Chapter MCCCXX: Le DIX Septiesme Jour De Jun (7)

The apse has been disfigured, after the manner of S. Séverin and S. Germain l'Auxerrois, by Corinthian columns, pilasters, monograms, and trophies--the work of Lepautre. The _jubé_ has gone, and divers other Gothic "excrescences," and the church remains a grand example of the last century barbarism. Well has Victor Hugo described those gentlemen, so-called artists, who fell down and worshipped Fashion, as set by its 18th century votaries: "Les modes ont fait plus de mal que les révolutions. Elles ont tranché dans le vif, elles ont attaqué la charpente osseuse de l'art; elles ont coupé, taillé, désorganisé l'édifice, dans la forme comme dans le symbole, dans sa logique comme dans sa beauté. Et puis, elles ont refait; prétention que n'avaient eue, du moins, ni le temps, ni les révolutions. Elles ont effrontément ajusté, de par _le bon goût_, sur les blessures de l'architecture Gothique leurs misérables colifichets d'un jour, leurs rubans de marbre, leurs pompons de métal: véritable lèpre d'oves, de volutes, d'entournements, de draperies, de guirlandes, de franges, de flammes, de pierre, de nuages, de bronze, d'amours replets, de chérubins bouffis, qui commence à dévorer la face de l'art dans l'oratoire de Catherine de Médicis, et le fait expirer, deux siècles après, tourmenté et grimaçant, dans le boudoir de la Dubarry."

SAINT-LEU-SAINT-GILLES.

About the year 600, the town of Sens was besieged by Clotaire's general, Blidebodes, and grievous was the pain and suffering to which the inhabitants were subjected. But the bishop, Lupus,[99] Leu, or Loup was a holy man, and while the warriors fought he passed his time in prayer. Then he bethought him of a little stratagem. Ostensibly for the object of collecting the citizens for prayer, he set to, and vigorously pulled the church bell. The crowd rushed from all parts of the town, and following the example of their spiritual father, they threw themselves on their knees. Presently came the news that the siege was raised; at the sound of the bell, the enemy had fled precipitately. This, all but miracle, may be accounted for by the fact that bells were first introduced into France about this time (615); and if Clotaire's soldiers, coming from the north and west, had never heard any before, they may have felt much the same sort of terror as was said to have been instilled into the natives during the Ashantee war by the Scottish bagpipes.

Considering that the church has two patrons, it ought surely to be in some way remarkable; but the fact is, it is a very insignificant little building, and devoid of beauty of any kind. It formerly belonged to the Abbey of S. Magloire from which it was separated by only a small space of ground; the abbey having been situated in the Rue S. Denis, and the church in what is now the Boulevard Sebastopol. The latter must have been built in the 13th century, as the abbé Lebeuf found a notice in the archives of S. Magloire to the effect that some little bells had been placed in S. Leu. The church has been so repaired, so cut about (the east end was lopped off when the new boulevard was pierced); it has been so mutilated and travestied, that little remains of the old building. Some of the bosses are elegantly and curiously carved. We see S. Giles and his hind, and S. Loup in episcopal vestments; the 17th century marble bas-reliefs illustrating the Passion; quaint emaciated bodies and large heads are the characteristics of the crowd.

In one of the chapels, the first on the south, is a curious picture commemorating a terrible event, which led to a miracle. The inscription reads thus:

CETTE IMAGE A ESTÉ FAITE L'AN 1772
EN L'HONNEUR DU SIGNALE MIRACLE ARRIVÉ À PARIS À LA RUE AUX
OURS PAROISSE DE ST. LEU ST. GILLES LE 3^{ME} JUILLET L'AN 1415
EN MEMOIRE DE QUOY.
LES BOURGEOIS DE LA DITE RUE TOUS LES ANS À PARCIL JOUR
BRULENT L'EFIGIE
DU MALFAICTEUR QUI MALHEUREUSEMENT FRAPPA L'IMAGE DE LA
SAINCT
VIRGE DE LA QUELLE SORTIT DU SANG ET FUT PUNI PAR ARREST DE LA
COUR DE PARLEMENT COME IL EST REPRÉSENTÉ CY DESSOUS.

The picture represents the Virgin and Child sitting under an elegant baldachino, the curtains of which are borne by Angels, who are holding, at the same time, a crown over the head of the holy mother. The following description by Père Du Breul[100] gives the story of the miracle:

"Le troisième du mois de juillet 1418, veille de sainct Martin,[101] Bouillant, un soldat ou goujat sortant d'une taverne qui estoit dès lors en la rue aux Ours, désespéré d'avoir perdu tout son argent et ses habits à jouer, jurant et blasphémant, frappa furieusement d'un couteau une image de la Vierge Marie qui estoit au coin de ladite rue. Laquelle image rendit du sang en abondance; de quoy estant advertie la justice, il fut mené par devant l'image, fut frappé d'escourgées depuis six heures du matin jusques au soir, tant que les entrailles luy sortoient, et eut la langue percée d'un fer chaud. Au mesme lieu, tous les ans et à tel jour, on fait un feu pour souvenance de ce miracle.... Audit lieu se voit encores une image de Nostre Dame enfermée d'un treillis, auprès de laquelle, contre la parvy, le jour que ce faict ledit feu, l'on attache une tapisserie où est représenté l'histoire susdite."

Horrors of this kind were common enough in the 14th and 15th centuries; indeed, when we think of Damiens' tortures, even the 18th century was no more humane or decent. In the account of the Black Death in 1348, when 500 persons were buried daily, and Jews were tortured and burnt for poisoning the people (as the populace affirmed), an order of Philippe IV. was issued that all blasphemers should have their lips or tongues cut off, as a sanitary measure to dispel the plague. It is curious that such doings should be commemorated in a church dedicated to S. Giles, that gentle hermit who screened the wounded hind from its pursuers, and gave an eternal reproof to the votaries of the hunt. One can imagine what the hermit-Saint would have thought of thus torturing a man, being not only the protector of hunted animals and woodlands, but also of those specimens of human misery, the lepers. Yet for many years the hideous cruelty described above was celebrated as a sort of Guy Fawkes festival, with fireworks, and mannikins of gigantic size, which were marched about the neighbourhood to the terror of all the youthful inhabitants.

SAINT-LOUIS D'ANTIN.

Little need be said of the church which formerly belonged to the Capuchins who were transferred from the Faubourg S. Jacques to the new quarter of the Rue d'Antin in 1783. The church was built by Brongniard, but is of no importance whatever. It now forms a part of the Lycée for those connected therewith who do not find science and literature all that is requisite to their souls' weal.

SAINT LOUIS EN L'ILE.

This church stands upon the little island of the same name, and was commenced by Louis Levau in 1664; Gabriel Leduc continued the work, and Jacques Doucet finished it in 1726. Men are said to be happy if they are minus a history. Not so churches; without it they are anything but interesting. And so we will pass on from the second S. Louis, just noting some of the modern woodwork as respectable.

SAINT-LOUIS DES INVALIDES.

Built by Libéral Bruant from 1671 to 1679, this church has a certain grandeur, and could the dome be seen from it by taking away the intervening partition of ugly painted glass, it would be very imposing. The latter, the burial-place of Napoleon and of some of his generals, contains also monuments and statues of other military heroes. This part, the cupola (or Tombeau as it is generally termed), was built by Jules Hardouin Mansard, and dedicated by the Cardinal de Noailles in 1706. The exterior is very fine, and, with its gilding, forms a beautiful landmark for all parts of the city and suburbs. The interior, if somewhat pompous, and over addicted to yellow glass, is nevertheless very grand; and the general effect of the magnificent baldachino over the altar (just such an arrangement as was wanted in S. Paul's), and the subdued light, make a decidedly striking _coup d'oeil_.

The statues of Charlemagne and of S. Louis are by Coyzevox and Nicolas Coustou; the cupola was painted by Charles de Lafosse and by Jouvenet. The statue of Turenne, which has at last found a resting-place, after having been shunted about since its departure from S. Denis, is the work of Tuby and Marsy. In the centre, under the beautiful dome, is Napoleon's tomb, sunk some feet below the surface.

In the chapel proper are rows of flags of all nations suspended from each side of the roof; but beyond these there is little that is picturesque except during the military mass on Sunday morning. Then, when the pensioners line the aisle, bearing their swords and halberds; when the drums beat at the Elevation, and the old men present arms, the effect is both grand and intensely pathetic. Formerly the military band played throughout the offices; now the duty is done by the organ.

LA SAINTE-MADELEINE.

If good materials and excellent workmanship can make a building interesting, assuredly the Madeleine ought to be so. Commenced in 1764 as a church, its fate was somewhat similar to that of S. Geneviève, for, in 1806, Napoleon, then busy in Posen, sent his orders that it should be finished as a Temple of Glory. The pediment was to bear the following inscription:--"L'empereur Napoléon aux soldats de la grande armée;" and the 5th article of the decree was thus composed: "Tous les ans, aux anniversaires des batailles d'Austerlitz et d'Iéna, le monument sera illuminé, et il y sera donné un concert précédé d'un discours sur les vertus necessaires au soldat, et d'un éloge de ceux qui périrent sur le champ de bataille dans ces journées memorables.... Dans les discours et odes, il est expressément défendu de faire mention de l'empereur."

Pierre Vignon carried on the work, and the building grew into a magnificent temple, planned upon the Maison Carrée of Nismes. The results of Waterloo turned it again church ways, but it was not finished until 1842. The bronze doors are perhaps the best work of Baron de Triqueti; and the group of the Magdalen over the altar may be no more mundane and meretricious than is usual in Marochetti's performances. The picture in the vault over the altar is a jumble by Ziegler of sacred and secular personages, from the Magdalen and her Master down to Napoleon the arrogant. It is supposed to be an allegory of the history of Christianity, which Clovis introduced to France, and Napoleon patted on the back by means of the Concordat. The most important position in the picture is occupied by the last-named brigand--the poor Pope even being in a secondary place, somewhat inferior to the imperial eagle. The group in the baptistry is by Rude; the one opposite, in a chapel dedicated to marriage, by Pradier. It was in the Madeleine that some of the Communards were massacred in 1871. At the end of the struggle, about 300 of them were driven into the church; and there, before the altar where their victim, the abbé Duguerry had officiated, they were mown down in terrible retribution, with no more mercy shown them than they had accorded to the hostages.

In the interior fittings of the church, no expense has been spared, and what it lacks in beauty as regards sculpture and painting it possesses in its marble walls and its carved woodwork. The pulpit is an excellent piece of modern wood-carving; the details of the ornament are in the best style; and so are most of the worshippers; for it is one of the fashionable churches of Paris. There, especially at the lazy mass (as the old writer has it, "la messe des paresseux," which was said at "la plus haute heure du matin," at "unze heures,") you see "_des mondaines_" by the dozen; only the lazy eleven o'clock has become one in the afternoon. What in the world would the old chronicler have said to the swarms of fashionables who just save their souls by hurrying off after a comfortable _déjeuner_ to those one o'clock masses? But there is a mixture at the Madeleine; old ladies of the _noblesse_; _nouveaux riches_; a few soldiers who like the music; half-a-dozen husbands who go as a duty to their wives; an old Bretonne gorgeous in chains and muslin, and velvet bodice; and two or three black women, charming in the yellow silk handkerchiefs which swathe their heads. It is a mixture, and what brings them? Probably the music, for at no church in Paris, and few elsewhere, do you hear such refined, soft, emotional strains as there. Sometimes the boys' voices are not of the best; but the artistic taste with which they sing is always there. S. Roch has a reputation for its choir, gained many years ago by its execution of the masses of Mozart and Haydn; but it no longer deserves it. S. Eustache also is celebrated for its music. But there is a special tone about that of the Madeleine one meets with nowhere else; it aims at raising one's soul from the earth upon which it is supposed to grovel; it certainly never interrupts prayer or disturbs thought. Even on Good Friday, when the old _Passione_ by Haydn, or the new one by Dubois, is performed, refinement, not clatter, is the distinguishing characteristic. If only some of our London organists would take a leaf out of the Madeleine music-book! Just think of the noise at a certain West-end church, which is the model of all that ritual should be. From its foundation, what we all loved was the refinement of its music; it was the exponent of Gregorian chants and Plain song. Now the most elaborate compositions are performed for the edification and vanity of the choir. Church music ought certainly to be an aid to prayer, not a disturbing force; but what else can it be, when organ and choir are all shrieking Haydn's Imperial Mass, or Beethoven in C, and each man or boy is trying to get the mastery? It is a bitter duel between organ and voices. All the great masters' masses are sung at the Madeleine; but you can devote yourself to your own prayers all through them without being disturbed, if you so wish. Moreover, one hour suffices in Paris for what in London endures an hour and a half, or more. And is not the long, elaborate _credo_ answerable for the objectionable Roman practice of sitting through the greater part of it? Of course church music should be of the most perfect kind; but perfection is sure to be greater where less is attempted; and the mere repetitions of words, and the placing of the accent upon the wrong note in the English translation, make these elaborate masses unsuitable in our churches.

The ceremonial at the Madeleine always gives strangers the impression of having been over-rehearsed. The black-clothed beadles walk about with measured steps, particularly the frog faced one; the _Suisses_ in their cocked hats leisurely saunter about with their halberds looking the essence of flunkeyism, and never issue from their stereotyped expression of importance and unmixed boredom, except upon occasions when a foreigner fails to kneel at solemn moments. Why need the good Protestant remain sitting when the bell rings, feigning a kneeling posture by a sort of zigzag attitude? Up comes the _Suisse_, and shaking the back of his chair, tries to jerk him out of it. Why not stand, if rags of popery and scarlet women prevent you kneeling? Or why go at all, if you cannot do at Rome as Rome does? I confess to feeling a sensation of distress, and am much upset when that chair-tipping begins. And the worst of if is that, although the victim is innocent of what lies in store for him, we, who know the ways of the _Suisses_, anxiously anticipate the fatal moment. Sometimes, too, the British-born struggles to look pious, while he furtively reads his Baedeker, never dreaming that the benighted foreigner knows that Classic by its blood-red exterior. We are a great people, and are justly proud of our institutions; but we should be no less great if we had a little more respect for other folks, and other folks' manners and customs.

It is curious how the church beadle varies. At the Madeleine he is pure flunkey. His cocked hat is high and broad, like the old Bumble of our childhood; he is whiskered, but not bearded; he has an arrogant way with him as he precedes the priest who makes the collection; and as he carries the bag into which the alms are emptied from time to time, he looks the essence of important officialism. Likewise, when he demands, in a commanding voice, "Pour les pauvres, _s'il_ vous _plait_!" few persons would say him nay. Not so the _Suisses_ of S. Eustache; they have the military air; the cocked hat is low, and worn as by the Marshals of France. Such are they also at S. Roch, and at both churches they salute at the Elevation, _à la militaire_.

It has always seemed to me that the author of _Monsieur, Madame et Bébé_, pictured the Madeleine in his scenes of Madame at church; at all events I have often seen the like. She kneels on her velvet-covered _prie-Dieu_, and tells her beads; and then, between a _Pater Noster_ and a new batch of _Ave Marias_, she turns round to a neighbour, "Ah! chère madame, comment allez vous? et monsieur votre mari? Et la chère petite Bébé?" "Merci, chère baronne, mon mari ne va pas trop mal; il a la migraine, voilà tout. Et Bébé, c'est un ange; elle est ravissante, le petit chou. Mais moi, je souffre, oh, comme je souffre! je suis tellement éreintée que.... Je vous salue Marie, pleine de grâce.".... "How adorable is the Madeleine," said Dibden; but he meant its exterior at twilight, when the lights spring up on the neighbouring boulevards. And so it is in its way; but its way is to some of us not the most beautiful way.

Many are the functions which take place there; marriages and funerals by the score. At the latter, it affords ample room under its portico for that terrible French custom which forces all the family of the deceased to stand by the door and receive the condolences of their friends and acquaintances. How do they ever survive it? And why do they not rebel against the conventionality, and give it up? Because they are at once the most conventional of nations, added to the most revolutionary. The funeral terror is greater in France that here at home; it is one of the few things in which we are ahead of our neighbours. We do not waste quite so much upon putting our friends underground, although we too are compelled to pay twice as much as we ought. But in some respects the French are far more decent. Men raise their hats at passing funerals, and I have never seen the undertakers sitting in the open car when returning from the cemetery; an indecent proceeding like the one immortalized in _Figaro_. "Mon Dieu! What strange people, ces Anglais! When they return from a funeral, the friends of the deceased ride upon the top of the hearse with their legs hanging over it!"

One of the beauties of the Madeleine is the flower-garden at its feet, and the tree-planted boulevards which surround it. How pleasant it is to be able to sit down in the air upon a warm evening; would that we could do likewise! Here, sunset is the last moment when we can breathe the air of most of the parks, without perpetually tramping round and round upon our weary legs. But in Paris we may sit and gaze upon the buildings by moonlight if we like; and certainly, that is the most flattering time for the Madeleine. Its portico, lighted up by the moon with the dark shadows thrown behind it, has a decidedly grand appearance.

SAINTE-MARGUERITE.

The church, dedicated to

_Mild Margarete, that was God's maid;_
_Maid Margarete, that was so meke and mild,_

is not of much importance. The popularity of S. Margaret was so great in the Middle Ages that it seems strange so little notice has been taken of her in Paris. Only think what a lovely dragon the sculptor of the monsters upon the towers of Notre-Dame would have contrived! We have only to look upon them to picture to ourselves the dreadful worm.

Maiden Margrete tho (_then_)
Loked her beside,
And sees a loathly dragon
Out of an hirn (_corner_) glide:
His eyen were ful griesly,
His mouth opened wide,
And Margrete might no where flee,
There she must abide.

Maiden Margrete
Stood still as any stone,
And that loathly worm,
To her-ward gan gone,
Took her in his foul mouth,
And swallowed her flesh and bone.
Anon he brast--(_burst_)
Damage hath she none!
Maiden Margrete,
Upon the dragon stood;
Blyth was her harte,
And joyful was her mood.[102]

The church of S. Marguerite is in the Rue S. Bernard, Faubourg S. Antoine. The chapel of the Souls in Purgatory is a curious composition by Louis, dated 1765; and still more curious was the burying, in 1737, of the tomb of Antoine Fayet, one of the _curés_, because of the indecent nudity of the white marble Angels, a piece of astounding prudery in that peculiarly indecent period of French history. Some pictures illustrative of the life of S. Vincent de Paul are remarkable from the truthfulness of the portraiture; they were formerly in the Lazarists' Church. A marble _Descent from the Cross_, designed by Girardon, and sculptured by his pupils Le Lorrain and Nourrisson for the church of S. Landry, found its way to S. Marguerite in 1817, where it accompanies another _Descent_ painted upon wood, and very excellent in its way.

SAINT-MARTIN DES CHAMPS.

Situated upon the east side of a square which lies between the Rue S. Martin and the Boulevard Sabastopol is the Conservatoire des Arts et Métiers, formerly the rich priory of S. Martin. As its name indicates, it used to be surrounded by fields and gardens; now it is an oasis of antiquity, built up upon every side but the square with huge modern houses. Its old walls enclose a museum; its chapel contains hydraulic machines, and its refectory is a public library. One of the twenty or more turrets which surmounted the wall at intervals still remains; but the chapel of S. Michel, which old Nicolas Arrade founded in the 13th century as a tomb-house for himself and his descendants, the chapter-house, the tower, the Lady-Chapel, and several statues of royal personages, have all been demolished--not by Revolutionists, but by the latter-day monks, who also saw fit to rebuild their cloisters, and ornament them with handsome Doric columns. These acts of barbarism were perpetrated some hundred and fifty years ago. But in spite of adversity, S. Martin still gives us some idea of a conventual foundation, and in Paris it is the only one which has survived improvements by friend and foe. It still has its gate leading into a large courtyard, with church, refectory, and a portion of the cloisters.

Although the priory ranked after all the abbeys of Paris, it was well-nigh as important, and as rich. The prior enjoyed a revenue of 45,000 _livres_, and had the right of nomination to sixty benefices, twenty-nine priories, and many curacies and chapels.

The legend of S. Martin bestowing half his cloak upon a beggar is well known, and a frequent subject for painters. But he was given to other works of mercy, and one, healing the leper, is said to have taken place upon the site of this particular convent. S. Martin is the patron of soldiers. Born in the reign of Constantine the Great, at what is now Stain, in Hungary, Martin early became a Christian, but his parents being Pagans, he was not baptized until comparatively late in life. His father was a Roman soldier and tribune, and the son was enrolled in a cavalry legion. Obliged to leave his native country for Gaul, we find him in the year 332 quartered at Amiens; and here it was that he performed the act which has made him so famous in literature and art--the cutting of his cloak in two to clothe a starving beggar. His namesake, Martin Schoen, gives him such a voluminous mantle that one feels the act of cutting it in half to have been that of a highly-practical mind--enough for you, and enough for me. But other painters, on the contrary, depict the cloak as of such very small dimensions that one can only marvel that the Saint did not give it all to the beggar; for a portion of the garment could scarcely have benefited either party. This act brought him, however, praise from Heaven, and he hastened to receive baptism, being then twenty-three years of age. At forty he left the army, and was elected Bishop of Tours; and again we read of a similar story of clothing the naked, this time with his sacerdotal vestment during the celebration of mass.

S. Martin founded several churches and monasteries, and many more were dedicated to him after his death. Marmoutier, near Nantes, was a very celebrated convent; and in England there are a great many churches of which he is the patron. S. Augustine, when he came to Britain, found a chapel in the neighbourhood of Canterbury, which had been dedicated to S. Martin as early as the 5th century, and there he baptized his first converts. The church is certainly one of the earliest in England, and the font cannot be later than the 11th century; but whether it be the identical one at which King Ethelbert stood to be baptized in the 7th century is considered doubtful. Still, though much restored from time to time, the building retains numbers of Roman bricks incorporated into its walls; and that Queen Bertha worshipped in a church upon the same spot, or close by, is certain, tradition also pointing to a stone coffin in which she lies.

To return to S. Martin, the legend relates that when he was entering Paris, as Bishop of Tours, he met a wretched leper at the gate, and, filled with compassion and love, he embraced him, and thus healed him of his leprosy. This was the act which King Henri I. commemorated by founding the priory in 1060. His son Philippe I. dedicated the church in 1067, placing the new foundation under the patronage of the abbot of Cluny, of which monastery S. Martin des Champs was the third daughter. Its domains originally consisted of several acres of land, which, as time went on, became more and more valuable; and probably, in consequence of its great wealth, it was governed by a long succession of illustrious men; at first regular, and subsequently, titular abbots, of which class was his eminence the Cardinal Richelieu.

It is owing to the cession of the last of the turrets, built by prior Hugues IV. to the town in 1712, and to the erection of a fountain at its base, that we now possess this fragment of the old wall. The principal gate, dating 1575, and ornamented with statues of the two royal founders, was unfortunately demolished at the same time.

The church belongs to two distinct periods. The nave was built about the middle of the 13th century, and is without aisles or pillars. It is lighted by pointed windows, and covered by a pointed timber roof. The choir and apse belong to the middle of the 12th century, and are peculiar in their arrangement. The choir is raised from the nave, and round it on a lower level are double aisles, divided by clustered columns which support the vaulting. Thus, the choir is approached from the nave by steps in the usual manner; but to enter the apsidal chapels one has to descend three or four steps from the nave. There are a few fragments of tombs with effigies of the priors, and some mutilated stone coffins. All the rest of the contents of the church have disappeared; it is in fact, architecturally, an empty shell. The statue of the Blessed Virgin sculptured in wood, and held in great veneration by the faithful worshippers at S. Martin, was taken to S. Denis. The whole building has been gorgeously decorated in colour, and, if restored to its proper use, would be, after the Sainte-Chapelle, the most interesting church in Paris; but the desecration grates upon our religious sentiments, and the noise of the machinery in motion distracts one's nerves. The study of architecture is not rendered easier by the rattle of a dozen or more steam engines, compared to which the confusion of tongues must have been a very small clatter.

Tradition gives Pierre de Montereau as the architect of the refectory, which is a _chef-d'oeuvre_ of the 13th century. It is an oblong building with seven tall, elegant, single-shaft pillars down the centre, dividing it into two equal parts longitudinally. Upon the side walls are an equal number of columns reaching about half-way down, and supported by foliated corbels to match the capitals; the vault, springing from these and the pillars, divide the length into eight bays. The windows consist of two lights surmounted by a rose; but upon one side they have been blocked up. The reading pulpit, which is built into the wall, is a beautiful specimen of its kind. It is lighted from the back by three little windows, and approached by a staircase in the wall, with open arcading to give light upon the refectory side. The building has been decorated with colour, and a painting representing S. Martin dividing his cloak, mediævalized by M. Steinheil--the whole sufficiently harmonious.

The rest of the buildings are modern, or have been modernized; most of the destruction having been perpetrated by the monks, who, like all authoritative Paris of the last century, had Classicism on the brain. At S. Martin, as at S. Nicolas des Champs, S. Germain l'Auxerrois, and S. Séverin (not to mention other churches), Doric columns have taken the place of the old work--they must have been sculptured by the hundred. The chapel of the Virgin, the chapter-house, the old cloister, which, according to Piganiol de la Force, had not the like in Paris, and the statues of divers Kings and Saints, were all swept away to make room for modern improvements; but the refectory was left intact, and having been used as the library, the transformation of the convent into a museum has affected it less than the chapel. As we pass into it from the outer world of trams and omnibuses, with all the _va-et-vient_ of a great city, we seem to be suddenly transported into the olden time--into a world which, if not a better, was certainly a more artistic and a quieter one.

SAINT-MÉDARD.

The French S. Swithin shares with his brethren on the opposite bank of the Seine, _les frères Gervais et Protais_, a predilection for drenching us on and after his _fête_ day; so that, what with S. Médard's 8th of June, S. Gervais' and S. Protais' 19th June, and S. Swithin's 15th July, we who live upon our respective sides of the ditch may reckon upon a good three weeks of wet, over and above the forty days, if unhappily it rains upon the earlier of those unlucky festivals.

S'il pleut le jour de Saint-Médard,
Il pleut quarante jours plus tard;
S'il pleut le jour de Saint Gervais et de Saint Protais,
Il pleut quarante jours après.

But if S. Médard was vindictive in his ways, he compensated us for his downpours by inventing that handy instrument without which life would be unbearable. The French say that an Englishman goes to bed in his hat, clutching his umbrella, which is a polite way of reproving him for his peculiar and insular practices; but how could he live without his umbrella? and kind Médard, foreseeing the state of dampness to which our northern atmosphere was leading us, turned to account an accident which befel him. In was in this wise. On a certain hot day in a certain hot summer, Médard and his friends went a picnicing, when suddenly a storm disturbed their innocent junketings. All were thoroughly soaked through from head to foot, with the exception of the host, who suddenly found himself protected from the rain by the outspread wings of an eagle which hovered over his head. This was the birth of the umbrella, which, as everyone knows, is of French, and not of oriental origin. In Belgium the rainy Saint is one Godeliève; in Germany the character is undertaken by the Seven Sleepers, showing the wisdom of the Teuton in slumbering through his miseries. Amongst the flowers, the moneywort is dedicated to S. Médard.

At the commencement of the last century, Jansenist pilgrimages and divers miracles took place at the little church, curing those suffering from convulsions; young girls had fits which gave them "comical twitchings of the nerves. Some would bark all night, and others leaped about like frogs. Sister Rose sipped the air with a spoon, as your babies do pap, and lived on it forty days; another swallowed a New Testament, bound in calf. Some had themselves hung, others crucified, and one, called Sister Rachel, when nailed to a cross, said she was quite happy. In their holy meetings, they beat, trampled, punctured, crucified, and burnt one another without the least sentiment of pain." All this was done under Louis XV., and attested by thousands of witnesses, until at last the archbishop, by means of a strong military guard, put an end to the folly. Thereupon some wag wrote upon a wall:

De par le roi défense à Dieu
De faire miracle en ce lieu.

Large packages of the earth were exported to work miracles in the provinces and in foreign countries. One of these marvellous cures is related, scoffingly, in a song of the Duchesse de Maine:

Un décrotteur à la royale,
Du talon gauche estropié,
Obtint par grace speciale
D'etre boiteux de l'autre pied.[103]

The church of S. Médard is in the Rue Mouffetard, and originally the ground belonged to the abbey of S. Geneviève. At first the monks only erected a small chapel, which they placed under the protection of the great Bishop of Noyon, who was the friend and chancellor of the early Mérovingian Kings. In the 12th century the chapel is designated as a church in the bulls of the popes, and up to the Revolution it was served by the regular canons of the abbey.

The church is of no importance, dating only from the 15th century. The pillars are without capitals; but, as in many of the other churches, the keystones and bosses are elaborately carved. Some of them represent the Annunciation, the Visitation, the Descent of the Holy Spirit, and other Scriptural subjects, besides monsters, griffins, and garlands of foliage. In one of the chapels a little glass of the 16th century remains; and a retable, upon which a Notre-Dame de Pitié is painted, is also worthy of note.

In 1784 an architect named Petit-Radel conceived the idea of transforming S. Médard into a modern temple of Jupiter, with not much success. Doric and Corinthian columns, palms and personages, adorn the sanctuary and the _chevet_. Better are the fragments of old glass which are interspersed with the new in some of the windows; a S. Fiacre, patron of cabs and coaches, a Holy Family, S. Michael, a Calvary, and many Angels; but they are the merest scraps of former grandeur. The chapel of the Virgin was built by the "artist" who mutilated and distorted the choir, and is in the same grandiose style. The academician, Olivier Patru, and Pierre Nicole, the theologian, were buried at S. Médard.

SAINT-MERRI.

At the bottom of the Rue S. Martin, close to the Rue de Rivoli, is a spot which, during the ages of faith, was much reverenced for its miracle-working powers. In the 7th century, the whole district was a forest, and doubtless the King and courtiers hunted there; for are we not told that the Louvre, hard by, was in early days but a royal hunting-box. As is well known, Paris, the Lutetia of the Gauls, consisted only of the present Cité, the island upon which stands the cathedral. All around were forests, well stocked with game (animals more or less wild); and here and there, probably, small outlying settlements which we should now call villages and hamlets.

In the midst of the wood stood a little chapel dedicated to S. Peter, which was as much surrounded by trees and shrubs as the present church of S. Merri is by streets and houses. Adjoining this chapel was a cell, or hermitage, and it was there that S. Merri, and his disciple, S. Frodulphe, sojourned when on their way from Autun to the shrines of S. Denis and S. Germain. S. Merri was abbot of Autun, but he seems to have been glad of a change to the great city; for so it befel, that instead of returning to his abbey, he stayed in this little wooded retreat, undisturbed by aught but the singing of the birds and the sighing of the trees, for the space of three years. Then, on the 29th of August, about the year 700, he died, and was buried in the chapel. Many and wondrous were the miracles wrought at his tomb; and so famous did it become that S. Peter's patronage was forgotten, and the church was looked upon by the people as being under the exclusive protection of S. Merri.

About the end of the 9th century, a redoubtable warrior, Eudes de Fauconnier, desiring to celebrate his part in the expulsion of the Normans from the neighbourhood, erected a new church on the site of the little chapel, or in its immediate neighbourhood. This was dedicated to the two saints, S. Merri being placed before S. Peter. When this church, in its turn, was demolished in the time of François Ier, the remains of the founder were found in a stone coffin, the bones of his legs and feet being still shod in his gilt leathern boots. The coffin was re-buried in the choir, and an inscription placed upon a white marble slab: _Hic jacet vir bonae memoriae Odo Falconarius, huius ecclesiae, ora pro eo._ In the opinion of the abbé Lebeuf, this Odo was the famous warrior who with Godefroi defended the city against the Normans in 886. The surname _Falconarius_ may come from Odo having been made the King's falconer, or from the kind of lance which he used, _falco_, because it was bent; just as Charles, the grandfather of Charlemagne, was known by the surname of Martel. The gilt leather boots denote a personage of the 9th century; similar _chaussures_ may be seen in miniatures of the Carlovingian period. One of the monks of S. Germain des Prés, Abbon, has celebrated the heroic deeds of Odo, and testified to the ability of the surgical instrument makers of the 9th century:--

UNA DIES ISTUM VOLUIT SIC LUDERE LUDUM,
HIS DUCIBUS, GODOFREDO NEC NON ET ODONE;
BELLIGERI FUERANT UDDONIS CONSULIS AMBO.
IDEM ODO PRAETEREA OPPOSUIT SE SAEPUIS ILLIS
ET VICIT JUGETER VICTOR. HEN! LIQUER UT ILLUM
DEXTRA MANUS BELLO QUONDAM, CUJUS LOCA CINXIT
FERREA, PENE VIGORE NIHIL INFIRMIOR IPSA.[104]

S. Merri was made into a parish church in the 12th century, and in the early years of the following century it became collegiate. It was called the third daughter of Notre-Dame, a title given to churches which were served by the clergy of the mother church, its chapter consisting of a _chefcier_, who filled the position of the _curé_, six canons, and six chaplains.

The present church was commenced in 1520 or a few years later, and finished in 1642; the architects adhering to the original plan, without any change of style, which is not often the case in churches that were so long in course of construction. The beautiful west front is a mass of rich ornamentation; its three portals, the pinnacles, corbels, niches, etc., being carved with various conceits--animals, human heads, flowers, vine-leaves, and so on, one little head having a cap such as is worn by the peasants of Auvergne. The statues, large and small, are modern, having been put in position in 1842, replacing those destroyed during the Revolution. Those round the _voussure_ are copied from one of the portals of Notre-Dame, and consequently are two centuries too early for the church. Another blunder of the modern architect is the placing of a demon in the centre at the point of the arch, where the Mediæval artists invariably put the figure of Christ or of Our Lady. The lower part of the tower is contemporary with the church, but the upper stories have been rebuilt in the 17th century, and consist of Renaissance arches and shafts. Upon the opposite side is a little turret of open woodwork, and from the roof some old gargoyles stretch themselves out. The church is cruciform; unfortunately it is partly hidden by the Presbytery and other buildings. Indeed, like many Continental churches, it is so built about by surrounding houses that one only gets a view of it here and there. It is extraordinary that in such a city as Paris this is tolerated. At S. Germain l'Auxerrois there is (or was, not long ago) an extraordinary little wooden hut (presumably the dwelling of the sacristan) built in between the buttresses of the east end, and completely filling up two windows of the apse. The whole erection being in wood, it could easily be taken down; for it is only supported on great wooden piles, and approached by a sort of ladder. Such a state of things only exists in Catholic countries, and the more Catholic--as, for example, Belgium--the more complete is this sort of desecration.

The havoc made in the interior of the church by the 18th century architects is deplorable. Windows have been destroyed, piers have been stuccoed over, and pointed arches turned into round ones. The pillars are late Perpendicular, or rather Flamboyant, shafts without capitals; and round the nave, between the arches and the clerestory, runs a little frieze of foliage and quaint birds and beasts, a feature which is not common. All the bosses of the choir and apse are very richly decorated, and the vaulting is good, but both the choir and the _chevet_ have been sadly "improved." About 1753 the brothers Slodtz were commissioned to convert the thirteen pointed arches of the choir into round ones, and to encase the pillars in panellings of stucco, which was marbled and gilt, the last bay being profusely decorated with golden sun-rays. One of these unfortunate brothers, Michel-Angelo by name, designed the pulpit, a mass of palm-tree decoration, surmounted by a female figure of Religion; and to place this wondrous production, a whole bay of the nave had to be demolished. The year following three chapels were destroyed to make room for the new square, barn-like Chapel of the Communion; which, besides being beautified by the Slodtz brothers' sculptures, was further embellished with a picture by Charles Coypel. The modest sum paid to these miserable, so-called artists, for hacking the church to pieces, was 50,000 _écus_.

The crypt is most interesting, and is said to have been a reproduction of the original one which contained the tomb of S. Merri. It was used for some time as a workshop by the cleaners of the church, and was the depository of brooms, brushes and lamps. It has a stumpy central column, from which spring the ribs of the vault, the capital being ornamented with vine-leaves. It is square, and divided into four parts. A few remains of recumbent tombs can be seen in the pavement; but of the monuments of Arnaud de Pomponne, ambassador of Louis XIV., and of Jean Chapelain, the author of _La Pucelle_, nothing remains. The crypt, with its solid central pillar, resembles that in the Louvre of the time of Philippe Auguste, which has lately been brought to light.

Much of the old glass has gone, the central portion of each window having been taken away, to throw more light upon the marbled stucco. What remains is in good 16th century style, the work, probably, of Héron, Jacques de Paroy, Chamu, and Jean Nogare, whom Levieil records to have been the artists employed. The subjects are from the history of SS. Peter, Joseph, John the Baptist, and Francis of Assisi; but it is most difficult to follow the designs, as not only are there the gaps of plain glass, but what was taken out has been used for repairing the other windows. Still a few subjects can be traced; the Raising of Lazarus; an Angel bringing food to the Virgin as she works in the temple; the Magdalen preaching to the people from a pulpit; the Beheading of S. John. In one of the chapels the history of Susannah figures--also Joseph and Jacob, and other Old Testament worthies. Three persons, identical in form and features, represent the Holy Trinity; they hold each other's hands in a circle, upon which is inscribed, _Ego sum alpha et omega, primus et novissimus_. On another window are the Sybils carrying the emblems of the Nativity and the Passion, the Cradle, a lantern, the Scourge, and the Cross.

The church possesses a very curious holy-water stoop of the time of Louis XII. It is about three feet high, more like a baptismal font than a stoop in size; it is octagonal, and stands upon a pedestal with a square base. The upper part is decorated with the arms of France and of Bretagne, and the instruments of the Passion. A small amount of carved woodwork of the Renaissance period remains--fragments of sculptured columns, pilasters, children, birds, and trophies. But a most remarkable picture of the 16th century arrests the visitor's attention as he saunters round the aisles, _S. Geneviève_ sitting in a sort of Druidical circle surrounded by her flock of sheep--a rare combination of mystic Paganism and Christian legend.

A mosaic tablet of the _Virgin and Child_ now in the Hôtel Cluny (No. 1795) was formerly in this church. It was given by Jean de Ganay, first president of the Parliament. Piganiol de la Force gave the continuation of the inscription as "_Opus magistri Davidis_, Florentini, Anno M.CCCC.LXXXXVI." Jean de Ganay went to Italy with Charles VIII., and took part in the campaign of 1494 and 1495, and for some time he was chancellor of the kingdom of Naples; but as he was not first president until 1505, the mosaic must have been sent to Paris subsequently to his sojourn in Italy. His epitaph runs thus:

CY GIST LE CORPS DE NOBLE CHEVALIER
JEAN DE GANNY DE FRANCE CHANCELIER
ET ZELATEUR DE LA CHOSE PUBLIQUE.
TARDIF À NUIRE ET PREST À CONSEILLER
DU BIEN DAUTRUY CAR CESTOIT LE PILLIER,
PHILOSOPHAL VRAY ARISTOTILIQUE,
POURTANT HUMAINS UN CHACUN SE APPLIQUE
PRIER JESUS PAR MESSES ET PAR DITS
QUIL LUY PARDONNE ET DONNE PARADIS.
OBIIT ANNO 1512.

M. de Sommerard attributes this mosaic to David Ghirlandajo.

SAINT-NICOLAS DES CHAMPS.

The patron saint of children, of schoolboys, of poor maidens and travellers, of merchants, and, above all, of pawnbrokers, was popular in Paris as elsewhere, and thus we find three churches dedicated to him. S. Nicolas was a performer of stupendous miracles. Thus it happened that during a time of famine, while he was visiting his flock, he discovered that a certain disciple of the Evil One murdered little children, and, cannibal-like, feasted on them. And so audacious was this fiend in human shape, that he impudently served up the dismembered limbs of a young babe for the good bishop; who, seeing this wickedness, went to the tub where the children's remains were being salted down, and making the sign of the cross over them, the babes all stood up. This is a favourite subject in art; and not the least beautiful of all the saints and martyrs in the processional frieze in S. Vincent de Paul is Flandrin's conception of S. Nicholas.[105] Why the Saint's three balls, which seem to have been purses given to three poor maidens, should have become the sign of pawnbrokers, seems doubtful. Perhaps simply as being emblems of gold lent by merchants to impecunious customers. The story of the children is probably an allegory of the conversion of sinners, the tub being the baptismal font and the wicked host, the evil state in which all men are born. S. Nicholas is also the guardian of property, and in that form figures upon the windows of the cathedral of Chartres. The Saint's image was stolen by a Jew, and placed in guardianship over his treasures. Then came robbers, who carried off the property, which, the Jew discovering, led to the chastisement of the bishop's effigy. But S. Nicholas was equal to the occasion, and reproving the Jew, ordered the robbers to restore what they had stolen; and when the Hebrew saw the miracle, he became converted, he and his whole house. This, too, may be the reason for S. Nicholas' patronage of pawnbrokers, who are many of them, indeed most of them, Jews.

In the 12th century S. Nicolas des Champs was but a chapel built upon the domain of the priory of S. Martin. Two centuries later it was rebuilt; but in the 16th century, being too small for its parishioners, it was widened by turning the chapels of the nave into an aisle, and erecting fresh chapels outside it. Later on it was again enlarged, until it has become one of the longest of the Paris churches.

The _façade_ in the Rue S. Martin is in the Flamboyant style, and not without some beauty, with its pinnacles and turrets, its niches and statuettes; but the most striking part of the church is the richly-sculptured doorway in the Rue Aumaire, a mass of niches, figures of Angels, and Flamboyant ornament of the most elaborate kind--birds, baskets of flowers, borne by pious little personages, and every kind of foliage, reminding us of the works of Germain Pilon.

The interior shows the change of style from shafts without capitals to the latest development in the way of Doric columns. The High Altar is ornamented with Corinthian columns, some stucco Angels by Jacques Sarazin, and a picture of _the Assumption_ by Simon Vouet. The best picture in the church is M. Bonnat's early work of _S. Vincent de Paul_. An old panel of a _Calvary_ is a very good specimen of one of the unknown artists of the 16th century.

A few celebrities were buried in S. Nicolas; the _savant_ Guillaume Budé, who died in 1540; the philosopher Pierre Gassendi; the historians Henri and Adrien de Valois; and Mdlle. de Scudéry; but their monuments have vanished. On the pavement are some stones bearing the names of Rochechouart, Crillon, Labriffe, Potier de Novion, Mesmes, and several others.

Here is one of the many curious epitaphs:

LE CIEL L'ESTIMENT TROP POUR LA
LAISSER PLUS LONTEMPS MORTELE,
LAISSANT A SON ÉPOUX UNE FILLE
POUR GAGE DE LEUR ÉTROITE ET
INMORTELE AMITIÉ, DANS LAQU'ELLE
IL SURVIT POUR PLEURER LE RESTE
DE SES JOURS SA DURE SEPARATION
D'AVEC CETTE CHERE ÉPOUSE, QUI ÉTOIT
RECOMANDABLE, PAR SA TRES GRANDE
DOUCEUR, SA VIE PURE ET INOCENTE,
ET SA PRUDENCE AU DESUS DE SON
AAGE, QUI LUY ONT OUVERT LE
CHEMIN DE L'IMORTALITÉ.
REQUIESCAT IN PACE.

In the 16th century the acolytes of Notre-Dame celebrated their well-known _fêtes_ at S. Nicolas, performing various antics _en route_; but as their disorderly conduct was great, and the "_facéties_" practised led to divers troubles and various abominations, the ceremony resolved itself latterly into a simple Benediction which the _enfants de choeur_ chanted in honour of their patron.

SAINT-NICOLAS DU CHARDONNET.

This is an ugly church, with traditions going back to the 13th century, but with nothing thereof now to be seen, in the Rue S. Victor. The present building dates from 1656 to 1709. A picture by Lebrun, of _The Miracle of Moses_, adorns one of the chapels; and the tomb erected by him to his mother's memory, by Tuby and Callignon, is to be found in another. Lebrun's own tomb is by Coyzevox; Jérôme Bignon's, by Girardon. There are also pictures by Le Sueur, Coypel, Corot, Desgoffes, and Mignard.

Suzanne Butay, widow of Lebrun, was a generous body, and left a number of legacies to the poor of the parish, and divers other church institutions, which are recorded thus:

LADITE DAME SUZANNE BUTAY VEUVE DUDIT FEU S^R LEBRUN PAR
SON TETA^{MT.}
OLOGRAPHE DE XIII SEPTEMBRE MDCXCVI RECONNU DEVANT VATRY, ET
TORINON NOT^{RES}.... A LEGUÉ AUX PAUVRES HONTEUX, ET
AUX PAUVRES MALADES DI CETTE
PARROISSE LA SOME DE DEUX MIL LIVRES UNE FOIS PAYÉ, PLUS A
LEGUÉ MIL LIVRES DE RENTE
À AYDIR À MARIER DE PAUVRES FILLES, ET À METTRE EN APPREN-
TISSAGE DE PAUVRES GARÇONS NÉS DANS LA PARROISSE....

NOTRE-DAME.