The beautiful antique rock-crystal vase, bearing the name of Aliénor d'Aquitaine. It was given by her to Louis VII., who presented it to Suger, who, in his turn, offered it to the Saints, as saith the inscription upon the foot: "This vase was given by Aliénor to Louis, her husband. Mitadol gave it to her grandfather, and the King to me, Suger; and I, Suger, to SS. Rusticus and Eleutherius."
The paten belonging to Suger's lost chalice. It is a serpentine disc incrusted with golden fishes.
A rectangular plaque of gold, repoussée and gilt, bearing inscriptions in Greek.
A statuette of the Blessed Virgin, in silver, repoussée, chased, and parcel gilt and enamelled. The Virgin holds a fleur-de-lys, enriched with precious stones, in her right hand. It was given to the abbey by Jehanne d'Evreux, in 1334.
A sceptre with a statuette of Charlemagne upon a lily, of the reign of Charles V.
Another statuette of the Blessed Virgin in silver repoussée and parcel gilt; with a little rock-crystal reliquary enclosing a piece of the swaddling clothes.
In the Bibliothèque:
A cameo (sardonyx) head of Augustus, formerly one of the gems of the reliquary containing the skull of S. Hilary. The reliquary was in the form of a mitred head, after the manner of that of S. Denis. The shoulders were vested in a cope, and this cameo set in the centre of the orphrey. The reliquary was made during the administration of Jérôme de Chambellan, grand prior from 1583 to 1606, but part of the mounting holding the pearls and stones seems to be of earlier date. There are three sapphires and three imitation rubies, separated by six bouquets composed of three pearls.[60]
A little chalcedony bust of Annius Verus as Bacchus, inscribed: Verinus consulis probat tempora. The bust bears a striking likeness to some medals and coins of the little son of Marcus Aurelius. It was the custom of the Roman consuls to send presents upon their appointments; thus, in sending this bust to a friend, some consul engraved the inscription, which signifies: The little Verus will remind you of my consulate. In the list by Dom Félibien of the treasury at S. Denis, this is called: Tête d'un enfant faite d'une agate orientale.
One of the most precious of the treasures was the Bacchic cantharus, called the Cup of the Ptolomies. It is a sardonyx cup upon a pedestal, with handles of vine stalks, and covered with bas-reliefs. It is supposed to have gained its name from having belonged to Ptolomy XI., the husband of Cleopatra, who bore the surname of Dionysos or Bacchus. From the subjects of the bas-reliefs, it was undoubtedly consecrated to Bacchus. It has also been called the Cup of Mithridates, as having perhaps belonged to the celebrated collection of vases formed by the famous King. Singular though it may appear, this cup dedicated to Bacchus was given to S. Denis by one of the Carlovingian Kings; was it some blundering over the names, Dionysos and Dionysius? The gold foot was added to give it the form of a chalice, says Tristran de Saint-Amant, and the "grossier distique latin," placed upon this foot, "était profondément gravé sur l'or et la gravure remplie d'émail de couleur d'acier braze." The following inscription is easily read in the engraving in Félibien's history, but not the date: Hoc vas Christe tibi mente dicavit tertius in Francos regmine Karlus.[61]
It has been thought that it was Charles the Simple who made the donation, but Félibien remarks that Charles le Gros as well as Charles le Chauve were also designated Charles III. In any case, it is known to have been in the treasury as early as the 9th century. In 1790, it was placed in the Cabinet de Médailles, but some years after it was stolen with the great cameo and other valuables. The thieves were arrested in Holland, and the cup and the cameo restored to the Bibliothèque; but the mounting of the latter and the foot of the cup had been melted up. According to a tradition referred to by Marion de Mersan, the queens of France drank consecrated wine from this cup upon their coronation day. Another tradition asserts that Henri III., in direful need of money, borrowed the cup, and pawned it to the Jews of Metz for a million of livres tournois.
A beautiful aqua-marine bust is the authentic portrait of the daughter of Titus, wife of Flavius Sabinus. It is signed Evodus, the name of a Greek artist known by two other signed gems. It formed part of the reliquary known as escrain or oratoire de Charlemagne. Félibien speaks of it thus: "Ce reliquaire n'est qu'or, perles et pierreries. Sur le haut est répresentée une princesse que quelques uns estiment être ou Cléopâtre, ou Julie, fille de l'empereur Titus." Some of the stones are gone, but one of the remaining sapphires is an antique intaglio representing upon one side a dauphin, and upon the other a monogram surmounted by a cross of the 5th or 6th century. The letters of the monogram are ΜΑΘΥ, possibly the initials of the owner, or the designation of the Virgin: ΜΑΡΙΑ ΜΗΤΗΡ ΘΕΟΥ (Marie, mère de Dieu).
STEPS LEADING TO THE APSE.
STEPS LEADING TO THE APSE.
The Coupe de Chrosroës I., King of Persia, of the dynasty of the Sassanides (531-579) is of transparent rock-crystal, engraved with a representation of the King sitting upon his throne. In the history of the abbey, published in 1625, by F. I. Doublet, we find this cup mentioned as having been in the treasury, under the name of Solomon's cup, for more than ten centuries, "et donnée par l'Empereur et Roy de France Charles le Chauve." How it got into the hands of the King is not known. Chrosroës was defeated by Justinian, general of Tiberius Constantine, Emperor of the East; so that possibly the cup found its way to Constantinople after the battle. Félibien's description of it is: "Espèce de sous-couppe d'or ornée de crystaux de différentes sortes de couleurs. Au milieu l'on y voit un Roy assis dans son trône."
Such are a few of the treasures formerly at S. Denis. The church is lovely now, garnished only with its tombs and glass; what it must have been upon a great festival a couple of hundred years ago, or still farther back, imagination must be left to picture to itself. Even now, upon the fête of the Saint (October 9th), the effect of the procession, as it winds up and down the aisles and steps, is very fine, and quaint, too; for the Suisses wear black hats and feathers, cloaks, breeches, and stockings, after the style of Lawrence's "Kemble as Hamlet"; indeed, they seem to be the Dane, according to the courtly painter, personified. The costume of the boys, also, is different to that of the other churches. They wear violet cassocks, white cottas, scarlet capes with yellow edges, and red skull caps. The whole affair, the old canons bearing the relics, the boys in their quaint attire, the old-world vergers and beadles, the lights few and far between in the great dim church, the vistas of arched aisles ending in darkness, and the sparse congregation, give the impression of some period long before the end of this prosaic 19th century. The châsses are in their old places upon the raised apse behind the altar; but they are of no artistic value. The setting of the jewels is there, but the jewels are gone. The church remains one of the grandest of its date, but its contents have been mended, patched, and re-made. Still, it is an exquisitely beautiful relic, left us by the ages of Faith.
S. Denis still goes barefoot, but not for love. Stern necessity keeps it so, or thrusts its cold feet into wooden shoes. It carries its red flag also, and waves it menacingly at all who love peace and quiet. Likewise, it perambulates in processions; but its relics are rags and hungry children. From a haven of rest, raised up with perhaps some grains of foolish superstition; from an artistic centre of all that was beautiful; from the trysting place of enthusiasts, diluted probably with a certain amount of bigotry, S. Denis has become faithless, hopeless, and restless; bigoted in its excessive Communism, unjust in its perversion of true Socialism, flaunting its Anarchic oriflamme in the face of law and order. It is a strange contrast; but perhaps the cause and effect are nearer allied than is generally supposed.
Situated in the Rue du Temple, the church dedicated to the great Hungarian princess formerly faced the entrance to the grim fortress of the Templars, where the poor little Dauphin sighed out his infant life. The church was built for the nuns of the third order of S. Francis, of which S. Elizabeth was a member; and the first stone was laid in 1628 by a very different sort of Queen, Marie de' Medici. The exterior, with its Doric pilastered doorway, and the interior, with its poor glass and indifferent sculptures, are alike utterly uninteresting; but the white marble font, bearing the date of 1654, and the woodwork which ornaments the aisle of the sanctuary, are worth a visit. The latter consists of a series of little panels representing scenes from the Old and New Testament in bas-relief, of the end of the 16th century, and are said to have been originally in a church at Arras. There is nothing in the building worthy of its patron, that most perfect of saints, whether we think of her as woman, as queen, or as mother.
SAINT ÉTIENNE DU MONT.
SAINT ÉTIENNE DU MONT.
Upon the summit of the hill which rises up from the Seine, opposite and on the south side of Notre-Dame, is the church of S. Étienne du Mont. Some few years ago this "mountain" was an interesting hunting ground to the archæological explorer and the collector of bric-à-brac; but it has been so cut through by new streets and boulevards that it has almost been improved out of existence. At the foot of it, in a little street turning on from the Quai de la Tourelle, is all that remains of the famous college of the Bernardins, now used by the sapeurs-pompiers. The college was founded by an Englishman, Stephen of Lexington, Abbot of Clairvaux, in 1244, upon some ground belonging to the rich abbey of S. Victor; Alphonse, the brother of S. Louis, being the titular founder and protector of the establishment. The great church, begun in 1338 by Pope Benedict XII. and Cardinal Curti, to replace the one built by Stephen Lexington, was never finished, but was considered, in the 14th century, to be of great beauty. (Pope Benedict, as Jacques Fournier, was professor of theology in the college.) But more fortunate than the church, the refectory has remained intact in all its beauty until our own time, though unfortunately, in 1845, it was sadly mutilated in order to adapt it for use as a barrack. A portion of the cloister may still be seen in the Rue de Poissy, a pointed arch built into the modern wall of a house with square windows in between. It is time the municipality of Paris or the Society for the Preservation of Ancient Buildings bestirred itself to restore the few fragments of old Paris which yet remain. The Revolution did much damage, but often it only put the conventual buildings to secular uses without destroying them, leaving for later governments, and those moreover professedly religious, to utterly demolish the mutilated monasteries and churches, in order to make straight streets and spacious boulevards, which, beautiful as they are, do not prevent us from regretting the past.
The convent of S. Geneviève was founded by Clovis, and so extensive were its lands and dependencies that ere long it drew to it a large population of workmen and labourers for the cultivation of its land. A priest, one of the monks of the abbey, was appointed to take spiritual charge of these people; and from this commencement grew the parish of S. Étienne. Originally the congregation met and worshipped in the crypt of the abbey church, which was dedicated to Our Lady; then the chapel was placed under the protection of S. John the Evangelist, and called St. Jean-du-Mont. But at the beginning of the 13th century the congregation outgrew its chapel, and in 1224 the Bishop of Paris authorised the building of a church by the side of the abbey, to be consecrated to the memory of S. Étienne, the proto-martyr. This first church, in fact, was only a part of the abbey; having had no separate entrance of its own, it could only be entered by a doorway from the choir of S. Geneviève. The reason for changing its name for the third time was probably the demolition of a church dedicated to S. Stephen to make space for Notre-Dame. The memory of the first of martyrs being dear to the citizens, nothing would be more appropriate than the naming of a new church to take the place of the old one, although upon a different site. The first mention of S. Étienne is in the History of Guillaume le Breton, in the year 1221.
This first church lasted three hundred years, and then again, the population having increased enormously, S. Étienne was found to be too small for its congregation, and another and finer church was projected. In 1491 it was deemed better to rebuild than to patch up and enlarge the church; but many years passed in projects and delays, and it was only in 1517 that the work was actually commenced. Abbot Philippe Lebel finished the choir in 1537, and in 1541 the Bishop of Mégare consecrated the altars in the name of the Bishop of Paris; but that the church was not finished in 1552, or even in 1563, the diocesan permission to apply the Lenten offerings to the work is sufficient proof. The jubé was commenced in 1600, the porches nine years later, and the chapel of the Virgin (rebuilt) was only finished in 1661. It was Queen Marguerite de Valois, the lady who so strangely prances about Paris upon a white palfrey at dead of night in the much-admired controversial opera, who laid the first stone of the great portal in 1610; and, moreover, she gave a sum of three thousand livres to aid the work; but what was this when so much was wanted? All was not complete until 1626, and meanwhile the alms during Lent were appropriated to the building fund. However, a glance at a slab of black marble on the north wall of the nave will tell us that on the 25th February, 1626, the Sunday called Sexagesime, under the pontificate of Urban VIII., and in the reign of Louis XIII. of gracious memory, the church and the high altar were dedicated to the glory of God and of the Virgin Mary by the "révérendissime messire Jean-François de Gondi," archbishop of Paris. Another inscription informs the reader of a wonderful accident which took place on this occasion:—
"Et pendant les cérimonies de la dédicace, devs filles de la paroisse tombèrent dv hauvlt des galleries du cœvr, avec l'appvy et devx des ballvstres, qui fvrent miraculeusement préservées, comme les assistants; ne s'étant rencontré personne sovbs les rvines, vev l'affluence dv pevple qvi assistaient avs dites cérimonies."
Before the Revolution the curé was always one of the regular canons of S. Geneviève. At the end of the 16th century he was assisted in his duties by a community consisting of twenty-four priests. In 1791, when the parishes of the city were reorganized, it was determined to remove the relics, the ornaments, and the monuments of the abbey church to S. Étienne, and to re-name the latter after the maid of Nanterre; but the decree was never carried out. Reforms and resolutions followed each other so rapidly that there was no time to put them into execution.
S. Étienne is a cruciform building, very much leaning to the right (as is so common in old churches), with a nave, two aisles, and nineteen chapels. The transepts scarcely project beyond the nave. The exterior is a mass of elegant ornamentation, and on the north side, under the windows, is a passage which connects the porch of the second bay with the charnier, a sort of cloister, built at the end of the Lady Chapel, exterior to the church. The enclosure within this cloister was formerly the little burial ground; the great cemetery being situated in the square which fronts the church.
SAINT ÉTIENNE AND THE OLD CHURCH OF SAINTE-GENEVIÈVE.
SAINT ÉTIENNE AND THE OLD CHURCH OF SAINTE-GENEVIÈVE.
There is something extremely coquettish and fascinating about the building, with its high-pitched roof, springing from a Renaissance façade, and its 15th century tower surmounted by a pepper-box lantern.
The old church of the abbey, which completely joined S. Étienne, has been entirely swept away to make room for the Rue Clovis; but the refectory and the tower still form a part of the Lycée Henri IV., a little turret at the easternmost angle of S. Étienne indicating the extremity of the monastery's domains.
Above the great doorway is a bas-relief of the stoning of S. Stephen and the legend: Lapis templum Domini destruit, lapis astruit. Right and left are statues of S. Étienne and S. Geneviève, the two patrons; above are Angels bearing torches. Upon the pediment is the Resurrection, and under the lintel we read: Stephano archimartyro sacrum. Two Angels above the great rose window bear the arms of Marguerite de Valois, and at the summit are the statues of S. Hilary and S. Benedict, patrons of two churches in the parish, now demolished.
THE SCREEN LOOKING TOWARDS THE CHOIR.
THE SCREEN LOOKING TOWARDS THE CHOIR.
The interior of S. Étienne is no less singular than the exterior. The side aisles are nearly as high as the nave, and have enormous windows. The shafts which support the vault of the nave are of great height, and the bays are of the same elevation as the side aisles. Above these bays is a clerestory, the windows of which are as broad as they are high, with depressed pointed arches. In order to diminish the enormous height of the bays, the architect conceived a curious device. At about one-third of the height of the shafts he has thrown a depressed arch from pillar to pillar, which forms an elevated passage round the church. It is arrested at the transepts, but taken up again round the choir. The passage encircling each pillar is just wide enough to enable a person to walk. These tournées, as the old records call the gallery, and the splendid jubé form a distinctive feature of the church. On the side of the nave the tournée has an open pilaster balustrade, and at the entrance of the choir it joins the jubé. On each side of this is a spiral staircase leading up first to the jubé and then, a second flight to the choir gallery, the former being formed of a single flying-arch supported by two pilasters. The whole screen is ornamented with rich carving; an Angel with palm leaves is in each spandrel, and above all is a huge crucifix, completing this beautiful and original specimen of French Renaissance, the only jubé which has survived the 17th century restorations. It was the work of a celebrated sculptor named Biart (père). Upon each side of it is a doorway, surmounted by a sitting figure, listening to the chanting of the Gospel. Ascende qui evangelizas Sion. Audiam quid loquatur Dominus meus, are the words upon the right. At the left: Quam dulcia faucibus meis eloquia tua. Levavi manus meas ad mandata tua.
The pendant bosses of the nave and crossing are exceedingly rich in ornament—garlands of flowers, Angels' heads, the Symbols of the Evangelists, rosettes, and armorial bearings. The central boss of the transept falls 18ft., and has for ornament Angels playing instruments, the emblems of the Four Evangelists, and a Lamb encircled with thorns and bearing a crown.
DOORWAY OF THE SCREEN.
DOORWAY OF THE SCREEN.
The pulpit was designed by Laurent de la Hire, the painter, and sculptured by Claude Lestocard. It is a mass of rich carving. A huge Samson supports the lower part, while upon the canopy are little Angels of the winged-Cupid tribe, and at the summit a draped Angel with a trumpet. Samson is sitting upon the lion he tamed with the jawbone of an ass, and holds the strange weapon in his hand. Sauval remarked that il la porte bien (the pulpit), and certainly he appears to be doing so without much effort. The medallions upon the staircase and round the pulpit represent Evangelists and Doctors, among them Augustin and Jerome, and scenes from the life of S. Stephen, in which he figures as a preacher. The Cardinal Virtues go hand in hand in a becoming fashion with the Theological Ladies: Prudence bearing her mirror, which reflects the wisdom of the serpent hard by; Justice has her sword; Faith a heart as well as her cross; Hope leans upon her anchor; Temperance pours out water from an amphora; Courage holds a dangerous weapon of the mallet order; Charity is surrounded by the most charming of children. All these statuettes are exquisitely carved. Behind the preacher the Word of God, bearing the world, blesses those who preach the Gospel in His name; upon His head the Holy Spirit spreads His wings. Upon the edge of the canopy little Angels are playing with the crowns destined for the elect; and at the summit is a larger Angel bearing a trumpet to awake them from their long sleep. The organ is also a mass of fine carving: S. Stephen stoned; S. Geneviève and her sheep; the Elders of the Apocalypse; the "Jewish ladies of the Bible," as a German kindly interpreted, and the Passage of the Red Sea; above all, our Blessed Lord ascending to Heaven.
When the Abbey of Port-Royal was destroyed in 1710, the body of Racine was transferred to S. Étienne and placed in the crypt of the Lady Chapel by the side of Pascal; and in 1808 a Latin epitaph, composed by Boileau, which was discovered in the pavement of the church of Magny-les-Hameaux, was also transferred. Ten years later, on April 21st, 1818, a great function was held in honour of the poet and the author of those much-loved Pensées; the Academy sent a deputation, and one of their members, the Abbé Sicard, officiated.
Another epitaph in the North aisle of the nave records the virtues and wisdom of Jacques-Bénigne Winslow, the anatomist and member of the Academy of Sciences, brought back from his evil and heretical ways by the preaching of Bossuet. Eustache Lesueur, the somewhat feeble painter of the Life of S. Bruno, was also buried at S. Étienne. Many other names adorn the list of those laid to rest in the churches or burial grounds of the parish: Vigenère, secretary to Henri III., 1598; the surgeon, Thognet, 1642; Antoine Lemaistre, and Lemaistre de Sacy, brought from Port Royal in 1710; the botanist, de Tournefort, 1708; Rollin, rector of the University, who died in 1741, in the Rue Neuve de Saint-Étienne du Mont, which was re-named after him.
But it is the glass of S. Étienne which is perhaps its chief glory. Although a great deal has been destroyed and patched up, much remains which is quite worthy of study, being, as it is, in the best style of the 16th and 17th centuries, and the work of Jean Cousin, Claude Henriet, d'Enguerrand Leprince, Pinaigrier, Michu, François Périez, Nicolas Desengives, Nicolas Lavasseur, and Jean Mounier. But, unhappily, mendings and patchings have quite destroyed our power of discovering to which artist the different windows are due. In the charnier there is a very curious composition, illustrating the allegory of the wine-press; our Lord lies upon the press in the presence of the Father and the Holy Spirit, bathed in a sea of blood, which flows from His side, His hands, and His feet. Underneath, the blood pours down through an opening into a large cask. Prelates and kings[64] carry to a cellar those barrels which have been filled with the Sacred Blood by the Doctors of the Church; while, from under a rich Classic portico, we see the faithful flocking to confess their sins, and to receive the Holy Eucharist. In the distance, the Patriarchs are digging the ground and pruning the vines, while the Apostles gather in the vintage. S. Peter throws the grapes into a vat, and a chariot drawn by the Ox, the Lion, and the Eagle of the Apocalypse, and guided by the Angel of S. Matthew, carries the Divine vintage to the four quarters of the earth. Such is the allegory of the wine-press, the Pressoir mystique, the outcome of the verse of Isaiah: "I have trodden the wine-press alone, and of the people there was none with me"; but, unfortunately for the correctness of the illustration, there is, in this window, a large concourse of people, great and small in worldly means and wisdom. The window is attributed to the Pinaigriers. Robert Pinaigrier had painted the subject for the church of S. Hilaire, at Chartres in 1530; and about a century later Nicolas Pinaigrier reproduced his father's design, with some modifications, at S. Étienne.
The emblem of the Precious Blood was adopted by many confraternities of wine merchants, which led Levieil to think that this window was given to the church by Jean le Juge, a very rich wine merchant. Sauval speaks of this subject being represented at S. Sauveur, at S. Jacques de la Boucherie, at the hospital of S. Gervais, and in the sacristy of the Célestins; and l'abbé Lebeuf notes a window in S. André des Arcs, representing Christ crushed like the grapes in a wine-press. The cathedral of Troyes and the church of S. Foy at Conches still possess windows of the same character.
The following verses describe this subject in quaint old French:—
This strange design reminds one somewhat of a little chapel near Partenkirchen, Tyrol. Up the hill is a Way of the Cross and at the summit a tiny chapel containing a life-size figure of our Lord, behind a grating. At his feet is a pool of water—I imagine with some miraculous powers; a cup fastened by a chain allows the passer-by to drink thereof. But the strange part is the supply of water which comes from our Lord's wounds, and fills the pool—symbolic of His being the living water, the well from which whosoever drinketh obtaineth everlasting life. The idea is somewhat materialistic and startling to the mundane dweller in cities, but to the simple-minded inhabitants of Tyrol it is full of poetry.
The oldest glass in S. Étienne is in the upper windows of the apse, representing the apparitions of Christ, to the disciples on the road to Emmäus, to the Magdalen, to S. Peter, and to the three Maries. In the western rose window the Eternal Father is vested in the insignia of the Pope, that common device of 16th century Ultramontanism. Far better is the design of a window on the north side of the nave: the Eternal Father seated in glory, with the book of the seven seals on His knees; the Lamb opens it, the four-and-twenty Elders sit around, and Angels pour the Divine anger from chalices upon the earth. The donors were evidently a large family, for they fill up all the lower part of the window, one behind the other, devoutly kneeling upon their knees. Some little scenes from the legend of S. Claude are charming in colour and design; so, too, are those from the life of the Virgin.
In one of the chapels of the nave we see a family repast, symbolising the wedding feast of the Gospel. The banquet is prepared, but the guests are not ready; one is going to fetch his wife, another takes an excursion to his country house, a third is inspecting a couple of oxen—but all beg to be excused.
The glass of S. Étienne was given by enthusiastic parishioners; indeed, so much rivalry took place amongst them, to fill the church with richly coloured windows, that the authorities were obliged to restrain their eagerness, and to point out that the bells, the porch, and other parts of the building required their aid.
It was at S. Étienne that Monseigneur Sibour, archbishop of Paris, was assassinated in 1857, during the neuvaine[65] of S. Geneviève. The procession had travelled round the church, and was re-entering the nave, when the assassin, a discontented priest, rushed at the prelate and stabbed him. He was carried into the presbytery, but died soon after.
The main attraction of S. Étienne is the tomb of S. Geneviève. Long before the Panthéon ceased to be the church of the maid of Nanterre, it was to S. Étienne that the faithful journeyed to pray for her intercession, and to have their belongings laid upon her coffin. Here, any day, but especially during the octave of her fête, you may see people bringing handkerchiefs, rosaries, crosses, towels, etc., to be placed in the shrine, in order to carry the Saint's blessing and help to the sick and the suffering at home. The stone coffin is said to have been found in the crypt of the abbey church during its demolition in 1801, but whether it be the original one in which Saint Geneviève was buried in 511 it is impossible to say, as it is so surrounded by ornamental ironwork that its workmanship cannot be studied; but the effect of the little chapel containing this tombeau, with its lights and flowers and stained-glass, is very charming, and during the neuvaine, when the church is ablaze with candles, and hundreds of people font queue to the shrine, it is a sight not easily forgotten.
The history of this culte is elaborately worked out. S. Geneviève was buried, it is asserted upon pretty good authority, in the crypt of the old abbey church of the Holy Apostles.
TOMB OF SAINTE-GENEVIÈVE.
TOMB OF SAINTE-GENEVIÈVE.
When the Normans overran the country, the monks took up the body of their patroness, and carried it off to distant parts in a wooden box. Peace being restored, the religious went back to their abbey and repaired the various tombs, among others those of S. Prudence and S. Céran, Bishop of Paris; but the remains of S. Geneviève were not replaced in the stone coffin in which they had previously been laid. A splendid châsse was made for their reception, and until the Revolution, upon every occasion that the good citizens of Paris fell into any grievous trouble, the reliquary was carried about, up and down the "mountain," in and out of the tortuous streets, as a means of gaining the intercession of the patron Saint. And no less honoured was the empty tomb; the faithful paid their respects to that, after having visited the châsse.
In 1628, when Cardinal de La Rochefoucault began to restore the church, he covered the crypt with costly marbles. In the centre was the stone coffin of the Saint raised upon a few steps, enclosed by four columns and an iron grille. Right and left were the tombs of S. Prudence and S. Céran.
At the Revolution all was dispersed or destroyed, the châsse was turned into coin, the Saint's bones were burnt on the Place de Grève, and the tomb broken; but in 1802, when Amable de Voisins became curé of S. Étienne, he obtained permission from the archbishop, M. de Belloy, to translate the fragments of the stone coffin to S. Étienne, and to hold the festivals in the Saint's honour in that church.
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 class of itinerant vendors of goods as at the various fêtes and fairs. At some, they sell gingerbread, pop-guns, and penny trumpets; at others, and particularly at S. Étienne, 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 reçu le bon Dieu, Madame?" "Mais oui, Mademoiselle; et après, nous sommes allés, mon fils et moi, déjeûner au restaurant Voltaire," is the edifying conversation one hears in the omnibus. It is all on a par with the midnight mass and the Réveillon; 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 Trèves, 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. Geneviève'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 God 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. Geneviève's bones be at S. Étienne when we know they were burnt on the Place de Grève? 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 Chelles amongst others.
The ordinary offices at S. Étienne 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 passes 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. Étienne 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 curé, 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.
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 façade, 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 "goût barbare qui choquait les yeux!"
Père Du Breul (one of the Benedictines of S. Germain des Près), writing in 1612 in his Théâtre des Antiquités de Paris, speaks of the church as follows: "Ce sera un des plus beaux bâtiments de l'Europe, s'il peut être parfait comme il a été commencé; car rien n'y manque pour ce qui est de la perfection de l'architecture, soit pour le haut exhaussement, les fenêtres et ouvertures, et aussi l'enrichissement des diverses frises et moulures de toutes sortes et façons. Toutefois, pour la grande dépense qu'il y conviendrait faire, il est demeuré imparfait jusques à présent." To meet this grande dépense, the chancellor Séquier, 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 goddess at the entrance to the Rue Coquillière, 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 passed 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 documents 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 curé appealed to the abbot of S. Geneviève, 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'église Saint-Eustache, and the dean of S. Germain, who seems to have been of a combative temperament. This curé's name figures at the head of the list of rectors of the church, which ends with another of the same name, the grand abbé Simon who was seized by the Communists, and all but received martyrdom with Archbishop Darboy and the curé of the Madeleine, Duguerry. L'abbé 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 substitution 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 passage 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 Séjour (now Rue du Jour), next to the Hôtel 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 fête 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 gods, 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 fortitude, 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 Classic 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 fête 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 passed 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 passionately, 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, Sempronius, 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 Sempronius 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 goddess 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 Sempronius 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 God 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 compassion, and prayed that their son might be restored to health; and her prayer was granted. Then Sempronius 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 Sempronius 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 God. 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 François Ier. L'abbé 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 Hôtel 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 Hôtel 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 æsthetic 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 passed 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 unbiassed 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 glass 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.
SAINT-EUSTACHE FROM THE HALLES CENTRALES.
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 Mégare sixteen years previously. In 1552 it was helped on again by Lenten offerings, in return for dispensations to consume butter 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 chœur est un des plus beaux et un des plus grands de Paris après celui de Notre-Dame, large, spacieux, garni de quatre rangées 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 ciselé et doré. Toute la clôture de ce chœur est composée de piliers de cuivre et de marbre. Au derrière est un autre autel de bois où l'art de la menuiserie n'est pas épargné, non plus que l'or et le marbre, et dans cet autel est le sainct ciboire où 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 massif, illustré d'ouvrages et ciselures de pierre. Au-dessus de la grande porte par dehors est une galerie environnée de balustres; au deux coings de ce portail sont commencées deux grosses tours. En celle de main droicte sont les cloches. Aux deux costés de devant sont les images de pierre de Saint Eustache et de Sainte Agnès, patrons de la dite église et au dehors un assez ample parvis entouré de piliers." Writing a century later Piganiol de la Force only speaks of this part of the church. "Il était formé par six piliers buttants d'environ trente pieds de saillie au delà du pignon, dont deux aux encoignures de dix pieds d'épaisseur; deux autres de treize pieds servaient à soutenir la poussée des arcades intérieures qui exigeait une grande solidité. Ces quatre piliers formaient trois travées; dans celle du milieu était la porte d'entrée; les deux autres avaient été construites pour porter deux tours, et dans leur intérieur 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 substituted; for Mignard's frescoes are immortalised by Molière in his Gloire du Val-de-Grâce. They represented the Heavens with the Almighty surrounded by Angels, the Circumcision, and the Baptism of Christ: