The Story of Paris Part 17

Fra Gioconda's sumptuous decorations of 1502, which won for it the name of the _Chambre doree_, the gold used being, it is said, equal in purity to the famous Dutch golden florin, have been partially restored. Here the kings of France held their Beds of Justice; here the Fronde held its sittings, and here on 15th April, 1654, the young king Louis XIV. strode in, booted and spurred, and is said to have uttered the famous words _l'etat c'est moi_. Here too, renamed the Salle egalite, the dread Revolutionary Tribunal held its sittings and condemned 2742 victims; here on 14th October 1793, at half-past four in the morning, appeared Marie Antoinette, "widow of Louis Capet,"

before her implacable judges and heard her doom; hence the twenty-one Girondins trooped forth to their common fate; here Robespierre, St. Just, and, at length, the unwearied minister of death, Fouquier-Tinville himself, the revolutionary public prosecutor, heard their condemnation. We leave by the Cour du Mai and note, to our L., the restored clock tower, replacing the most ancient and famous clock of Paris. It was renewed by Germain Pilon in 1588 and restored in 1685. Demolished during the Revolution, the face and decoration were again renewed in 1852. The silvery-toned bell that hung here, called the _tocsin_, cast in 1371 and known as the _cloche d'argent_, was accused, together with the bell of St. Germain l'Auxerrois, before the Commune on 21st August 1792, of having given the signal for the ma.s.sacre of St. Bartholomew, and its immediate destruction was ordered. We turn along the picturesque river facade, and between its two mediaeval towers, de Cesar and d'Argent, enter the Conciergerie.[183] The condemned cell of Marie Antoinette (transformed into a chapel) and the cell of Robespierre are shown, together with the chapel where the Girondins pa.s.sed their last night and where their legendary banquet is famed to have taken place. The so-called _Cuisine de St. Louis_, a remain of the old Gothic palace of Philip le Bel, is no longer shown. The third tower on the river facade, which we pa.s.s on our way westward, has been wholly rebuilt. In the original tower was the judicial torture-chamber (an adjunct of every court of justice in olden times), used to wrest confessions from prisoners and evidence from unwilling witnesses, hence its name of Tour Bon Bec or Bavarde.

The fine western facade and the Salle des Pas Perdus of the Cour d'a.s.sises, looking on the Place Dauphine, were completed in 1868.

[Footnote 183: Permission to visit on Thursdays, 9-5, to be obtained by written application to the Prefect of Police, Rue de Lutece.]

Few Law Courts in Europe have so venerable a history as the Palais de Justice. From the times when the Roman praetor set up his court, more than two thousand years ago, to the present day, a temple of Law and Justice has ever stood on this spot.

SECTION II

_St. Julien le Pauvre--St. Severin--The Quartier Latin._

As we fare S. from the W. end of the Parvis of Notre Dame and cross the Pet.i.t Pont, we behold the old Roman Road, now Rue St. Jacques, rising straight before us and on the annexe of the Hotel Dieu,[184] to the L. of the Place du Pet.i.t Pont find inscribed their names (p. 46), who nearly twelve centuries ago dared:--

"For that sweet motherland which gave them birth, n.o.bly to do, n.o.bly to die."

On the site of the Place stood the Pet.i.t Chatelet, demolished in 1782, a gloomy prison where many a rowdy student was incarcerated. To the L.

of the Rue du Pet.i.t Pont[184] we turn by the Rue de la Bucherie and on our R. find the Rue St. Julien le Pauvre. Here on the L., hidden behind a pair of shabby wooden gates, stands the modest little twelfth-century church, now used for the Uniat Greek services, where St. Gregory of Tours found the drunken impostor (pp. 32, 33), where the University of Paris first held its sittings, and where twice a year the royal provost attended to swear to preserve the privileges of the rector, masters and scholars. Near by stood the house of Buridan (_note_, p. 68). At the end of the street we turn R. by the old Rues Galande and St. Severin: at No. 4 of the latter, we see a trace of the original naming of the streets by Turgot, the marks of the erasure of the word "Saint" during the Revolution being clearly visible. Parallel with this street to the N. is the Rue de la Huchette, from which opens the curious old Rue du Chat qui Peche and the Rue Zacharie, in mediaeval times called Sac a Lie, which communicates with the Rue St. Severin. To our L. is the fine Gothic church of St. Severin, one of the most beautiful and interesting in Paris, on the site of the oratory of Childebert I., where St. Cloud was shorn and took his vows. On the thirteenth-century N. portal of the tower have been replaced the two small lions in relief between which, in olden times, the cures are said to have exercised justice.

We note the thirteenth-century W. portal, transferred from the old church of St. Pierre aux Boeufs, and enter for the sake of the beautiful Gothic interior, mainly fifteenth century, with its double aisles and ambulatory and fine stained-gla.s.s in the nave. We turn L., on leaving, along the Rue des Pretres St. Severin (No. 5 is the site of the old College de Lisieux) which is continued by the Rue Boutebrie, in former times the Rue des Enlumineurs, famous for those who practised the art, "_che alluminare chiamata e in Parisi_."[185]

At the end of the Rue des Pretres we turn L. along the picturesque Rue de la Parcheminerie, where we may recall the old poet Corneille sitting at a cobbler's stall while his gaping shoe was patched, and where still remain, among other curious old houses, Nos. 6 and 7, which in the thirteenth century were owned by the canons of Norwich Cathedral, who maintained a number of scholars there. We are now on the very foyer of the University quarter, in mediaeval times swarming with poor scholars, the busy hive of knowledge, and so notorious for its misery and rowdy depravity, that Charles V. during his regency had the Rue du Fouarre closed at curfew by strong iron grilles. We pa.s.s on to the Rue St. Jacques, then R. to the Boulevard St. Germain, again sharply to the L. and descend the new Rue Dante, R. of which, in the Rue Domat, are some quaint old houses: at 12 _bis_ is the site of the old College de Cournouailles (Brittany). The Rue Dante is continued by the Rue du Fouarre (Straw Street) where Siger taught (p. 103) and in one of whose colleges the author of the _Divina Commedia_ probably sat as a scholar. The houses are all modernised and the name alone remains. We turn R. along the Rue Galande, noting R. the Rue des Anglais which reminds us that there the English scholars congregated.

We pa.s.s on by the Rue Lagrange and reach the place Maubert of dread memories, for here were burnt many a Protestant martyr and the famous printer philosopher, etienne Dolet, friend of Erasmus, of Marot and of Melancthon, whose statue in bronze stands on the Place. Dolet's martyrdom is still yearly celebrated there by democratic Parisians, and the Place has always been famous for its barricades during the Fronde and later Revolutionary times. We cross the Boulevard to the Rue des Carmes, whose name recalls the Carmelite monastery founded by St. Louis, and at No. 15 find the site of the old Italian College (College des Lombards). Much of this "hostel of the poor Italian scholars of the charity of Our Lady," as rebuilt by two Irish priests, Michael Kelly and Patrick Moggin, still exists, including the chapel, and is partly occupied by a Catholic Workmen's Club It gave shelter to forty missionary priests and an equal number of poor Irish scholars, and the earliest disciples of Loyola found temporary shelter there. Some idea of the vast extent of the ancient foundation may be gained by walking round to 34 Rue de la Montagne Ste. Genevieve on the other side of the Marche where the princ.i.p.al portal may be seen. We return to the Place Maubert, which we recross, and descend direct before us to the Rue de la Bucherie on our L. This street was the centre of the medical students, and from 1369 to the times of Louis XIV. the Faculty of Medicine held its lectures and demonstrations there. At No. 13 still remains the old anatomical and surgical theatre of the Faculty erected in 1617, which has been acquired by the Munic.i.p.ality, but had a neglected, almost ruined aspect when we last pa.s.sed (Feb. 1906).[186] We continue along this street and return to the Place du Pet.i.t Pont.

[Footnote 184: The annexe, the inscription and the Rue du Pet.i.t Pont--all have disappeared (1911).]

[Footnote 185: _Purgatorio_, XI. 81.]

[Ill.u.s.tration: ST. SeVeRIN.]

[Ill.u.s.tration: OLD ACADEMY OF MEDICINE.]

SECTION III

_ecole des Beaux Arts_[187]--_St. Germain des Pres_--_Cour du Dragon_--_St. Sulpice_--_The Luxembourg_--_The Odeon_--_The Cordeliers_--_The Surgeons' Guild_--_The Musee Cluny_[188]--_The Sorbonne_[189]--_The Pantheon_[190]--_St. etienne du Mont_--_Tour Clovis_--_Wall of Philip Augustus_--_Roman Amphitheatre_

[Footnote 186: Now demolished (1911).]

[Footnote 187: Open Sundays, 10-4.]

[Footnote 188: Open 11-4 or 5, closed Mondays and Chief Festivals.]

[Footnote 189: May be visited Thursdays and Sundays, 11-4. Apply Concierge, 7 Rue des ecoles.]

[Footnote 190: Open 10-4 or 5, closed Mondays and Festivals.]

We cross to the S. bank of the Seine by the Pont du Carrousel (or des Saints Peres). Opposite on the Quai Malaquais stands the ecole des Beaux Arts (on the site of the old Convent of the Pet.i.ts Augustins where Lenoir organised his museum), founded by the Convention and now one of the most important art-teaching centres in Europe. We turn S.

by the Rue Bonaparte, and soon find the entrance, on the R., to the first courtyard, in which we note, on our R., the fine Portal of the Chateau of Anet, built for Diana of Poitiers by Delorme and Goujon (1548): opposite the entrance, giving access to the second courtyard, is placed a facade, transitional in style, from the Chateau of Gaillon. An hour may profitably be spent on Sundays strolling through the rooms viewing the interesting collection of casts and reproductions of masterpieces of painting by the pupils of the school.

Delaroche's famous Hemicycle, representing the great artists of every age, seventy-five figures larger than life, will be found in the theatre of the Musee des Antiquites entered from the second courtyard.

We continue along the Rue Bonaparte past the new Academie de Medecine and on our L. soon sight the grey pile of the old Abbey Church of St.

Germain des Pres, once refulgent in colour and gold. A part of the great tower is said to have resisted the Norman conflagrations, but the church as we now behold it, is that rebuilt 1000-1163; enlarged in 1237 and restored at various periods in the first half of the nineteenth century. Of the great fortress-monastery, with its immense domains of land; its cloisters, walls and towers; its prison and pillory, over which the puissant abbots once held sway, only a memory remains. The fortifications were razed in the seventeenth century and gave place to artizans' houses. The famous Fair of St. Germain has long been suppressed, where Henry IV. on the royal entry of Marie de'

Medici, after promising the merchants that they should grow rich, since his queen had _de l'argent frais_, disappointed them all by chaffering much and buying nothing. Over the entrance of the church within the W. porch is a well-preserved Romanesque relief of the Last Supper. Some bases and capitals of the triforium date from the twelfth century, but the heavy Romanesque capitals of the eleventh century nave are restorations, and the beautiful early Gothic choir has also been much modified at various epochs. The interest of the interior is enhanced to the lover of French art by Flandrin's admirable frescoes (p. 391), ill.u.s.trating scenes from the Old and New Testaments.

Unhappily, they are seen with difficulty, and a bright, sunny day is necessary to appreciate the masterly art, the n.o.ble and reverent spirit that animates them. One of the most successful and best seen is the Entry into Jerusalem, L. of the choir.

If we turn by the Rue de l'Abbaye, N. of the church, we shall find part of the sixteenth-century Abbot's Palace yet standing, and a walk round the apse and the S. side of the church will afford a view of its ma.s.sive bulk, its flying b.u.t.tresses and steep-pitched roof. Crossing the Place St. Germain obliquely to the S.W. we reach the Rue de Rennes: at No. 50 is the entrance of the picturesque Cour du Dragon with an eighteenth-century figure of a Dragon carved over it. At the end of this curious courtyard, paved, as old Paris was paved, with the gutter down the middle, will be seen two old towers enclosing stairways. We return to the Rue Bonaparte and faring still S. reach the huge fabric of St. Sulpice with its ma.s.sive, gloomy towers and pretentious facade of c.u.mbrous splendour. We enter for the sake of Delacroix' fine paintings in the side chapel R. of entrance: Jacob wrestling with the Angel; Heliodorus driven from the Temple; and St.

Michael and the Dragon. In this and in many of the numerous chapels are other decorative paintings by modern artists, few of which will probably appeal to the visitor. It was in this church that Camille Desmoulins was wedded to Lucille, Robespierre acting as best man. On the S. side of the ample Place St. Sulpice is the great Catholic Seminary,[191] and the whole neighbourhood has an essentially ecclesiastical character. Shops and emporiums displaying _objets de piete_; all kinds of church furniture and art (most of it bad art) abound. We continue our southward way by the Rue Ferou, opposite the end of which is the Musee du Luxembourg containing a collection of such contemporary sculpture and paintings as has been deemed worthy of acquisition by the State. The rooms are crowded with statuary and pictures which evince much talent and technical skill, but the visitor will be impressed by few works of great distinction. The English traveller, perchance, will leave with kindlier feelings towards those responsible for the Chantrey pictures, though envious of a collection whose catholicity embraces works by two great modern masters, Londoners by option--Legros and Whistler. But any impression that may be left on the traveller's mind by the inspection of the examples of contemporary French art exhibited in this museum should be supplemented and corrected by an examination of decorative works of greater range in the chief public edifices, such as the Hotel de Ville, the Sorbonne, the Pantheon and the ecole de Medecine. We enter the Luxembourg Gardens by the gate R. of the museum, turn L., pa.s.s the facade of the palace and opposite its E. wing discover the charming old Medici Fountain. After strolling about the delightful gardens, unhappily by the erection of the Observatory in 1672 reduced by more than one-third of their former extent, we leave by the gate N. of the Medici Fountain which gives on the Rue Vaugirard opposite the Odeon Theatre, formerly the _Theatre de la Nation_, where the _Comedie Francaise_ performed for a few years after 1781. The Paris booksellers still have their stalls inside the colonnade even as they used to do in the great Salle of the Palais de Justice.

[Footnote 191: Now suppressed and the building taken over by the State (1911).]

[Ill.u.s.tration: COUR DU DRAGON.]

Descending (R. of the Odeon) the Rues Corneille, Casimir Delavigne and Antoine Dubois, we strike the Rue de l'ecole de Medecine where (No. 15 to R.) will be seen the Refectory, all that remains of the great Franciscan monastery, and now used as a pathological museum (Musee Dupuytren), for medical students. In this hall was laid the body of Marat after his a.s.sa.s.sination by Charlotte Corday, and the famous club of the Cordeliers, where the gentler rhetoric of Camille Desmoulins vied with the thunderous declamation of Danton to stir republican fervour, met in the Hall of Theology. We pa.s.s to No. 5, where are some remains of the old School of Surgery or Guild of SS. Cosmas and Damian, founded by St. Louis; adjacent stood the church of St. Cosmas, famous for the fiery zeal of its cure during the times of the League.

The surgeons of the Guild being compelled by their charter to give professional aid to the poor every Monday, the churchwardens obtained a papal Bull authorising them to erect in their church a suitable consulting-room for the use of the patients. In 1694 the surgeons built an anatomical theatre which, enlarged in 1710, is now used as an art school. We continue our pilgrimage and, crossing the Boulevard St.

Michel to the Rue des ecoles, descend on our L. the Rue de la Sorbonne and find the entrance to the beautiful late Gothic palace built for the abbots of Cluny in 1490.

[Ill.u.s.tration: TOWER AND COURTYARD OF HoTEL CLUNY.]

The delightful old mansion, (p. 159) now the Musee de Cluny, is crowded with a selection of mediaeval and renaissance objects unparalleled in Europe for variety and excellence and beauty. The rooms themselves, with their fine carved chimney-pieces, where on winter days wood-fires, fragrant and genial, burn, are not the least charming part of the museum. Many of the exhibits (about 12,000) are uncatalogued, and the old catalogue, long out of date, may well be cla.s.sed among the antiquities. The traveller will doubtless return again and again to this rich and fascinating museum. The present installation is provisional, and we do but indicate the chief cla.s.ses of objects exhibited, most of which are clearly labelled. L. of vestibule, Rooms I. and II. contain a miscellaneous collection of wood carving, statuary, ivories, etc. Room III. has some important examples of carved and painted altar-pieces: 709 is late fifteenth-century work; 712, Flemish of the sixteenth century; 710, a German domestic altar-piece, near which stands a fine Flemish altar-piece (no number), carved with scenes from the Pa.s.sion. On a screen in the centre are some important paintings, carvings and other objects of ecclesiastical art from the Rothschild Collection. Room IV.

shows some beautiful renaissance furniture, cabinets, medals, etc. To the R. is the smaller Room V. The chief exhibits here are an eighteenth-century Neapolitan _Creche_, with more than fifty doll-like figures; a rich tabernacle of plateresque Spanish work, and some furniture of interest. We return and descend to Room VI. (on the R), a large hall, where many important mediaeval sculptures will be seen. At the four corners are thirteenth-century statues from the Ste.

Chapelle. We may also mention: 429 (under a gla.s.s case), some lovely fourteenth-century statuettes, mourners from the tomb of Philip the Bold, by the Burgundian artist, Claus s.l.u.ter; a painted statue of the Baptist, Sienese work; statuette in wood of the Virgin, French art of the fourteenth century; 725, statuette in wood of St. Louis from the Ste. Chapelle. Other noteworthy examples of mediaeval plastic art by French, Italian and Netherland craftsmen will be found in this room, and around the walls are specimens of tapestries, carvings, paintings and mosaics, among the last being some from St. Denis and one, 4763, by David Ghirlandaio from St. Merri. We cross a pa.s.sage to the parallel Hall VII., where hang three grand pieces of early sixteenth century Flemish tapestry, ill.u.s.trating the story of David and Bathsheba. Among the statuary are: 251, Virgin and Child, French work of early sixteenth century; 448, The Three Fates, attributed to Germain Pilon, and said to be portraits of Diana of Poitiers and her daughters. 449, The Forsaken Ariadne; 456, Sleep; 450, Venus and Cupid; 479, a small and beautiful entombment, are French work of the sixteenth century. Hall VIII. Here are exhibited the sumptuously decorated robes of the Order of the Holy Ghost (p. 187); other examples of fine tapestry; a Venetian Galley Lamp; and some statuary of the sixteenth and seventeenth centuries.

We return to the pa.s.sage and ascend the stairs to the first floor.

Here are three galleries devoted to Faiences and other specimens of the potter's art of French, Italian, Flemish, German, Spanish, Persian and Moorish provenance. All are of admirable craftsmanship, the Italian (including some from Faenza itself, the home of Faience ware) being of especial beauty and excellence. Among the Della Robbia ware is an exquisite Child-Baptist by Andrea. We now ascend three steps to the room which contains, among other objects, a matchless collection of Limoges enamels; some Venetian gla.s.s; and the marvellous fifteenth-century tapestries from Boussac, probably the finest of that fine period which have survived to us. The upper portion ill.u.s.trates the Life and Martyrdom of St. Stephen; the lower, the story of the Lady and the Unicorn, or the Triumph of Chast.i.ty.

We descend to the Gallery of Hispano-Moorish and Persian pottery, and cross to a suite of small rooms where specimens of Jewish sanctuary art, old musical instruments, wedding ca.s.soni and Flemish cabinets are displayed. We then turn R. to the Hall of Francis I., with a stately bed of the period; carved cabinets and cupboards, and proceed direct to the room devoted to the ivories. These are of extraordinary variety and beauty, and range from the sixth century downwards. The next room is crowded with an equally varied collection of bronze and iron work, among which we note a fifteenth-century statuette in bronze of Joan of Arc. The examples of the locksmith's art shown are of great beauty and excellence. The elaboration of French keys has a peculiar origin.

Henry III., as a mark of royal favour, permitted his minions to possess a key of his private apartment: as a piece of swagger the royal favourite was wont to wear the key ostentatiously on his breast, whereby French smiths were spurred in emulation to produce keys of exquisite craftsmanship and design. Another kind of interest attaches to the key (No. 5962 in the case on the L. as we enter) which was made by Louis XVI. The following room contains specimens of the goldsmith's art. 5104 is a curious sixteenth-century model of a ship in gilded bronze, with figures of Charles V. and his court on the deck: it has an ingenious mechanism for discharging toy cannon. 5299, is a set of chessmen in rock crystal; 4988, the face of an altar, rich gold repousse work, was given by the Emperor, Henry II., to Bale Cathedral.

The gla.s.s case in the centre holds nine golden Visigothic crowns found near Toledo in 1860, the largest is that of King Reccesvinthus who reigned in the latter half of the seventh century; 5044 is a fourteenth-century Italian processional cross of great beauty. We retrace our steps to the Hall of Francis I., turn R. and enter the private chapel. Opposite the charming little apse are placed some admirably preserved fourteenth-century reliefs in stone from the Abbey of St. Denis. On leaving, we turn R. along the pa.s.sage, hung with armour and weapons, to the stairway, descend to Room VI., ground floor, open a door at its W. end, and in the twinkling of an eye are swept back nigh two thousand years along the stream of the ages, for the frigidarium of the Baths of the Palace of the Caesars is before us, a fabric of imperial architecture, spoiled of its decorations but yet ma.s.sive and strong, as of elemental strength, defiant of time, the imperishable mark of Rome. We descend and find in the centre the altar (p. 17), bearing the inscription of the _Nautae_. A statue of the Emperor Julian; some thirteenth and fourteenth-century statues are also exhibited. We may enter and rest in the garden where a twelfth-century cloister portal from the Benedictine Abbey of Argenteuil, a fourteenth-century portal from the Abbey of St. Denis, and other fragments of architecture are placed.

[Ill.u.s.tration: ARCHES IN THE COURTYARD OF THE HoTEL CLUNY.]

We return to the Rue des ecoles which we cross to the imposing new University buildings. The vestibule, grand staircase and amphitheatre are of n.o.ble and stately proportions and adorned with mural paintings, among which Puvis de Chavannes' great composition, The Sacred Grove, in the amphitheatre, is of chief interest.[192] We continue along the Rue de la Sorbonne and soon reach the old chapel, all that remains of Richelieu's Sorbonne, containing his tomb, a masterpiece of monumental art of the late seventeenth century, designed by Lebrun and executed by Girardon. The church of St. Benoist and its cloister, where Francois Villon a.s.sa.s.sinated his rival Chermoye, has also been swept away. We proceed by the Rue Victor Cousin, a continuation of the Rue de la Sorbonne, and debouch on the broad Rue Soufflot. Turning L., an inscription on No. 14 marks the site of the Dominican monastery where the great schoolmen, Albertus Magnus and St. Thomas Aquinas taught.

Opposite (No. 9), at the corner of the Rue St. Jacques is the site, marked by a plan, of the old Porte St. Jacques of the Philip Augustus wall. We are now on the Mount of St. Genevieve, crowned by the majestic and eminent Pantheon, whose pediment is adorned by David d'Angers' sculptures, representing La Patrie, between Liberty and History, distributing crowns to her children. Among the figures are Malesherbes, Voltaire, Rousseau, Mirabeau, Carnot, Bonaparte, behind whom stand an old grenadier and the famous drummer-boy of Arcole.

[Footnote 192: The College de France may be seen further along the Rue des ecoles at the corner of the Rue St. Jacques.]

The Pantheon has the most magnificent situation and, except the new church of the Sacre Coeur, is the most dominant building in Paris.

Its dome is seen from nearly every eminence commanding the city, and has a certain stately, almost n.o.ble, aspect. But the s.p.a.cious interior, despite the efforts of the artists of the third Republic, is chilling to the spectator. Swept and garnished, it has no warmth of historical or religious a.s.sociations; it is devoid of human sentiment.

The choice of painters to decorate the interior was an amazing act of official insensibility. The most discordant artistic temperaments were let loose on the devoted building. Puvis de Chavannes, the only painter among them who has grasped the limitation of mural art, has painted with restraint and n.o.ble simplicity incidents in the story of St. Genevieve. Jean Paul Laurens is responsible for a splendid but incongruous representation of the death of St. Genevieve. A St. Denis, scenes in the lives of Clovis, Charlemagne, St. Louis, and Jeanne d'Arc, by Bonnat, Blanc, Levy, Cabanel and Lenepveu, are all excellent work of the kind so familiar to visitors to the Salon at Paris, but lacking in harmony and in inspiration. The angel appearing to Jeanne d'Arc seems to have been modelled from a _figurante_ at the opera. The visitor who has perused the opening chapters of this book will have no difficulty in following the subjects depicted on the walls. A more ambitious scheme of decoration was abruptly closed by the Coup d'etat of Napoleon III.: Chenavard, who had been commissioned, in 1848, to decorate the interior by a series of forty cartoons, ill.u.s.trating the "History of Man from his first sorrows to the French Revolution,"

found his gigantic project made abortive by the Prince President's treachery.

To the L. of the Pantheon, the library of St. Genevieve stands on the site of the College Montaigu and behind, in the Rue Clotilde, will be seen the steep-pitched roof of the old dormitory and refectory of the monastery of St. Genevieve: to our L. stands the picturesque church of St. etienne du Mont (p. 85), whose interior is architecturally of much interest. The triforium, supported by round pillars and arches, in its turn supports a _tournee_, with another row of arches and pillars; some fine sixteenth-century coloured gla.s.s still remains. Biard's florid choir screen (p. 344) or _jube_ will at once attract the visitor, and the ever-present worshippers around the rich shrine R. of the choir will tell him that there such relics of the holy patroness of Paris as survived the Revolution are preserved. Two inscriptions near by recall the historical a.s.sociations of the site. Leaving by the door this side of the choir, we issue into the Rue Clovis: opposite we sight the so-called Tower of Clovis, now enclosed in the buildings of the Lycee Henri IV., and once the tower of the fine old abbey church of St.

Genevieve. A closer examination from the courtyard proves it to be partly Romanesque, partly Gothic. We descend the Rue Clovis and at No. 7 find one of the best-preserved remains of the Philip Augustus wall.