'une pour les mariages et l'autre pour les fonts."

The church was finished and consecrated by Jean de Gondy, first archbishop of Paris, on the 26th April, 1637. Round the altar were ten statues, which, according to the taste of the day, were portraits of contemporaries, although representing sacred personages. They were by Jacques Sarrazin. Louis XIII. was the embodiment of S. Louis; Anne d'Autriche and the future _Grande monarque_ were allowed to represent the Blessed Virgin and her Child. Above these were the patron saints.

It must be remembered by critics who find fault with the disproportion between length and height of S. Eustache, that an entire bay of the nave and two chapels were demolished with the west front, thus reducing the length. One of the chapels, erected at Colbert's expense, must have been of value artistically, certainly more so than the present west front which was subst.i.tuted; for Mignard's frescoes are immortalised by Moliere in his _Gloire du Val-de-Grace_. They represented the Heavens with the Almighty surrounded by Angels, the Circ.u.mcision, and the Baptism of Christ:

"Colbert, dont le bon got suit celui de son maitre, A senti meme charme et nous le fait paraitre.

Ce vigoureux genie au travail si constant, Dont la vaste prudence a tous emplois s'etend, Qui du choix souverain tient par son haut merite Du commerce et des arts la supreme conduite, A d'une n.o.ble idee enfante le dessein, Qu'il confie au talent de cette docte main, Et dont il veut par elle attacher la richesse Aux sacres murs du temple ou son cur s'interesse (St-Eust.).

La voila cette main qui se met en chaleur; Elle prend les pinceaux, trace, etend la couleur; Empate, adoucit, touche et ne fait nulle pose.

Voila qu'elle a fini: l'ouvrage aux yeux s'expose, Et nous y decouvrons aux yeux des grands experts Trois miracles de l'art en trois tableaux divers."

The other chapel was decorated by Charles de Lafosse, a pupil of Lebrun, and the painter of the dome of the Invalides. The subjects were G.o.d, surrounded by the four Evangelists, blessing Adam and Eve, and the marriage of the Virgin and S. Joseph. These chapels were erected respectively for baptisms and marriages.

The present west front, ugly and lumbering though it be, with its Doric portal and Corinthian gallery, had a royal prince to usher it into the world, no less a personage than the Duc de Chartres, Philippe-Egalite.

Had it been built up in front of S. Nicholas du Chardonnet, or any church of that period, it might have pa.s.sed muster; but tacked on to S.

Eustache, it is completely out of place. Were the _cure_ privileged to give the Papal benediction, said an 18th century critic, this porch might have some use; but its only merit is that it was built upon a sufficiently large scale to save it from insignificance. Let us turn to the south door, constructed under Francois I^{er,} but much restored since the last siege. Never completely finished, as regards statues and other ornament, it was so terribly knocked about by the Communists, that niches, tracery, corbels, and gla.s.s had to be renewed; but perhaps, had it not suffered so much destruction in 1871, we should never have had the opportunity of admiring it in its completed beauty.

[Ill.u.s.tration: PART OF THE SOUTH DOOR.]

The doors are divided by a pier surmounted by a figure of the Virgin and Child under an elaborately carved canopy, which stands out upon the plain, undecorated lintel. In three little niches under these figures are statuettes representing Faith, Hope, and Charity. In the _voussure_ above the window are niches for some fifty statuettes, which are still wanting; on either side are statues of Joachim, S. Anne and two Angels bearing censers. The niches are formed of pilasters with a pediment, and capitals composed of little canopies mixed with acanthus leaves. All the details, the fantastic figures upon the stylobate, the ornament of the pilasters, and the canopies, are in the best style of the Renaissance.

Two rows of arcades lead up to the rose window, flanked on each side by graceful turrets. In the centre of the gable is a smaller rose, surmounted by a stag's head with a crucifix between the horns, emblem of the conversion of the warrior Saint. A curious sundial is fixed to the wall between the two arcades; and at the intersection of the transepts and nave is an open-work turret. Between the chapels are Composite pilasters supporting the cornice; the capitals are enriched with masks, Angel's heads, monograms, and divers emblems; in one case the double L L crowned, in another, foliage, animals, and Genii. Flying b.u.t.tresses support the nave, choir, and transepts; and a mult.i.tude of gargoyles, fantastic in design, representing men, women, and children, with foliage terminations, and mostly winged, surround the pilasters of the aisles.

On one of these is the date 1629.

The building, which blocks up a part of the chapel of Our Lady, was another excrescence of the reign of Louis XIV., and the work of Moreaux; it is used as a treasury and vestry. Above the chapel of the Virgin is a belfry erected in the 17th century, surmounted by a cross and the ship of the city of Paris. The bell weighs 2,500 kilogrammes. It was preserved by the Revolutionists in consequence of its usefulness; but a sh.e.l.l from Montmartre on the 25th of May, 1871 (during the Commune), set fire to the steeple. The blaze was soon extinguished, but not before it had done a considerable amount of harm. The north door is of later date, 1640. It has two turrets, in one of which is a staircase leading up to the presbytery. S. Eustache, costumed as a Roman warrior, guards the doorway upon the central pillar; while S. Denis bearing a palm, and S.

Genevieve with a lamb at her feet, keep watch upon each side. The socles are ornamented with the Cardinal Virtues of Prudence, Courage, Justice, and Temperance, which were discovered some years ago, hidden behind a shop for the sale of religious books and images which obstructed the entrance to the pa.s.sage. The capital of one of the pilasters upon this side of the church is well worth attentive study. In the midst of some foliage is a child bearing a basket of fruit, and on each side are two young and beautiful Genii forming a sort of b.u.t.tress to the abacus.

On entering the church the effect is most impressive, and upon any great festival, or during the evening services of the Adoration Perpetuelle, when the whole east end is ablaze with candles, few churches can compare with it in grandeur. Nowhere else is to be found such a curious combination of styles, with a more harmonious result. The architect's ambition must have been to prove that two styles so opposed to each other in every respect were capable of being united with the best effect. The Renaissance of S. Eustache seems to give new life to the dying Gothic, by marrying its pilasters, its columns, and its Greek pediments to the pointed groining and arches.

Like the generality of early churches, S. Eustache leans a little to the right; whether in consequence of some peculiarity of the ground, or symbolically of the drooping of the head of the Saviour upon the cross, we cannot tell. There are double aisles on each side, and adjoining them a series of chapels, the depth of which varies, as the church is wider at one end than at the other. All the arches are round with the exception of those of the apse, which are pointed. The entire church is 88 _metres_ 48c in length, and 42 _metres_ 74c in width. The height of the nave is 33 _metres_ 46c. The clerestory is filled with stained gla.s.s by Cartaux, of elegant design and harmonious colouring. In some of the details, as for instance the corbels, we see the same ideas that flitted across the brains of the Mediaeval sculptors--namely, that of carving masks representing heads of devils and monsters, some grinning, some scowling, all more or less hideous and _bizarre_.

The _banc d'uvre_, a sort of pew erected opposite the pulpit for the clergy and Monsieur le Maire and his a.s.sistants during sermon, is a _chef-d'uvre_ of Renaissance sculpture in wood. Its design is the glory of S. Agnes, the young martyr being represented kneeling upon the summit of the entablature, with outstretched arms; Angels descend with palms in their hands to give her the crown of life. Below, between the Ionic columns, two other Angels support a medallion, which a third hangs to the roof of the arch. Upon this medallion a crucifix is carved, the figure of which is in plaster; for, unfortunately, time and wanton destruction have done their work upon the ornament, a good deal of it being now only of stucco. Upon the side panels were the monograms of the two patrons interlaced (if I remember aright); these were taken down, or covered up, some few years ago, to give place to marble slabs recording the names of all the _cures_ of the parish, from Simon, _prestre de l'eglise_ in 1223, to l'abbe Simon, one of the actors in the tragedy of the Commune, which he survived only a few years. Owing to the luck of the back of the pew being decorated with a medallion upon which are the Roman _fasces_ crowned with laurel leaves, the men of the First Revolution left it intact--the emblems were Republican; that was enough.

The _banc_, which cost the Regent Orleans 20,000 _livres_, was executed by Lepautre from the drawings of Cartaux. One would imagine, thereby, that the Duke was a benefactor to the church; but if he gave with one hand, he took away with the other, and being a great connoisseur in matters artistic, he determined to get possession of a picture belonging to the church, painted by Valentin, of S. James kneeling. Being unable to persuade the _cure_ to give it up, we may infer he sent his emissaries (in other words, hired thieves) to carry it off, and put a copy in its place. The whole affair was studiously planned and carried out; but the church authorities compelled the royal pirate to pay them 20,000 _livres_ in compensation.

The pulpit, with its canopy, is a handsome specimen of carving, with figures of Faith, Hope, and Charity on three medallions. It replaces the old pulpit which was executed from drawings by Lebrun. The organ case is as beautiful as the instrument it encloses. Put up in 1854, architecturally, it is in the style of the church itself. The lower part consists of a gallery of Corinthian columns and arcades, united by a bal.u.s.trade which follows the curves of the stone tribune upon which it rests. The case is ornamented at the top with figures of Saul brandishing a javelin and David holding his harp, with which he hopes to calm the King's anger--emblem of the power of music to humanise evil men's pa.s.sions. In the centre stands S. Cecilia, with her organ and palm--the martyred patroness of the divine art. These statues are by the eminent sculptor, M. Guillaume. The frieze is a series of winged Cherubim; and in various parts are griffins, harpies, birds, chimeras, swans, spitting serpents, and little birds and lizards--a whole army of strange creatures, subdued by the sweet strains of the _Voix celeste_.

The great boss which descends from the centre of the transept is nine _metres_ long, composed of colossal Angels holding the cross; other bosses are also remarkable, having emblems of the Holy Spirit, monograms, little Angels, and heads of Seraphim. The rose of the south transept is the older of the two; the window below it has for subject the Birth of Christ, which occupies the five upright divisions and the six hexagons of which the window is composed. Upon the pier, between the two parts of the south door, stands a Gothic statue which belonged to the earlier church, the pedestal being ornamented with charming little statuettes. On each side of the transept are figures of the Apostles, and bas-reliefs in enamelled terra-cotta of the patrons of music, S.

Ambrose and S. Gregory the Great. Here, too, are frescoes painted by Signol of The Entombment; with the Four Evangelists, and the Cardinal Virtues. In the north transept is a statue by Delaplace of the patroness, and wall paintings by Signol, to correspond with those of the south transept, the princ.i.p.al subject being The Way of the Cross.

One remarkable feature of the church is the placing of a corbel under the capitals of the pilasters. Those in the choir are of winged Cherubim, while in the rest of the church various grotesque monsters, human and animal, figure in their stead. The gla.s.s in the east end bears the date 1631 and the name of Solignac, a _verrier_ totally unknown to fame, but an "_artiste distingue_," as our neighbours say, when nothing more flattering suggests itself to their minds and lips. S. Eustache figures upon the central light, under a colonnade in perspective, and upon each side of him are the four Latin Fathers and the twelve Apostles. Above our heads we see a rich groined roof, and a boss which is more wonderful than beautiful. Groups of Angels' heads and numberless Cherubim sitting upon clouds are interlaced with a large crown; the whole being about ten _metres_ in length.

In 1795, upon the suppression of the convent of the Canonesses of Picpus, S. Eustache, for a consideration of 5,000 _francs_, gained possession of the nuns' beautiful stalls, which have since been a notable part of the church, especially the _misereres_ and the curious little stools upon which the _enfants de chur_ sit.

The pavement and the altar are modern; the former, of various coloured marbles, having been laid in 1869. The altar is raised upon five steps; in the centre is the tabernacle under a domed _baldachino_, the whole being in white Paros marble, designed by M. Baltard. All the sculptures are enriched by gilding. In the centre is the _Sacrifice of the Lamb_, with grapes and corn encircling it. On each side, the symbols of the four Evangelists--the Angel, the Lion, the Ox, and the Eagle; the bull in which S. Eustache was immolated; the ropes and chains, a sword, some palms and lilies, all suggestive of S. Agnes. The _baldachino_ having been found to be out of proportion to the rest of the altar, a pilaster, destined to hold pans for burning incense, was placed at each extremity; but the effect of the whole is good, nay, even beautiful, in spite of the want of proportion. The doors of the tabernacle, in gilt bronze, are chased with great care and elegance. Before the Revolution, a bas-relief said to have been sculptured by Daniele da Volterra,[67] representing _The Entombment_, formed the reredos. The gates of the choir are composed of modern ironwork, by M. Calla, of excellent design.

Under the west door is a white marble bust of Chevert, a warrior whose deeds and virtues may be read upon his epitaph, composed by d'Alembert: