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diff --git a/old/60213-0.txt b/old/60213-0.txt deleted file mode 100644 index 61f98f8..0000000 --- a/old/60213-0.txt +++ /dev/null @@ -1,3688 +0,0 @@ -The Project Gutenberg EBook of Notre Dame de Paris, by Charles Hiatt - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Notre Dame de Paris - A short history & description of the Cathedral, with some - account of the churches which preceded it - -Author: Charles Hiatt - -Release Date: September 1, 2019 [EBook #60213] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK NOTRE DAME DE PARIS *** - - - - -Produced by The Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - - - - - BELL’S HANDBOOKS TO - CONTINENTAL CHURCHES - - NOTRE DAME DE PARIS - - - - - [Illustration: NOTRE DAME AND THE PONT DE L’ARCHEVÊQUE. - (_From an etching by C. Méryon._)] - - - - - NOTRE DAME DE PARIS - - A SHORT HISTORY & DESCRIPTION - OF THE CATHEDRAL, WITH SOME - ACCOUNT OF THE CHURCHES - WHICH PRECEDED IT - - BY - CHARLES HIATT - - AUTHOR OF - “CHESTER CATHEDRAL,” “BEVERLEY MINSTER,” - “WESTMINSTER ABBEY,” ETC., ETC. - - WITH FORTY-ONE ILLUSTRATIONS - - LONDON: GEORGE BELL & SONS 1902 - - - - -PREFACE - - -The task of writing an account of the cathedral of Notre Dame is -materially lightened by the minute details of its history and -architecture to be found in the various writings of M. Viollet-le-Duc, -of which, unfortunately, the Library of the British Museum does not -contain a complete set. The _Description de Notre Dame_, published -in 1856 by M. de Guilhermy in conjunction with M. Viollet-le-Duc, -contains much useful material, while the splendidly illustrated account -of the church in the first volume of _Paris à travers les Ages_ -is full of interesting archæological particulars. As the numerous -other authorities which have been used are quoted in the text, it is -unnecessary to enumerate them here. The writer has found Mr. Charles -Herbert Moore’s _Development of Gothic Architecture_ useful in not a -few difficult matters. He wishes specially to thank Mr. Edward Bell for -valuable suggestions on many important points. - - CHARLES HIATT. - - CHELSEA, - _October, 1902_. - - - - -CONTENTS - - - CHAPTER PAGE - - I. A BRIEF HISTORICAL ACCOUNT OF THE CATHEDRAL 3 - - II. THE PLACE OF NOTRE DAME IN THE DEVELOPMENT OF - FRENCH GOTHIC 19 - - III. THE EXTERIOR 27 - - IV. THE INTERIOR.--THE NAVE 55 - - V. THE TRANSEPTS AND THE CHOIR 71 - - VI. CONCLUSION.--THE SACRISTY, ETC. 94 - - VII. LIST OF THE BISHOPS AND ARCHBISHOPS OF PARIS 98 - - INDEX 103 - - GROUND PLAN AT END - - - - -LIST OF ILLUSTRATIONS - - - PAGE - - Notre Dame and the Pont de l’Archevêque _Frontispiece_ - - Notre Dame from the South 2 - - Notre Dame from the Quai St. Bernard 3 - - Queen Marie Antoinette returning Thanks 11 - - The Chevet 18 - - Section of Nave and Double Aisle 21 - - North Aisles of the Nave 23 - - The West Front 26 - - Chimères 27 - - String-course on the West Front 29 - - Carved Foliage, Portail de la Vierge 30 - - Portail de la Sainte-Vierge 31 - - Figure of St. Marcel 33 - - Sculpture of the Last Judgement 34 - - Tympanum of the Porte Sainte Anne 35 - - Apostles--Central Doorway 36 - - Figures--Porte Sainte Anne 37 - - Chimères 38 - - ” 39 - - Le Stryge, after Méryon 41 - - The Roof-ridge of Notre Dame, by J. Pennell 43 - - The Original Flèche 44 - - Clocheton 45 - - Windows of the South Aisle 46 - - Triforium Windows 47 - - The North Transept Front 49 - - Tympanum, North Transept 52 - - The Interior from the West End 54 - - The Nave: South Arcade 58 - - Capital in the Nave 59 - - The Nave: North Arcade 61 - - The Triforium Gallery 63 - - Elevations of the Nave 65 - - Angle of the Choir and South Transept 70 - - The North Transept 73 - - View of the Choir at the End of the Thirteenth Century 80 - - Grille at Entrance of Choir 82 - - The Choir, looking West 83 - - The Choir from the South Transept 87 - - The Place du Parvis in 1650 94 - - Notre Dame in the Thirteenth Century, with the Bishop’s Palace 98 - - - - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - NOTRE DAME FROM THE SOUTH.] - - - - - [Illustration: NOTRE DAME FROM THE QUAI ST. BERNARD.] - -NOTRE DAME DE PARIS. - -CHAPTER I. - -A BRIEF HISTORICAL ACCOUNT OF THE CATHEDRAL. - - -No city of the modern world has seen such amazing changes as the French -metropolis. In the eyes of many persons, from every downfall Paris has -arisen more incontestably splendid. But not to all is the Paris of -Baron Hausmann lovelier than the city which preceded it. For instance, -M. Joris-Karl Huysmans, the author at once modern and mystical of -_A Rebours_ and _La Cathédrale_, bitterly regrets the disappearance -of those ancient and brooding byways which lent to the Paris of his -youth a curious charm which has now almost disappeared. The Paris of -magnificent vistas is at least less fascinating to the artist than the -comparatively provincial city of crooked lanes which has gone to make -way for a series of lofty and pretentious street fronts and spacious -squares. - -Strange it is that, where so much has been changed, the cathedral -church of Notre Dame has remained almost unaltered in outline and -general effect. Revolutions have surged round it; monstrous rites have -been perpetrated within it; even the hail of shot and shell have left -this wonderful Gothic creation poorer only in decorative detail. There -is a certain fascination in the grimness of this mysterious building -in _la ville lumière_, and I am disposed to agree with Mr. Richard -Whiteing that it symbolises the underlying sadness, as opposed to -the superficial gaiety of the Parisian. Thousands of French churches -are dedicated to Notre Dame: even in Paris itself we have Notre Dame -de l’Assomption, Notre Dame de l’Abbaye aux Bois, Notre Dame des -Blancs-Manteaux, Notre Dame des Champs, Notre Dame de Lorette, and -Notre Dame des Victoires. But still when we speak of Notre Dame we -allude instinctively to that vast edifice which frowns over the slow -and winding Seine. The cathedral church of Notre Dame is almost as -closely connected with the history of the French people as is the Abbey -of Westminster with that of the English. And indeed the gray-white -building whose foundations are nearly washed by the waters of the Seine -has seen pageants more superb, and tragedies more luridly dramatic, -than our own proud Minster of the West. Although it can boast no such -marvellous continuity of vital historic episodes, Notre Dame is the one -building in the French metropolis which seems to stand as a symbol for -the whole city in all its memorable phases: with it may not be compared -the bragging grandeur of the Arc de Triomphe, the extensive splendour -of the Louvre, nor the rebuilt Hôtel de Ville. We do not forget the -exquisite beauties of La Sainte Chapelle, the strange fascination of -the resting-place of the Great Napoleon, nor the majesty of the once -royal church of Saint Denis. None of these, however, will bear serious -comparison with the great Metropolitan Cathedral of Paris. Notre Dame -has an almost unearthly power of asserting its existence. Neither in -full sunshine, nor in the twilight, nor when night has finally set in, -will it allow its majestic proportions to be overlooked. Mr. Henley -has finely spoken of “the high majesty of Paul’s,” but even our own -metropolitan cathedral, with its overwhelming dome, is scarcely more -predominant than Notre Dame. - -The geographical position of the Cathedral of Paris is not unlike that -anciently possessed by Westminster Abbey, and by that crown of the -Fens, Ely Cathedral. We find that Notre Dame dominates an islet of -the Seine. At its east end is that tragical commentary on the life of -modern Paris, The Morgue. The late Mr. Grant Allen, with a cheerfulness -which we are far from sharing, noted that this triumphant example of -the best Gothic in the world has often been restored. We believe that -he was one of many intelligent persons who derive a real satisfaction -from the so-called “restoration” of an ancient work, of which no real -“restoration” is possible, though repair is an obvious duty. - -The mediæval churches of western Europe nearly all claim a -pre-Christian origin. It is charming to the mind of a certain type -of antiquary to discover the origin of a Christian cathedral in the -wreck of a Roman temple. For Westminster Abbey and for St. Paul’s -Roman foundations have, with more or less accuracy, been described. -In the case of Notre Dame it is certain that the remains of an altar -of Jupiter were discovered in 1711, which would seem to indicate that -a pagan temple once stood on or near the site in the Gaulish city -of Lutetia Parisiorum. In point of fact, it is a matter of no small -difficulty to make out clearly the origin of Notre Dame, or to describe -with certainty the ecclesiastical buildings which in the dim past -occupied its site. A lady writer who has discussed the church with much -intelligence writes on this matter as follows:[1] - -[Footnote 1: _The Churches of Paris_, by S. Sophia Beale: London, W. H. -Allen and Co., 1893.] - -“The origin of Notre Dame is enveloped in mystery. Whether its first -bishop, St. Denis, or Dionysius, was the Areopagite converted by St. -Paul’s preaching at Athens, and sent by St. Clement to preach the -Gospel to the Parisians, or whether he was another personage of the -same name who was sent into Gaul in the third century and martyred -during the persecutions under Decius, it is impossible to say, as there -is no evidence of any value. Certain it is, however, that the first -bishop of Paris bore the name of Denis, and that he suffered martyrdom, -with his two companions Rusticus and Eleutherius, on the summit of the -hill now called Montmartre. Tradition went so far as to point out the -spot where they first gathered their followers together--the crypt of -Notre Dame des Champs; also the prison where our Lord appeared to -them and strengthened them with His Holy Body and Blood at St. Denis -de la Chartre; the place, at St. Denis du Pas, where they suffered -their first tortures; and lastly, Montmartre, where they were beheaded. -But, with the exception of the latter, all these holy spots have -disappeared. So, too, have the crosses which marked the route taken by -the Saint, when he carried his head to the place chosen for his burial, -at St. Denis. An ancient church covered the remains of the three saints -until the present splendid building was erected, in the reign of -Dagobert I. Under the Roman dominion, Paris was comprised in the fourth -Lyonnaise division, of which Sens was the metropolis. Hence the bishops -of Paris acknowledged the Archbishop of Sens as their primate until -1622, when, at the request of Louis XIII., Pope Gregory XV. raised -Paris to the see of an archbishopric. The succession has consisted of -one hundred and nine bishops and fifteen archbishops, eight of whom -have been raised to the dignity of Cardinal. Besides St. Denis six have -been venerated as Saints: Marcel, in the fifth century; Germain, in the -sixth century; Ceran, Landry, and Agilbert in the seventh, and Hugues -in the eighth century.” - -We must leave this ancient and hazy story of saints and martyrs, and -return to the thorny question of the origin of the cathedral. From the -brief account of Notre Dame by Mr. A. J. C. Hare in his entertaining -volume on Paris, we glean that about the year 375 a church, dedicated -to St. Stephen (St. Etienne), was built on the islet under Prudentius, -eighth bishop of Paris. “In 528,” says Mr. Hare, “through the gratitude -of Childebert--‘_le nouveau Melchisedech_’--for his recovery from a -sickness by St. Germain, another far more rich and beautiful edifice -(dedicated to Sainte Marie--) arose by the side of the first church, -and was destined to become _ecclesia parisiaca_, the cathedral of -Paris. Childebert endowed it with three estates--at Chelles-en-Brie, -at La Celle near Monterau, and at La Celle near Fréjus--which last -supplied the oil for its sacred ordinances. The new church had not long -been finished when La Cité, in which the monks of S. Germain had taken -refuge with their treasures, was besieged by the Normans; but it was -successfully defended by Bishop Gozlin, who died during the siege. It -is believed that the substructions of this church were found during -recent excavations in the Parvis Notre Dame,[2] and architectural -fragments then discovered are now preserved at the Palais des Thermes.” -It may be taken for granted that Childebert’s church took the form of -a Roman basilica, and it is probable that Roman materials were used in -its construction. In 1847 further Roman remains were discovered on the -site which doubtless formed part of Childebert’s building. Some of them -are preserved at the Hôtel-Cluny. - -[Footnote 2: The space to the west of the church was called _Parvis -paradisus_, the earthly paradise leading by the celestial Jerusalem.] - -I am, however, inclined to agree with M. de Guilhermy and M. -Viollet-le-Duc,[3] that the story of the cathedral previous to the -episcopacy of Bishop Maurice de Sully (1160-96) is, if not absolutely -fictitious, at least merely conjectural. - -[Footnote 3: See _Description de Notre-Dame, Cathédrale] de Paris_: -Paris, 1856. The main points of Viollet-le-Duc’s inventory of the -cathedral will be found in Queyron’s _Histoire et Description de -l’Eglise de Notre Dame_, Paris: E. Plon, Nourrit et C^{ie}.] - -This prelate--generally counted as the sixty-second occupant of the -see--seems at first to have united the adjacent churches of St. Stephen -and St^{e} Marie on the Ile de la Cité, and then (without immediately -and totally destroying them) to have commenced a new one on the same -site, of which Pope Alexander III. laid the foundation-stone in 1163. -Rapid progress must have been made with the work, for it is certain -that in 1185 Heraclitus, patriarch of Jerusalem, officiated at the -altar, in front of which, in the year following, Geoffrey, Count of -Brittany, son of Henry II. of England, was buried. Maurice de Sully -provided for the continuation of the work after his death, which took -place in 1196. By his will he left five thousand _livres_ in order -that the choir might be roofed with lead. At this time, according to -Viollet-le-Duc, considerable progress must have been made with the -nave. Maurice de Sully was succeeded by Eudes de Sully (1197-1208), on -whose death the see was occupied, until 1219, by Pierre de Nemours. -Towards 1223 the west front was completed to the base of the great -gallery, and by 1235 the towers were left much as we see them to-day. -The spires, which it is generally admitted they were intended to carry, -were never added. - -Between the years 1235 and 1240, a fire seems to have broken out at -Notre Dame. On this subject history is silent, but that it did serious -damage is maintained by Viollet-le-Duc on what appear to be sufficient -grounds. According to him, repair was made in haste, so that rose -windows, flying buttresses and other structural details were ruthlessly -sacrificed. The west front seems to have escaped mutilation. Up to 1245 -the cathedral, vast as was its area, possessed either no chapels at -all, or chapels of inconsiderable dimensions. In that year, however, -the addition of new chapels was proceeded with. It would appear that, -shortly after, the plainness of the transept fronts in comparison with -the splendidly decorated west façade was acutely felt. In 1257, Jean -de Chelles was engaged on reconstructing the southern doorway. At this -time St. Louis was King of France, and Renaud de Corbeil bishop of -Paris. The northern door and the chapels next the transepts on either -side were altered immediately after the southern entrance. In 1351, -Jean Ravy and Jean de Bouteiller were engaged about the cathedral as -sculptors. - -During the next three centuries Notre Dame escaped anything in the -nature of important change, destruction or addition; but in 1699 an -era of reckless mutilation began. Between the last-named date and 1753 -the Cloister, the stalls of the sixteenth century, the old high altar, -many sepulchral monuments, and a vast quantity of stained glass were -destroyed. The work done in the names of “repair” and “beautification” -deprived the cathedral of mouldings, foliated capitals, gargoyles -and pinnacles. The damage inflicted by the architect Soufflot (who -designed the Panthéon) will be noticed later. Towards the end of Louis -XV.’s reign the church was refloored with squares of marble. The new -pavement involved the tearing up of a number of curious tombstones, -some of which covered the dust of men greatly distinguished in French -history. Between 1773 and 1787 minor alterations in the taste of the -time were made in various parts of the building, but further additions -were brought to an end by the outbreak of the Revolution. That any -sculpture of a religious or royal character was spared at Notre Dame -during that terrific upheaval seems to have been due to the eloquence -of Citoyen Chaumette and the influence of Citoyen Dupuis. Of the great -work of repair and addition performed by the architects Viollet-le-Duc -and Lassus, their assistants and successors, much will be said when we -consider the cathedral in detail. - -We have already discussed the early story of Notre Dame, and noted the -vicissitudes through which the fabric has passed. I propose, before -concluding this introductory chapter, to state in the briefest possible -way the great historical events with which the cathedral is connected, -from the death, in 1196, of Maurice de Sully to the present time. - -From the tenth century up to the end of the fifteenth century the -extraordinary _Fête des Fous_ was celebrated in Notre Dame. One of -the cathedral employés was elected _Evêque des Fous_, and, wearing -the actual vestments used in religious services, was honoured with -a great banquet accompanied with grotesque dances and songs. This -orgy took place in the church itself, and was so popular that it -flourished in spite of the most determined efforts to suppress it. A -similar custom was observed in La Sainte Chapelle. During the early -years of the thirteenth century the Dominican order was established. -St. Dominic himself preached once at least in Notre Dame. During his -prayer before the sermon, the Virgin is said to have appeared to him -in a cloud of light and to have given to him a book containing the -subject-matter of his discourse. Raymond VII., Count of Toulouse, -underwent the discipline of the lash for heresy before the door of the -cathedral in 1229. This spot was for centuries occupied by a pillory. -From 1220 onwards a series of disputes took place between the officials -of the church and the university. During the long reign of St. Louis, -which ended in 1271, the power of the bishop and chapter of Paris -had increased enormously, and a host of vassals did homage to Bishop -Etienne II. for their lands. The body of St. Louis was laid in state -in Notre Dame previous to its burial at St. Denis. This custom was -followed in the case of many other French monarchs and princes of the -blood. - -On April 10th, 1302, Philippe-le-Bel held the first meeting of the -States-general in the cathedral. In the month of June, 1389, Isabeau -de Bavière made a solemn entry into Paris. Froissart tells us that: -“Devant ladite église de Notre-Dame, en la place, l’évêque de Paris -étoit revêtu des armes de Notre-Seigneur et tout le collège. Aussi on -moult avoit grand clergé et la descendit la royne et la mirent hors de -sa litière les quatre ducs qui là estoyent, Berry, Bourgogne, Touraine -et Bourbon.... La royne de France fut adestrée et menée parmy l’église -et le chœur jusqu’au grand autel et la se mit à genoux et fit ses -oraisons ainsi que bon lui sembla, et bailla et offrit à la trésorerie -de Notre-Dame quatre draps d’or et la belle couronne que les anges lui -avoient posée sur la porte de Paris.” - -A great thanksgiving service was held when Charles VI. had been saved -from burning. The King, it may be recalled, was dressed as a satyr at -a palace fête with five companions. The Duke of Orleans was curious as -to the identity of the disguised, and approached them with a torch, -which accidentally set their clothing alight. The King was saved by -the Duchess de Berri, who threw a cloak over him, but four of his -companions were burned to death. - -We must now turn to the time of Henry V. of England, who, after -Agincourt, became Regent of France with the right of succession to -the throne. After his marriage with Catherine, daughter of Charles -VI., in 1420, he paid a solemn state visit to Notre Dame. On Henry’s -death his son, afterwards Henry VI., was crowned King of France in the -cathedral. When the English were driven from Rouen, a great service of -thanksgiving was held to celebrate the entry of Charles VII. into the -Norman capital. - - [Illustration: QUEEN MARIE ANTOINETTE RETURNING THANKS FOR - THE BIRTH OF A DAUPHIN, JANUARY 21ST, 1782. - (_From “Paris à travers les Ages.”_)] - -“In the annals of Notre Dame,” says Mr. W. F. Lonergan in his _Historic -Churches of Paris_, “from the days of Louis XI., the rebellious dauphin -who succeeded his father, Charles VII., to the reign of the fourteenth -Louis, there is chiefly a long record of _Te Deums_ after the victories -of the French army. Historic Rheims, where Clovis had been baptized -by S. Remi in 496, was the favoured city of the Merovingians, who -had accorded it great privileges.” Amongst these was the right of -crowning and consecrating the Kings of France. Save Henri Quatre and -Louis XVIII., all of them were crowned at Rheims; but it was the -custom of the newly made sovereigns to go in state to Notre Dame at -Paris to return thanks for their advent to the throne. Amongst the -most interesting of the historic events which took place in, or were -magnificently celebrated at Notre Dame, were the following: the French -victory over the Venetians at Agnadel or, as the Italians call it, -Vaila, in 1509; the marriage of Louis XII. with Mary, sister of Henry -VIII. of England; the victories of Francis I.; and the marriage of -Mary Stuart with the Dauphin. The marriage of Henri, King of Navarre, -with Marguerite de Valois, took place at the entrance to the cathedral, -as the King was a Protestant. In 1590 the Catholic nobles swore at -the altar of Notre Dame to fight this same Henri to the bitter end. -In 1593, however, he became a Catholic, and attended mass at the -cathedral on the occasion of his accession to the throne as the first -monarch of the Bourbon line. The metropolitan see was raised to the -dignity of an archbishopric by Pope Gregory XV. in 1622. In 1682, under -Louis XIV., the great bell or _bourdon_ of the church was christened -Emmanuel Louis Thérèse, the King and Queen being the sponsors. Later -on, in 1699, the great changes in the church, undertaken in fulfilment -of the vow of Louis XIII., were begun. The first stone of the new -altar was laid by the Archbishop with the utmost pomp. The foundation -slab was inscribed: “Louis the Great--son of Louis the Just--after -he had suppressed heresy, established the true faith in his kingdom, -terminated gloriously wars by land and sea, wishing to accomplish the -vow of his father, built this altar in the cathedral church of Paris, -dedicating it to the God of Arms, Master of Peace and Victory, under -the invocation of the Virgin, patron and protector of his State, -A.D. 1699.” During the reign of the “Grand Monarque,” _Te -Deums_ were even more frequent than before. - -We come at length to the part played by the cathedral during the -Revolution. We need say nothing of the fate of the fabric itself, -for that has already been alluded to. Its escape is little short of -marvellous. The result of the sack of the treasuries of the churches -of Paris is best told in Carlyle’s vivid translation of Mercier: -“This, accordingly, is what the streets of Paris saw: Most of these -persons were still drunk, with the brandy they had swallowed out of -chalices;--eating mackerel on the patenas! Mounted on Asses, which were -housed with Priests’ cloaks, they reined them with Priests’ stoles; -they held clutched with the same hand communion-cup and sacred wafer. -They stopped at the doors of Dramshops; held out ciboriums: and the -landlord, stoup in hand, had to fill them thrice. Next came Mules -high laden with crosses, chandeliers, censers, holy-water vessels, -hyssops;--recalling to mind the Priests of Cybele, whose panniers, -filled with the instruments of their worship, served at once as -storehouse, sacristy and temple.” On November 10th, 1793, the Cult of -Reason was decreed by the Convention, and Notre Dame converted into -the temple of the new religion. To quote Carlyle again: “For the same -day, while this brave Carmagnole-dance has hardly jigged itself out, -there arrive Procureur Chaumette and Municipals and Departmentals, -and with them the strangest freightage: a New Religion! Demoiselle -Candeille, of the Opera; a woman fair to look upon, when well rouged; -she borne on palanquin shoulder high; with red woollen nightcap; in -azure mantle; garlanded with oak; holding in her hand the Pike of -the Jupiter-_Peuple_, sails in: heralded by white young women girt -in tricolor. Let the world consider it! This, O National Convention, -wonder of the universe, is our New Divinity; _Goddess of Reason_, -worthy, and alone worthy of revering. Her henceforth we adore. Nay, -were it too much of an august National Representation that it also -went with us to the _ci-devant_ Cathedral called of Notre Dame, and -executed a few strophes in worship of her?... And now after due pause -and flourishes of oratory, the Convention, gathering its limbs, does -get under way in the required procession towards Notre Dame;--Reason, -again in her litter, sitting in the van of them, borne, as one judges, -by men in the Roman costume; escorted by wind-music, red nightcaps, and -the madness of the world. And so, straightway, Reason taking seat on -the high-altar of Notre Dame, the requisite worship or quasi-worship -is, say the Newspapers, _executed_; National Convention chanting ‘the -_Hymn to Liberty_, words by Chénier, music by Gossec.’ It is the -first of the _Feasts of Reason_; first communion-service of the New -Religion of Chaumette.” The real heroine of this orgy was probably an -opera dancer called Maillard. ‘Demoiselle Candeille’ was an actress -and writer of some repute, who strenuously denied that she ever had -anything to do with the Feast of Reason. An imitation “mountain” was -erected in the nave for the “fête,” on which was built a Gothic temple -inscribed _A la Philosophie_. Around were busts of famous philosophers, -and below an altar surmounted with the so-called Torch of Truth. The -goddess sat on the hill, hymns were sung in her honour and vows of -fidelity to her were taken. In 1794 the church was used as a bonded -store for the wine seized in the cellars of guillotined or outlawed -Royalists. The month of May in the same year saw the “Temple of Reason” -turned into that of the “Supreme Being,” for Robespierre persuaded the -Convention to sign a decree recognising “the consoling principle of -the Immortality of the Soul.” In 1795 Christian worship was once more -restored at Notre Dame. Nothing of great importance happened to the -church until the star of Napoleon rose--until, indeed, the first Consul -had become Emperor. - -Of all the magnificent ceremonies of which Notre Dame has been the -scene, the most splendid was the joint coronation of Napoleon and -Josephine in the winter of 1804. A full account of it will be found -in the _Mémoires de la Duchesse d’Abrantès_, of which I quote a part, -purposely leaving it in the original French, as any translation would -be comparatively colourless and unpicturesque: “Le pape arriva le -premier. Au moment où il entra dans la basilique, le clergé entonna -_Tu es Petrus_, etc.; et ce chant grave et religieux fit une profonde -impression sur les assistants. Pie VII. avançait du fond de cette -église, avec un air à la fois majestueux et humble.... L’instant qui -réunit peut-être le plus de regards sur les marches de l’autel, fut -celui où Joséphine reçut de l’empereur la couronne et fut sacrée -solennellement impératrice des Français. Lorsqu’il fut temps pour elle -de paraître activement dans le grand drame, l’impératrice descendit -du trône et s’avança vers l’autel, où l’attendait l’empereur, suivie -de ses dames du palais et de tout son service d’honneur, et ayant -son manteau porté par la princesse Caroline, la princesse Julie, -la princesse Elisa et la princesse Louis.... Je vis tout ce que je -viens de dire dans les yeux de Napoléon. Il jouissait en regardant -l’impératrice s’avancer vers lui; et lorsqu’elle s’agenouilla ... -lorsque les larmes qu’elle ne pouvait retenir, roulèrent sur ses mains -jointes qu’elle élevait bien plus vers lui que vers Dieu, dans ce -moment où Napoléon, ou plutôt _Bonaparte_, était pour elle sa véritable -providence, alors il y eut entre ces deux êtres une de ces minutes -fugitives, unique dans toute une vie, et qui comblent le vide de bien -des années. L’empereur mit une grâce parfaite à la moindre des actions -qu’il devait faire pour accomplir la cérémonie. Mais ce fut surtout -lorsqu’il s’agit de couronner l’impératrice. Cette action devait être -accompli par l’empereur, qui, après avoir reçu la petite couronne -fermée et surmontée de la croix, qu’il fallait placer sur la tête de -Joséphine, devait la poser sur sa propre tête, puis la mettre sur celle -de l’impératrice. Il mit à ces deux mouvements une lenteur gracieuse -qui était remarquable. Mais lorsqu’il en fut au moment de couronner -enfin celle qui était pour lui, selon un préjugé, son _étoile heureuse_ -il fut _coquet_ pour elle, si je puis dire le mot. Il arrangeait cette -petite couronne qui surmontait la diadème, en diamant, la plaçait, la -déplaçait, la remettait encore, il semblait qu’il voulût lui promettre -que cette couronne lui serait douce et légère.” - -Napoleon, on this occasion, hastily took his crown from the Pope’s -hands and placed it haughtily on his own head--a proceeding which -doubtless startled his Holiness. In May 1814 Louis XVIII. and his -family attended mass at Notre Dame after their entry into Paris. A -great service was held there in 1840, to celebrate the restoration of -the remains of Napoleon I. to French soil, while Archbishops Affre, -Sibour and Darboy, who died violent deaths, were commemorated with -fitting solemnities. - -The marriage of Napoleon III. to Eugénie de Montijo, Comtesse de -Teba, on January 29th, 1853, was the occasion of a great display of -gorgeous pageantry at Notre Dame, as was the baptism of the ill-fated -Prince Imperial in 1857. The Terrorists of 1871 robbed the treasury of -the cathedral of many valuable relics, but their intention to injure -the fabric itself was prevented by the timely arrival of troops. The -most notable ceremonies during the existence of the present Republic -have been the funeral service, in June 1894, for President Carnot, -assassinated in that year at Lyons, and the splendid State funeral of -Louis Pasteur in October 1895. - -The great festivals of the Church are celebrated at Notre Dame on -a scale of almost unrivalled magnificence. On Assumption Day, in -particular, splendid music, wedded to the most ornate ritual, produces -an effect never to be forgotten. The pulpit of the metropolitan -cathedral has been occupied by a succession of great preachers, amongst -them Bossuet and Bourdaloue, and the services and conferences are noted -throughout the Roman Catholic world. The Dominican Lacordaire began in -1835 a series of majestic and picturesque discourses, which earned for -him the title _le Romantique de la Chaire_, and he has been described -as filling as a preacher the place occupied in literature by Victor -Hugo and in painting by Delacroix, H. Vernet, and Delaroche. In recent -times among the most popular pulpit orators have been the fiery Jesuit -Père Ravignan, Monseigneur d’Hulst, Père Monsabré, and M. Hyacinthe -Loyson, better known to fame as Père Hyacinthe. - -Needless to say, this is the merest outline of the wonderful history -of the Cathedral Church of Paris. If the columns of Notre Dame could -speak, they would--to adapt a phrase of Viollet-le-Duc--be able to -recount the history of France from the time of Philip Augustus to our -own day. It is therefore natural that the whole French nation has for -Notre Dame a feeling of veneration and affection similar to that which -is called forth in English hearts by the Abbey Church of Westminster. - - - - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE CHEVET.] - -CHAPTER II. - -THE PLACE OF NOTRE DAME IN THE DEVELOPMENT OF FRENCH GOTHIC. - - -The place of the Cathedral of Paris in the evolution of French -Gothic[4] is so important that I propose to devote a brief chapter to -it. The subject is essentially technical, but I will endeavour to make -it as easy of comprehension as possible. The reader will doubtless -ask himself what is the difference between Gothic and the style which -preceded it. The reply, unfortunately, cannot consist of a dogmatic -statement. The subject is a great one, and only a few sentences of this -handbook may be devoted to it. I shall rely for the most part on the -materials for a definition of Gothic given by M. Viollet-le-Duc in his -_Dictionnaire Raisonné de l’Architecture Française_. The question is -one of essential structural peculiarity as opposed to mere decorative -idiosyncrasy. I am aware that many English writers whose opinions are -entitled to respect hold views in conflict with those here maintained. -The style which immediately preceded Gothic is known generically as -Romanesque. In Romanesque the system may be described as one of inert -stability: in Gothic the system is one of scientifically calculated -thrusts and counter-thrusts. It was the affair of art to inform what -one may call the mechanics of the building with interest and beauty. -There have been many attempts to compromise the two systems, so that -we often find Romanesque features in obviously Gothic buildings. Much -will be said in subsequent pages of the vaulting of Notre Dame. I -would willingly have left this vexed question alone, but were I so to -do, this handbook would be little more than a descriptive catalogue -of objects of interest together with some historical reminiscences. -For the vaulting is of the essence of the whole matter: compared -with it the consideration of mouldings and of ornament is relatively -unimportant. To put the matter plainly, the very existence of a Gothic -church depends upon the proper arrangement of what we may call its -mechanism--_i.e._ its vaulting, piers, buttresses and so forth. The -mechanics being duly devised, art steps in, and renders the essential -beautiful.[5] - -[Footnote 4: French Gothic is here generally intended to convey the -Gothic of the Ile-de-France. The contemporary architecture of Normandy -has a character of its own, probably not less valuable than that of the -Ile-de-France. But it is different, and its differences have been dealt -with in other handbooks of this series.] - -[Footnote 5: The difficulty of attributing mediæval work in any -countries to particular designers is generally recognised. I do not -wish to imply, in the passage to which this note has reference, -that the mechanic and the artist were of necessity separate people. -Most often the plan was arranged by a master-builder who himself -superintended the scheme of decoration.] - -It is not at Paris that we can trace the first attempt to break away -from the principles of Romanesque: the first step in the distinctly -Gothic development of French architecture, according to some recent -authorities, is to be found in the apse of the church of Morienval. -Morienval is a Romanesque church, but it has ribbed vaulting, of which -there is no earlier instance in France. At St. Germer-de-Fly we find -the first truly Gothic apse on a large scale ever constructed. It -belongs to the second quarter of the twelfth century. The same church -possesses a vaulted triforium which may fairly be considered the -forerunner of the far grander one at Paris. Again, the now suburban -church of St. Denis has double aisles, which clearly foreshadow the -noble arrangement which exists at Paris, Amiens, and elsewhere. Many -writers are agreed in regarding St. Denis as the starting-point of -French Gothic. - - [Illustration: SECTION OF NAVE AND DOUBLE AISLE, AND A PLAN - OF ONE BAY. - SCALE 1 INCH = 29 FEET. - (_From Viollet-le-Duc._)] - -Notre Dame was the first of the greater French cathedrals in which -Gothic principles of construction were logically carried out. The -choir was begun, according to M. V. Mortet in his _Etude Historique -et Archéologique sur la Cathédrale de Paris_, in the year 1163.[6] -The nave (with the exception of the extreme west end) was completed -about the year 1195. The west façade was built in the early part of -the thirteenth century. Notre Dame is thus older than the cathedral -of Amiens, with which one naturally compares it. Amiens was built -between the years 1220 and 1288, except the lower stages of the west -front, which were only completed towards the end of the fourteenth -century. The towers are a “debased” addition. In England the work being -done while the older parts of Notre Dame were in course of erection was -transitional; the new style had by no means been fully understood and -put into practice. Perhaps we do not overstate the case when we say -that the _science_ (as well as the art) of Gothic found its first real -expression on a large scale in the Cathedral of Paris. - -[Footnote 6: I give the dates assumed by M. V. Mortet and later writers -as well as those affixed by M. Viollet-le-Duc. It will be noticed that -the differences between them are not material.] - -A glance at the ground-plan of Notre Dame shows us how widely it -differs from that of our own great churches. First of all we notice -that not merely the nave, but the choir, possesses double aisles--a -feature which is lacking in English churches[7] on so vast a scale -as Canterbury, York, Ely or Peterborough. The magnificence which the -system of double aisles lends to a great church need hardly be insisted -upon. For a French church the nave of Paris is long, consisting of ten -bays. The smaller Norman nave of Norwich possesses, however, no less -than fourteen bays. At Paris one is struck by the slight projection -of the transepts. In nearly all the greater churches of England the -transepts are of large proportions, and frequently (as at Canterbury -and Lincoln) we find two pairs of transepts. The transepts at Notre -Dame are without aisles, and are so shallow that the church is only -just cruciform. Speaking of these transepts Professor Roger Smith -observes: “They do not project beyond the line of the side walls, so -that, although fairly well marked in the exterior and interior of the -building, they add nothing to its floor-space.” - -[Footnote 7: Chichester, which is an early church, has double aisles; -it is, however, comparatively small, and can in no sense be compared -with so immense a building as Notre Dame.] - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - NORTH AISLES OF THE NAVE.] - -The east end of Notre Dame takes the form of a magnificent semicircular -apse,--a form assuredly the most appropriate to a Gothic church. The -square eastern termination, so common in England, is rare amongst the -larger churches of the best period of French Gothic. “A more beautiful -eastern termination than the Gothic apse,” says Mr. Charles Herbert -Moore,[8] “could hardly be conceived. No part of the edifice does more -honour to the Gothic builders. The low Romanesque apse, covered with -the primitive semi-dome, and enclosed with its simple wall, presented -no constructive difficulties, and produced no imposing effect. But -the soaring French _chevet_, with its many-celled vault, its arcaded -stories, its circling aisles and its radial chapels, taxed the utmost -inventive power, and entranced the eye of the beholder.” It seems to -me that throughout his study of Gothic Mr. Moore is a little less than -fair to the Romanesque builders. The Gothic apse, which he so justly -admires, is, after all, evolved from the Romanesque apse, which he -holds in such light esteem. While we may admit the superiority of the -Gothic apse, it is going too far to assert that the Romanesque apse -“produces no imposing effect.” The apse of Norwich or Peterborough, -or of St. Bartholomew’s (London) is assuredly imposing in a very high -degree. - -[Footnote 8: _Development and Character of Gothic Architecture._ Second -edition. New York: The Macmillan Company, 1899.] - -In a subsequent chapter the structural and decorative details will be -fully discussed. It may, however, be noted in passing that, although -the Cathedral of Paris is in all essentials a Gothic building, the -influence of the Romanesque style is so marked in some of its details -that it is frequently described as a transitional structure. As we -have seen, the greater part of Notre Dame belongs to the twelfth -century; and De Caumont, who in his _Abécédaire_ attempted for French -architecture a work of scientific division similar to that which -Rickman essayed for English architecture, describes French work of the -twelfth century as _Architecture Romane-Tertiaire ou de Transition_. -The _Abécédaire_, however, is now considered ingenious rather than -authoritative. - -With a few words about the west front this brief chapter must be -concluded. The great façade of Notre Dame was begun in 1202. It -bears a general structural resemblance to that of the cathedral of -Senlis, which dates from the second half of the twelfth century, -especially in the matter of its triple portals and the towers at the -termination of the aisles. At Senlis we have unmistakable evidence -of the Gothic spirit, but in its main plan this front is similar to -the Romanesque Abbaye-aux-Hommes at Caen. The builders of the west -front of Notre Dame thus owe something to the designers of Senlis and -the Abbaye-aux-Hommes, but they have achieved a variety and symmetry -of which their forerunners probably did not dream. In construction, -as well as in the organic significance of its wealth of sculptured -decoration, the façade of Notre Dame is genuinely Gothic as opposed to -Romanesque. - - - - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE WEST FRONT.] - -CHAPTER III. - -THE EXTERIOR. - - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - CHIMÈRES.] - -I have already said enough in reference to the commanding position -occupied by Notre Dame among the monuments of Paris. The great -cathedral seen at a distance looks ancient indeed, but a closer -inspection proves to us that the hands of modern men have been at -work on it. Indeed, one writer goes so far as to regret that it has -been scraped and patched without, and bedizened and bedaubed within. -In the first edition of Victor Hugo’s famous novel, _Notre Dame_, -he tells us that if we examine one by one the traces of destruction -imprinted on this ancient church, the work of time would be found to -form the lesser portion--the worst destruction has been perpetrated -by men--especially by men of art. Since Hugo wrote this much more -“restoration” has been carried out at the metropolitan church of Paris. -But though I regret so-called “restoration” on principle, I cannot help -feeling that the work executed by M. Viollet-le-Duc and M. Lassus is -far less objectionable than it might have been. Fortunately, unlike so -many great Continental churches, Notre Dame stands free and clear, -and may be examined on all sides without difficulty. Indeed, it is now -perhaps somewhat too isolated at the west end. Of course it does not -possess one of those venerable closes, with a supplement of ancient -ecclesiastical buildings, which is the glory of the great churches of -our own land. - -=The Façade.=--The west fronts of the greater Gothic churches of -France are as a rule the most majestic features of their exteriors. One -might write much to prove that the west front of Amiens or of Chartres -is superior to that of Notre Dame, but this, after all, is an arguable -question. When we stand in front of the church by the Seine we are -struck by the reticence, by the obvious disdain of the easily obtained -picturesque, which seem to have animated its designers. The thing is -symmetrical with a fine symmetry rare among buildings of the time. -Before we discuss the façade in detail, let us quote a translation of -Victor Hugo’s detailed description, in the romance already alluded to: - -“Assuredly there are few finer pages of architecture than this façade, -in which, successively and at once, the three receding pointed portals; -the decorated and lace-like band of twenty-eight royal niches; the -vast central rose window flanked by the two lateral ones, like the -priest by the deacon and sub-deacon; the lofty yet slender gallery of -trefoiled arcading, which supports a heavy platform upon its light -and delicate columns; and lastly the two dark and massive towers with -their eaves of slate,[9]--harmonious parts of an entirely magnificent -whole,--rising one above another in five gigantic stories,--unfolding -themselves to the eye combined and unconfused, with innumerable details -of statuary and sculpture which powerfully emphasise the grandeur -of the _ensemble_: a vast symphony in stone, if one may say so--the -colossal work of a man and of a nation ... on each stone of which one -sees, in a hundred varieties, the fancy of the craftsman disciplined -by the artist: a kind of human creation, mighty and prolific as the -Divine Creation itself of which it seems to have caught the double -characteristics--variety, eternity.” In the last few phrases Victor -Hugo has, perhaps, been guilty of the licence readily granted to so -great a master of rhetoric; but the west front of Notre Dame was a -monument certain to appeal to a writer to whom none deny the gift -of eloquence. Even a specialist who scrupulously avoids rhapsody is -compelled to use superlatives in his description of this façade: “This -vast and superb design is not only the most elaborate that had been -produced up to its time, but in point of architectural grandeur it has -hardly ever been equalled.” Mr. C. H. Moore, in the book alluded to in -a former chapter, rightly insists that the component elements of the -front are so treated as to manifest the Gothic spirit not merely in the -portals, the arcades, and the apertures, but even in so comparatively -small a matter as the profiles of the mouldings. - -[Footnote 9: These have been removed.] - - [Illustration: STRING-COURSE ON THE WEST FRONT. - [_From Viollet-le-Duc._]] - -The late P. G. Hamerton has well expressed a feeling of vague -disappointment which many persons who are not experts in Gothic -construction and decoration feel on seeing the west front: “May I -confess frankly,” says Mr. Hamerton, “that until I had carefully -studied it under the guidance of Viollet-le-Duc, the front of Notre -Dame never produced upon me the same effect as the west fronts of some -other French cathedrals of equal rank? I believe the reason to be that -Notre Dame is not so picturesque as some others, and does not so much -excite the imagination as they do. It is well ordered, and a perfectly -_sane_ piece of work (which Gothic architecture is not always), but it -has not the imaginative intricacy of Rouen, nor the rich exuberance of -Amiens and Reims, nor the fortress-like grandeur of Bourges, nor the -elegant variety of Chartres.... The truth is that the virtues of the -west front of Notre Dame are classic rather than romantic. Everything -in it seems the result of perfect knowledge and consummate calculation. -There are none of those mistakes which generally occur in a work of -wilder genius.” - - [Illustration: CARVED FOLIAGE FROM THE PORTAIL DE LA VIERGE. - [_From Viollet-le-Duc._]] - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - PORTAIL DE LA SAINTE VIERGE.] - -The sculptured decoration of the three great portals exceeds, if -not in actual ornateness, at all events in real beauty, that of any -cathedral in the west of Europe. Much of it has suffered at the hands -of the iconoclast, but, looking to the vicissitudes through which Notre -Dame has passed, it is wonderful that so much of the original sculpture -has been preserved. The recent restoration has been carried out with -a skill which is simply marvellous, and the uninformed observer may -easily be betrayed into the belief that he is looking at an unaltered -ancient work. Whether this is a gain or a loss each of us must decide -for himself. Some able writers have urged that the success with which -ancient work has been imitated shows that modern artists are capable -of the triumphs of the middle ages. Others dismiss the new work as an -unpardonable forgery. It is outside the scope of this book to attempt -to describe in detail the wealth of statuary and carving which the -thirteenth-century craftsmen and those of modern times have lavished on -these portals. For such a description we must refer the reader to the -voluminous accounts of Viollet-le-Duc and other writers. The sculptures -of the north door, called the _Portail de la Saint Vierge_, have been -described as constituting a complete poem in stone. Viollet-le-Duc -considered the portal as the masterpiece of French carving of the -early thirteenth century. I adapt the following description of the -chief sculptures from Mr. Lonergan: On the pedestal of the central -pier are bas reliefs representing the Creation of Eve, the Temptation -in the Garden of Eden, and the Ejection from Paradise. Above is the -Virgin crowned, and over her a small gabled construction referring to -the Ark of the Covenant. On the upper part of the arch in the lower -division are three prophets and three kings. In the second angels hold -the winding-sheet in which Mary’s body lies, near a coffin-shaped -tomb. Over this stands Christ with eight apostles. In the third -division we see Mary glorified. In the _voussure_ are sixty figures of -angels, patriarchs, kings and prophets as witnesses of the Virgin’s -glorification. Under the large statues are medallions referring to -incidents in the lives of those represented. Thirty-seven bas reliefs -ornament the sides and pillars, amongst them being the signs of the -zodiac and symbolic representations of the months of the year. The -ironwork of the doors of this and of the adjoining portals is of a -splendidly elaborate character, due, according to a quaint tradition, -to the skill and energy of the devil. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - FIGURE OF ST. MARCEL, PORTE SAINTE ANNE.] - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE LAST JUDGEMENT. - (From the central doorway.)] - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - TYMPANUM OF THE PORTE SAINTE ANNE.] - -The _Central portal_ has suffered more from mutilation than those which -are on either side of it. In the eighteenth century the architect -Soufflot--a man who was nothing if not “classic”--removed the dividing -pier and cut away the lower division of the tympanum in order to -facilitate the passage of processions on high ceremonial occasions. -All traces of his vandalism have been removed, and the dividing pillar -bears a modern statue of Christ by Geoffroy Dechaume. The pedestal -is a pentagon, and has seven bas-relief medallions. At the sides are -the apostles, while in the medallions are represented the virtues -and vices. Traces of mutilation are apparent in much of this work. -The tympanum itself is devoted to the Last Judgment. “First we have -figures of the dead rising at the blast of the trumpet. Men and women -of all conditions and ranks wearily shake off the sleep of death.” -Also there is the Archangel, with representations on the right of “the -elect joyfully glancing heavenwards, while on the left the grinning -demons haul a row of chained souls to hell. Crowning all is seen the -Redeemer, showing the wounds in His hands. Near Him are two angels, -and behind the Virgin and St. John the Evangelist interceding on their -knees for fallen humanity. As a setting to this magnificent composition -are six rows of sculptured forms, making a _voussure_ or set of curves, -with figures of prophets, doctors, martyrs, devils, toads, damned -souls, and a hideous ape with crooked toes and fingernails. Some of -the ornamentation of the six ranges of arch curves is gruesome and -terrible. It relates either to the celestial or infernal results of -the last judgment.” In its original state this great doorway must have -been a work of unrivalled dignity. Nowhere else do we find carving more -expressive, nor more perfectly subordinated to the architectural scheme. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - APOSTLES. - (From the central doorway.)] - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE PORTE SAINTE ANNE. - (Figures from the Old Testament)] - -The doorway on the south is variously described as the _Portal of St. -Anne_ or _St. Marcel_. According to some writers it is the most ancient -of the three, and contains fragments of “the sculpture which formerly -adorned the old church of St. Stephen (St. Etienne). These, it is said, -were executed at the expense of Etienne de Garlande, who died in 1142. -The dividing pier or _trumeau_ bears the statue of St. Marcel (see p. -33). The tympanum is adorned with the “History of Joachim and Anna,” -the “Marriage of the Virgin,” and the “Budding of Joseph’s Staff.” Each -side is occupied with four statues of saints of the Old Testament. The -four main buttresses which divide the façade perpendicularly into three -parts are pierced with niches containing statues on a level with the -vaulting of the portals. These statues represent Religion, Faith, St. -Denis, and St. Stephen. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - “CHIMÈRES.”] - -The second story of the façade is occupied by a noble arcade which -shelters twenty-eight colossal statues. This is known as _La Galerie -des Rois_, and stretches across the entire width of the front. The -statues were formerly believed to be conventional representations -of the ancient kings of France, but they are doubtless intended for -the kings of Judah as ancestors of the Virgin. A similar feature -will be found as part of the façade of Amiens. There, however, the -statues are at a greater height from the ground, and are twenty-two -in number. Above the _Galerie des Rois_ at Paris there is a graceful -open arcade of slender arches and columns. The five large statues -here date only from the year 1854. The third main division has in -the centre a vast wheel window with open tracery, while in each of -the lateral bays we have pointed arches with twin pointed openings -and small circular panels in the tympanum. The vacant space in the -spandrels of each division is occupied by a trefoil panel. At Amiens -once more we meet with a main division similarly composed. At Notre -Dame, immediately over the division containing the wheel window, is an -open arcaded screen of gigantic proportions, surmounted by a parapet -or pierced cornice behind which rise the two towers. So dexterously -has this arcade been planned, so graceful are its lines, so delicate -its details, that the impression which it leaves on the mind--in -spite of the solidity of its construction and the vastness of its -scale--is almost that of some such unsubstantial material as lace. To -the platform supported by this screen everybody should ascend, if only -to make the acquaintance of the famous _Chimères_ or “_Devils of Notre -Dame_.” This collection of specimens of fantastic sculptured zoology is -without parallel in Europe. These weird beasts which scowl from their -point of vantage upon the French metropolis fascinated the great etcher -Méryon, and more recently they have formed the subject of a series of -admirable drawings by Mr. Joseph Pennell, the value of which has been -enhanced by an essay, partly descriptive, partly philosophical, from -the pen of the late R. A. M. Stevenson. The _chimères_ are not merely -curious examples of the extravagantly grotesque. Their horror lies, not -in their departure from natural forms, but in the fact that, while the -features of various beasts or monsters are retained, they are impressed -with characteristics of ferocity and cunning which are essentially -diabolical or suggestive of the lowest depths of human depravity. They -have nothing in common with the crude and impossible gargoyles so -frequently found in buildings erected when the pointed style was in -its decadence. Speaking roughly, their anatomy is possible: it is -conceivable that they should breathe and live. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - “CHIMÈRES.”] - -Readers of Hugo’s _Notre Dame_ will remember his description of the -Archdeacon as he clung to the lead gutter of the tower: “Meanwhile he -felt himself going bit by bit; his fingers slipped upon the gutter; -he felt more and more the increasing weakness of his arms and the -weight of his body; the piece of lead which supported him inclined -more and more downwards. He saw beneath him, frightful to contemplate, -the pointed roof of St. Jean-le-Rond, small as a card bent double. -He looked, one after another, at the imperturbable sculptures of the -tower--like him suspended over the precipice--but without terror for -themselves or pity for him. All around him was stone,--before his eyes -the gaping monsters; in the Parvis below, the pavement; above his -head, Quasimodo weeping.” - - [Illustration: “LE STRYGE,” ONE OF THE CHIMÈRAS OF NOTRE - DAME, WITH THE TOWER OF ST. JACQUES. - (After Méryon’s Etching. - _Insatiable vampire l’éternelle luxure, - Sur la grande cité convoite sa pâture._)] - -The =Towers=, though not of precisely the same size, appear to -be so. The summit of the north tower is reached by an ascent of two -hundred and ninety-seven steps. Each of the towers is pierced with -coupled pointed openings and profusely enriched with mouldings and -gargoyles. Both of them terminate with open parapets, the staircases -ending in small turrets. The panorama of Paris from the top is -magnificent, while the view of Notre Dame itself reveals to the full -its structural beauty. Few sights are more impressive than that of the -great roof ridge of the church, broken by the graceful modern _flèche_, -and ending in the circular _chevet_. From this high place, likewise, -one is able fully to appreciate the grand arrangement of flying -buttresses, the forest of pinnacles, the host of gargoyles, statues, -and other sculptured ornaments which adorn the structure. Of the famous -peal of thirteen ancient _bells_ which formerly occupied the belfries -of the two towers, only one--_le bourdon de Notre Dame_--still remains. -It has announced to Paris most of the great victories of the French -army, and it still gives the signal to other bells to usher in the -great festivals of the Church. Of the other bells existing here, the -most interesting is one of Russian workmanship, which was brought from -Sebastopol. - - [Illustration: THE ROOF-RIDGE OF NOTRE DAME. - (_From a drawing by Joseph Pennell, by - permission of the “Pall Mall Magazine.”_)] - -The =Flèche=, over the crossing, was built in 1859-60, the ancient one -being destroyed in 1787 and replaced by a bulb-like structure which -was irreverently compared to a pepper box. To this circumstance Victor -Hugo alludes scornfully: “Un architecte de bon goût l’a amputé, et -a cru qu’il suffisait de masquer la plaie avec ce large emplâtre de -plomb, qui ressemble au couvercle d’une marmite.” In removing this -atrocity Viollet-le-Duc was assuredly performing a necessary service. -His elaborate though slender steeple is of oak covered with lead, and -weighs 750,000 kilos. It is ornamented with numberless crockets and -pierced with well-contrived openings. The base is led up to by tiers -of statues placed on brackets in the angles formed by the junction of -the roofs of the nave, transepts and choir. The ball below the cross -encloses reputed fragments of the cross and the crown of thorns. There -can be little doubt that Viollet-le-Duc, speaking generally, has -constructed a flèche which would have commended itself to mediæval -designers. It is interesting to note the slender character of the -structures which in France rise above the crossings, as compared with -the huge towers which occupy a like position in the English cathedrals -of Lincoln, Canterbury and York, or with the comparatively substantial -spires to be found at Salisbury, Norwich and Lichfield. - - [Illustration: THE ORIGINAL FLÈCHE. - (_From “Paris à travers les Ages.”_)] - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - CLOCHETON OR TURRET--APSIDAL CHAPELS.] - -=The Buttress System.=--The buttress system of Notre Dame has -been the subject of careful study and explanation by Mr. Moore. “In -the external system,” he remarks, “the flying buttresses were, as -at first constructed, magnificently developed, and were double in a -twofold sense. That is, the piers which divide the double aisles were -formerly carried up through the roof so as to form buttresses to the -vaulted triforium gallery, and, rising above the roof of this gallery, -they received the heads of the double flying buttresses over the outer -aisle, and gave foothold to another pair of arches over the triforium -gallery. The lower arch of the outer pair was above the aisle roof, -while the lower arch of the inner pair was beneath the roof of the -triforium. The principle of equilibrium maintained by opposing thrusts -was here completely developed; the inert principle no longer governs -the construction, though a survival of the former method of building is -found in the walls of the aisles and clerestory, which are no longer -necessary to the strength of the edifice.” The flying buttresses, as -we now see them, are (according to Viollet-le-Duc) alterations dating -from the early part of the thirteenth century. They consist of huge -arches clearing both aisles with a single span. The flying buttresses -of the upper tier are wonderfully light and elegant, looking always to -the large span which they have to clear. They join the space between -the windows of the clerestory to lofty upright buttresses terminating -in fine crocketed pinnacles and ornamented with an amazing wealth of -sculpture. The flying buttresses of the lower tier are thicker, and -most frequently spring from elaborate _clochetons_, one of which is -illustrated here. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - WINDOWS ON THE SOUTH SIDE.] - -=The Windows= of Notre Dame are on the vast scale which is usual -in the greater Gothic churches of the Ile-de-France, and present a very -remarkable contrast to the small and simple windows which were deemed -sufficient by the builders of our own early cathedrals in the pointed -style. At Notre Dame the area of solid wall is slight in relation to -the area filled in with glass. It is not so much a case of windows in -walls, as of walls connecting windows. The external buttress system -and the internal vaulting system at Notre Dame comprise the essentials -of the structure, so that the walls are of the nature of enclosures -rather than necessary structural parts. We have travelled far from the -Romanesque principle, in which the walls were primarily weight-bearers. -The windows of the aisles and of the ambulatory are of great size and -display many differences of detail, but they nevertheless maintain a -general similarity, the designers, while appreciating the value of -uniformity, being too richly endowed with the prevailing fertility of -invention in matters of decorative detail exactly to repeat even the -most successful arrangement. Each is divided into two main pointed -lights, above which a large circle, quatrefoil or similar device, -occupies the head of the window, the arches also being cusped or foiled -in varying patterns. The main lights are again subdivided into two, -with trefoils or quatrefoils in the heads. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - TRIFORIUM WINDOWS.] - -Above these noble windows are gabled heads whose sides are enriched -with crockets or cusps, their centres being occupied with circular -decorative panels, and their angles having small richly carved -bosses. Sometimes the canopies consist of beautiful open-work. -Everywhere grotesque gargoyles project between them, and the mouldings -terminate in corbels in the shape of small, highly wrought human -heads. This series of windows emphasises the prodigality with which -sculpture in human forms or in the forms of naturalistic or fantastic -animals is to be found in nearly all parts of Notre Dame. It is this -prodigality, wisely distributed, which places this cathedral in such -acute contrast--speaking from the standpoint of the uninitiated -observer--to our own early pointed structures. The upper aisle-wall -between the lower tier of flying buttresses is in some parts of the -building occupied by wheel windows of varied pattern, most elaborately -ornamented. But at the east end the triforium lights show another -device: two small arches have in the angle between them quatrefoiled -openings. It is notable that this dignified and beautiful device is -foreshadowed by some of the windows in the Byzantine church in Athens, -and even in the sixth-century church of Qualb Louzeh, in Central Syria. - -The clerestory lights occupy the full width of the space between the -piers of the upper flying buttresses. Finally, at the base of the roof -runs an open-work parapet. As we have already observed, many of the -windows were hastily rebuilt after the fire of which we have previously -spoken. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - NORTH TRANSEPT FRONT.] - -=North and South Transept Fronts.=--These, as we have seen, are -comparatively late work, but though subordinate to the great façade, -they are of intricate design and great ornateness. They fail of effect, -however, when they are compared with the monumental and inevitable -grandeur of the west front. The south façade, of the date 1257, is -undoubtedly the work of Jean de Chelles. An inscription tells us very -exactly that it was begun on the second day of the Ides of February, -in honour of the mother of Christ. There are writers who would have -us believe that to the work of de Chelles we should apply, if not the -word “debased,” at least the word “flamboyant.” For this there seems -to be no good reason, unless, indeed, we are prepared to allow that -systems of architectural classification are more important than the -buildings which are their subject-matter. It will be at once recognised -that the lateral fronts of Notre Dame--while they lack the elementary -grandeur so conspicuous in the works of the pioneers of Gothic in the -Ile-de-France--have nothing in common with the later Perpendicular -buildings of England, wherein decoration runs riot and construction -sometimes degenerates into trickery. The great feature of each of -these minor fronts is a vast rose window. It is difficult to repress -the feeling that these fronts have been deliberately constructed with -a view to lend emphasis to these lovely circular insertions, rich as -they are in appropriate tracery. Whether or not we are to limit the -work of Jean de Chelles to the southern front (or the lower portion -of it), or whether we are to attribute to him the opposite front and -the arrangement of chapels adjacent to and east of the transepts, is a -nice question. The documentary evidence, to which access is difficult, -would, indeed, appear narrowly to limit the work of Jean de Chelles to -that fragment with which he has been immemorially associated. But it -were unwise to rely too closely on ancient documents in which definite -statements of fact are not to be found. It is possible that, even if -Jean de Chelles did not personally superintend the erection of the -southern front, he designed the opposite front and the chapels in -question. He may, indeed, have left pupils fully acquainted with his -methods and nearly tied to him by bonds of sentiment, who in their own -productions perpetuated, not merely the main features of the style of -their master, but used exactly the same material as he employed. Once -more, the sculptor is prominent; once more, the structural parts are -adorned with beautiful statuary. The great point is that (using the -word as widely as it may fairly be used) uniformity is achieved. Of -Notre Dame we may say--what we cannot say of buildings possibly more -interesting to the architect and the antiquary--that from east to west, -from north to south, it strikes the observer as the splendid outcome -of a single imagination, or of a number of imaginations dominated by -the same impulse, rather than the haphazard result of peculiar and -fortuitous circumstances. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - TYMPANUM OF THE NORTH TRANSEPT DOORWAY.] - -The sculpture of the portal of the North Transept is devoted to the -history of the Virgin--of whom the dividing pier between the doors -bears a beautiful statue. The carving in the lowest division of the -tympanum deals with the Birth of Christ, the Visit of the Magi, the -Presentation in the Temple, and the Flight into Egypt. The carving of -the other divisions refers to the history of Theophilus, a mythical -monk who signed a contract with the Devil, like Faust, but was saved by -the interference of the Virgin. On each side of the portal are three -empty niches. These, as well as the portal, possess canopies. An arcade -of lights is the chief feature, between the entrance and the great -rose window previously alluded to. The portal of the South Transept -has figures of Christ, St. Martin, St. Stephen, St. John the Baptist, -Moses, St. Denis, St. Thomas, St. Peter, St. Bartholomew, David, -and Aaron. The tympanum has a representation of the Martyrdom of St. -Stephen. This portal is seldom used. Again we have the arcade of lights -leading to the great rose. The gable end is in its turn pierced by -another smaller circular window of remarkable beauty. It will be seen -that while there are great differences between the fronts of the two -transepts, structurally they resemble one another. - -Returning to the north side of the church, beneath one of the windows -belonging to a choir chapel is the well-known _Porte Rouge_, a delicate -masterpiece which we may probably attribute to the early part of the -fourteenth century. In its tympanum is represented the Coronation -of the Virgin, while in its vaulting we have scenes in the life -of St. Marcel. The door gained its name from the fact that it was -originally painted red. It seems always to have held a high place in -the affections of the Parisians. Victor Hugo appears specially to have -delighted in it, for he writes: “La petite Porte-Rouge atteint presque -les limites des délicatesses gothiques du quinzième siècle.” Near -the _Porte Rouge_, under the windows of the Choir chapels, are seven -bas-reliefs representing scenes from the Virgin’s life. They date from -the sixteenth century. - -He must be insensible indeed to the grandeur of Gothic building who -fails to be impressed when he stands at the east end of Notre Dame. -There, in the great main circular sweep, we can appreciate the tiers of -buttresses, the spear-like forest of pinnacles, each one constructively -necessary, each duly subordinated to an ordered scheme, each wisely -and appropriately decorated. Standing here, we are indeed under the -spell of the august _ecclesia parisiaca_, the ancient silent witness of -changes so immense and so fruitful of result, of victories in the arts -alike of peace and war which have been of such profound consequence not -merely to Paris, and to France, but to mankind in general. - - - - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE INTERIOR FROM THE WEST END.] - -CHAPTER IV. - -THE INTERIOR.--THE NAVE. - - -It is difficult accurately to state why a sense of disappointment is -so often felt on entering the Cathedral of Paris. The unsatisfactory -impression given by Notre Dame is one experienced by visitors of all -kinds. The architectural critic, who looks upon a Gothic church as -the result of certain clearly defined principles of construction and -decoration, must inevitably find in it much to admire. But while it -satisfies the specialist, and possibly impresses those who have little -pretence to technical information, it lacks the qualities of mystery -and of surprise which distinguish some buildings less ancient and less -stately. Thus we find one writer complaining that it is heavy, another -that it is cold, and a third that it is relatively unpicturesque. -Most of those who have recorded their dissatisfaction with the -interior of Notre Dame have sought to explain the causes thereof. -The splendid promise of the exterior, it is suggested, discounts the -remarkable beauties of the inside. Some feel that the regularity, -the coherence which distinguish the church, produce an _ensemble_ at -once ponderous and monotonous. Others complain of the lack of colour; -while on the other hand not a few protest against the intrusion of -recent polychromatic decorations. It is possible that the secret lies -in certain structural idiosyncrasies. The church is extremely broad -in comparison with its length. The bays are so few as to give to -the interior an air of undue severity. Fergusson, in his history of -architecture, condemns the vaulting ribs as ineffective. The marble -pavement is regarded on all hands as a misfortune: nothing could be -more tedious or inappropriate. It is, however, to be observed that as -one becomes familiar with the interior its shortcomings are forgotten -and the dignity of its proportions and details are apprehended more -fairly. - -=Dimensions.=--The length of Notre Dame is 390 ft.; the width at -the transepts, 144 ft.; the length of the nave, 225 ft.; and the width -of the nave (without the aisles), 39 ft. The height of the vaulting is -102 ft. De Breul, in his _Théâtre des Antiquités de Paris_, mentions a -copper tablet which formerly hung against one of the pillars of Notre -Dame and gave the dimensions of the cathedral in the following verses:-- - - Si tu veux sçavoir comme est ample, - De Notre-Dame le grand temple, - Il y a, dans œuvre, pour le seur, - Dix et sept toises[10] de hauteur, - Sur la largeur de vingt-quatre, - Et soixante-cinq sans rebattre, - A de long aux tours haut montées - Trente-quatre sont comptées; - Le tout fondé sur pilotis, - Aussi vrai que je te le dis. - -[Footnote 10: A “toise” is something over six feet.] - -The curiosity of these lines excuses the inaccurate statements, -comparatively trifling, conveyed in them. Notre Dame, unlike most -mediæval churches on the Continent, is almost painfully clean. The -gaudy shrines which render some of the most splendid of Italian -churches almost grotesque are absent from Notre Dame. The broom and the -duster have been too freely used: all that is not appropriate has been -too sedulously banished. - -In the old floor, amongst a multitude of other interesting memorials of -the dead, the tombstones of the following were to be found: Philippe -(son of Louis VI. and Archdeacon of Paris), _d._ 1161; Prince Geoffrey -of England, _d._ 1186; Queen Isabelle of Hainault, _d._ 1189; the -dauphin, Louis (son of Charles VI.), _d._ 1415; Louise (mother of -François I.), _d._ 1531; and Louis XIII. (his viscera only), 1643. -Amongst the more famous ecclesiastics were the following: Eudes de -Sully (1208); Etienne II. (1279); Cardinal Aymeric de Magnac (1348); -Bishop Pierre d’Orgemont (1409); and Dumoulin, Patriarch of Antioch -(1447). In addition there were three Archbishops of Paris who died -during the seventeenth century, and Renaud, Archbishop of Sens (_d._ -1616). The substitution of squares of marble for the tombstones of -these historic personages admits of absolutely no defence. - -Let us now consider the =Roof=. Mr. Charles Herbert Moore -thus describes it in his _Development and Character of Gothic -Architecture_:-- - -“Here is a vast nave (completed except the extreme west end by -about the year 1196), so admirably roofed with stone that the work -has lasted intact for seven hundred years, and will probably, if -not wantonly injured, last for centuries to come. These vaults are -sexpartite.... The diagonal ribs are round-arched, while the transverse -and longitudinal ribs are pointed. The intermediate transverse ribs -are, however, pointed but slightly; and to bring their crowns up to -the level of the intersections of the diagonals they are considerably -stilted. The crowns of the main transverse ribs are a little lower -than those of the diagonals, and those of the longitudinals are lower -still. The vaults have, therefore, a distinctly domical form. These -various adjustments, by greater or less pointing, stilting, and even -by the retention of the round arch where it will serve best, exhibit -the flexibility of the Gothic system in an interesting and instructive -manner.” Mr. Moore, after some further details, continues:--“In the -vaults of Paris, as in all Gothic vaults, the shells consist of -successive courses of masonry which are slightly arched from rib to rib -over each triangular cell. The beds of these successive courses are -not parallel, but are variously inclined according as the mason found -necessary or convenient in developing the concave and winding surfaces -engendered by the forms and positions of the ribs to which they had -to be accommodated. These courses of masonry have here in Paris, as -they have in most Gothic vaults, a considerable inclination near the -springing from the longitudinal rib upward toward the diagonal, and -they become gradually more level as they approach the crown of the -vault, where they are more nearly parallel. But perfectly parallel -they can hardly ever be, since each course forms a portion of a -surface that is concaved in all directions.” Mr. Moore adds that in -the earliest and finest Gothic vaultings this masonry is composed of -small stones perfectly faced and closely jointed; and the vaulting of -Paris, especially that of the choir, is a model of careful and finished -workmanship. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE NAVE: SOUTH ARCADE.] - -The vaulting of the choir differs from that of the nave, but the -difference is one rather of detail than of principle. We have already -said much about the external buttress system by which this splendid -roof is sustained. Internally this vaulting rises from slender -shafts springing from the capitals of the great cylindrical columns -constituting the main arcade of the ground story. The piers at Paris -are ill adjusted to the vaults, a feature which has resulted in an -immense amount of learned discussion. They were obviously intended -for quadripartite vaulting. It seems probable that suddenly, for -a reason which we are not now in a position to appreciate, the -quadripartite form was abandoned in favour of the sexpartite form -actually adopted. Students of this subject are advised to refer to pp. -114-15 of the second edition of Mr. Moore’s book, where the differences -between the vaulting imposts of the nave and choir are discussed and -delineated. They may profitably compare this with M. Viollet-le-Duc’s -_Construction_ (p. 164). M. Viollet-le-Duc, it may be added, suggests -that the necessities of the sexpartite system were provided for by the -monolithic shafts grouped round every other pier in the arcade dividing -the aisles. - - [Illustration: CAPITAL IN THE NAVE. - _From Viollet-le-Duc._] - -The somewhat heavy character of the great cylindrical piers which -divide the nave from the aisles is largely redeemed by the beautiful -carving with which the capitals are ornamented. The plants which the -sculptors have conventionalised are those commonly found in the fields -adjacent to Paris. These ornate capitals are genuinely Gothic in -feeling, and have nothing in common with those which crown the piers -of our Anglo-Norman (Romanesque) cathedrals. Again, the plinths of the -columns are utterly unlike the simple and massive bases on which the -round columns of our older churches most often rest. We have already -alluded to the ill-adaptation of these piers and their capitals to the -sexpartite form of vaulting employed. In the case of the most westerly -piers of the main arcade an attempt seems to have been made--with no -great success, as it appears to me--to minimise the illogical effect -of the vaulting imposts. The result has been the emphasis of that very -want of congruity which it was sought to remedy. It would be difficult -to find a less satisfactory arrangement than that which obtains in the -pier and capital delineated in our illustration, where four smaller -cylinders are attached to the main one. Here, not merely is the pier -itself rendered unwieldy by its satellites, but the capital loses -all symmetry owing to the interposition of the small capitals which -crown those satellites. It will be noticed that the arches of the main -arcade are by no means uniform. Thus we have a wide arch adjacent to an -extremely narrow one, while the builders of the period did not hesitate -to make use of a round arch where they found that form more convenient. -It is in some measure these peculiarities which have induced not a few -authors to describe Notre Dame as a transitional church. - -In no part of Notre Dame do we more perfectly appreciate the grandeur -of the scale of the church than when we stand in the vast double aisles -on either side of the nave. With every step we take the view changes. -We hesitate to leave the spot upon which we stand lest we should lose -its charm, and yet we feel that probably a vista even more beautiful -awaits us a few paces beyond. The lines of vast piers seem as if they -were consciously engaged in surprising us: now they come together and -close the view suddenly, unexpectedly; then they open, revealing a -richly furnished altar in, as it were, a colossal frame of masonry. -Everywhere the lines of the building strike us as vast, massive, almost -elemental, but everywhere there is an ordered, if a somewhat ponderous -symmetry. It is strange that there ever was an age in which the innate -dignity and majesty of these lines were not felt. Yet so barbarous did -the architecture of Notre Dame appear to eighteenth-century eyes, that -a desperate attempt was made to hide it. Vast pictures in gilt frames -were placed from capital to capital of the main arcade on both sides. -In this way the arches were completely hidden, and a square appearance -(supposed to suggest the classical) was given to the lowest story. The -openings of the triforium were spared, as anything placed in front of -them would block the view of the crowds who used to fill the _tribunes_ -on state occasions. The nave, however, thus turned into a kind of -picture gallery, was considered very satisfactory (see illustration, -p. 11). Needless to say, no trace of the pictures now remains, and -the great arches are free and open once more. The piers dividing the -aisles are not all of the same construction. Round every other pier -are grouped monolithic shafts, possessing delicately foliated capitals -with moulded abaci. Two shafts, with a single abacus and plinth, -alternate with a single shaft. In all there are twelve shafts round -the pier. These piers, with their cluster of satellites, contrast -finely with the simple cylinders with bold foliated capitals with which -they alternate, and lend variety and interest to the arcades (see -illustration, p. 23). - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE NAVE, NORTH ARCADE.] - -The vaulting of the aisles is quadripartite, the ribs being strongly -marked and possessing carved bosses at the point of intersection. -Beyond the outer aisles on each side is a series of chapels, which will -be described presently. The accompanying illustrations give a good idea -of the piers, capitals and vaulting of this part of the church. - -=The Triforium=, to which there are four staircases, is of immense -size, owing to the fact that it passes over the double aisles on -both sides of the nave. Its designers no doubt contemplated its use -as a gallery from which the grand ceremonies which took place in the -church could be witnessed by large numbers of people. It is ceiled -with stone--a feature common to most of the greater cathedrals of -France--so that no wooden beams can be seen anywhere in the building. -This obviously increases the massiveness of the whole, though a certain -tendency to heaviness is perhaps emphasised. The masonry is everywhere -very fine, and in the small details a high degree of wise as opposed to -futile finish is maintained throughout. The galleries are excellently -lighted. Above the nave-aisles low pointed arches enclose a foliated -circle, the corners at the base being filled with small trefoils. In -the choir the lights consist of rose or wheel windows, in the tracery -of which there is great variety of pattern. The openings towards -the church take their place admirably in the elevation, being in -character with the main arcade beneath and the clerestory above. They -are almost austerely simple, and possess none of the ornateness which -characterises the triforiums of Westminster, Lincoln, and other English -buildings of slightly later date. A large plain pointed arch encloses -two and in some cases three pointed arches, which are separated from -one another by delicate columns bearing foliated capitals with square -abaci. They have small square bases. These columns are a hundred and -four in number. A low openwork railing of iron fills in the front -of the gallery. The triforium goes round the whole building: that -portion which is at the end of the transepts, however, consists of a -narrow passage which is not open to the church. The banners which were -captured by French armies were exhibited from the triforium so long as -war continued. On the conclusion of peace, they were taken down--a -proceeding which might be followed in other countries with advantage. -The part of the triforium in the choir differs only in detail from -that in the nave. Over the triforium come the vast windows, altered in -the thirteenth century, which comprise the =Clerestory=, of which -more is said on page 72. The stained glass will be fully discussed -hereafter. - - [Illustration: THE TRIFORIUM GALLERY, OR “TRIBUNES.” - (_From “Paris à travers les Ages.”_)] - -The upper portion of the west end is filled by the great rose window, -which, as we have noticed, is so beautiful a feature of the façade. -The tops of the pipes of the great organ hide the lower part of it -from our view inside. The lovely painted glass, which is ancient, has -representations of the Virgin and Child surrounded by prophets. Amongst -other features are the signs of the Zodiac, the labours of the months, -and the Virtues in triumph with lances in their hands. The gallery on -which the organ is now placed was possibly used for the performance of -miracle plays. As it is at a relatively great height from the pavement, -this is at least doubtful. The =Organ= is a fine instrument of -wonderful power. It was practically rebuilt by Thierry Lesclope in -1730, and enlarged by Cliquot in 1785. In recent years it has been -immensely improved by M. Cavaillé-Coll, who gave it 5266 pipes and 80 -stops. It plays a great part in the splendid musical services for which -the Cathedral is famous. - - [Illustration: Exterior. Interior. - ELEVATIONS OF THE NAVE. - (_From Viollet-le-Duc._)] - -The Nave is almost devoid of monuments; nothing breaks up the vast -lines of the architecture. The most important tomb is that of Jean -Etienne Yver, Canon of Paris and Rouen, who died in February 1467. -It has escaped serious mutilation, and is a realistic performance in -the style prevailing in France at the end of the fifteenth century. -On the base is a gruesome representation of the body of the Canon -being given over to the worms. Above this, two saints are helping him -to rise from the coffin, and directing his attention towards Heaven. -The whole thing is repulsive, but it is interesting as a curiosity. -Many historic memorials perished during the Revolution, but some were -removed to Versailles and still exist there. They include the tombs -of Jean Jouvenel des Ursins (_d._ 1431) and his wife Michelle de -Vitry; the Maréchal Albert de Gondi, Duc de Retz (_d._ 1602); and his -brother Pierre de Gondi, Bishop of Paris (_d._ 1616). Two monuments -have disappeared from the nave which were highly esteemed in their -day. Writing of Notre Dame in his _Crudities_ in 1611, Thomas Coryat -says: “I could see no notable matter in the cathedral church, saving -the statue of Saint Christopher on the right hand at the coming in of -the great gate, which is indeed very exquisitely done, all the rest -being but ordinary.” The statue so delighted the old traveller that -he had eyes for nothing else, for the architecture of Notre Dame is -anything but ordinary. The Chapter of the Cathedral did not share his -view, for they deliberately destroyed it in 1786. It was presented -to the church in 1413 by Antoine des Essarts, whose tomb with his -effigy in armour stood near it. Its destruction is remarkable, for -colossal things were very much to the taste of those who lived at the -end of the seventeenth century. The Revolution is responsible for the -destruction of a famous equestrian statue which stood in the nave -until 1792. It is generally considered to have been that of Philippe -le Bel, clothed in the armour in which he won his victory over the -Flemings at Mons-en-Pucelle in 1304. The identity of the statue has, -however, been the subject of controversy. Viollet-le-Duc tells us that -it represented, not Philippe le Bel, but Philippe VI. (of Valois), who -defeated the Flemings at Cassel in 1328. On his return to Paris he rode -into the cathedral on horseback in state, and vowed his harness to the -Virgin. The Chapter disagree with Viollet-le-Duc, who is, however, -supported in his contention by the Benedictine Père Montfaucon, by -the writers who continued the chronicle of William of Nangis, and -some others. The monument stood close to the last pillar on the right -side of the nave. The =Pulpit= is a modern work, after the design of -Viollet-le-Duc. It is of oak, and its decorations include statues of -six of the apostles and of angelic figures. Suspended from the vaulting -are eight imposing candelabra in bronze-gilt. - -=The Chapels of the Nave= contain singularly few features of -historic interest, nor amongst the furniture of their altars are there -many recent works of art of outstanding merit. They introduce us, -however, to the vast scheme of mural painting which has been carried -out from the designs and partly under the direction of Viollet-le-Duc. -There can be no doubt that some scheme of polychromatic decoration was -legitimate: almost every ancient church in France has indisputable -evidence of its employment in the middle ages. The problem which faced -Viollet-le-Duc was one of extreme difficulty. The area to be covered -was enormous: the variations of light were excessive. Some parts were -luminous, even radiant; others were hidden in almost continuous gloom. -The schemes of colour had to be adapted to these varying conditions. -The use of mosaic was considered and discarded. The expense would have -been gigantic, and the material was considered, perhaps rightly, -to be inappropriate to the style of architecture. Wall pictures, as -such, were regarded as destructive to the _ensemble_, fatiguing to the -eyes and mind, and productive of a certain patchy effect. A series of -symbolical patterns of a rigidly conventional type, in which human -figures are very sparingly used, was devised. It may be admitted -at once that the learning and ingenuity displayed in the design of -the scheme were such as might be expected from the most erudite and -accomplished French architectural scholar of our time. The minute -consideration which Viollet-le-Duc devoted to the subject may be judged -from the following passage: “D’abord, la cathédrale de Paris, comme -on sait, est orientée de telle façon que tout un côté du monument se -présente vers le midi et l’autre vers le nord. Un de ces côtés reçoit -donc une lumière plus vive et plus colorée que l’autre. Il a paru -qu’il était nécessaire de profiter de cette disposition pour établir -l’harmonie générale. Au lieu de combattre l’effet de cette orientation, -on a cru devoir l’appuyer. Ainsi, en premier lieu, toutes les fenêtres -des chapelles tournées vers le sud sont garnies de grisailles à tons -nacrés et froids. De là il resulte qu’en entrant dans le monument on -voit un côté de lumière, un côté d’ombre, un côté chaud et brillant -et un côté froid. Il en résulte instinctivement pour l’œil un effet -général tranquille. Rien n’est plus fatigant pour les yeux qu’un -intérieur éclairé par les jours contraires de qualités semblables comme -intensité de lumière, valeur de tons et coloration. La peinture des -chapelles devait concorder naturellement avec le système de répartition -de la lumière. Suivant une règle générale, la tonalité des peintures -du côté nord est plus froide que celle du côté du midi. Cependant, -comme il faut conserver l’unité, de distance en distance, du côté sud, -des tons gris, des tons verts, froids, rappellent l’harmonie générale -du côté nord, et, du côté septentrional, des tons chauds rappellent -l’harmonie générale du côté méridional.”[11] - -[Footnote 11: “Peintures Murales des Chapelles de Notre-Dame de Paris.” -Paris: A. Morel. See the preface by Viollet-le-Duc for further details -of his principles of decoration.] - -In spite of all these elaborate precautions, in spite of so -much patience and learning, the result as a whole seems to me -unsatisfactory. One wearies of the ingenious geometrical curves, the -crosses, the squares, the lozenges, the coloured stars, the excessively -and laboriously conventionalised foliage, and the rest. The whole -strikes one as dead and mechanical, as mere covering of stone for the -sake of doing so. And the colour, though by no means aggressive, is -unsatisfying. The experiment was heroic, and the result might certainly -have been very much worse, but the stone-work would have been better -untouched. - -The Chapels on the north side of the nave (from west to east) are: 1. -The _Chapelle des Fonts Baptismaux_. The bronze carving of the font is -by Brachelet. 2. The _Chapelle Saint-Charles_. There are a statue in -painted stone by M. de Chaume and a good piscina. The wall decorations -are cold and sombre. 3. The _Chapelle de la Sainte-Enfance_. It -contains a group representing Christ caressing a French and a Chinese -child, by M. de Chaume. 4. The _Chapelle Saint-Vincent-de-Paul_. -The decorations of this chapel are somewhat elaborate, and gilding -is freely used. 5. The _Chapelle de Saint-François-Xavier_. There -is a group representing the Saint baptising a Chinese. 6. _Chapelle -de Saint-Landry_, with statue by De Chaume. 7. _Chapelle de -Sainte-Clotilde_, with statue by the same artist. - -The following are on the south side (west to east): - -1. _Chapelle des Ames du Purgatoire._ Christ rescuing a soul from -Purgatory. A statue by De Chaume in coloured stone. The colour scheme -of the chapel is warm and brilliant. 2. _Chapelle de Sainte-Geneviève._ -The decorations, which are somewhat profuse, were given by the -“dames de l’Institut de l’œuvre de Sainte Geneviève.” 3. _Chapelle -Saint-Joseph_, with statue of Joseph with the Child Jesus in his -arms. 4. _Chapelle Saint-Pierre._ Statue in wood of the saint by M. -Corbon. The carved woodwork of the sixteenth century still remains, -and includes panels with representations of the Twelve Apostles, St. -Germain, and Sainte Geneviève. 5. _Chapelle Saint-Anne._ 6. _Chapelle -du Sacré-Cœur._ Statue in coloured stone by M. de Chaume. 7. _Chapelle -de l’Annonciation._ With a statue of the Virgin in wood by M. Corbon. -Paintings by Perrodin, one of the best pupils of Flandrin, of David, -St. Michel, Isaiah, St. Anne, St. Joseph, St. John, St. Luke, St. -Augustine, St. Bernard, St. Dominic, and St. Bonaventure. - -Before we turn from the nave to the choir and transepts, let us say -a few words as to the _stained glass_, which was once the glory of -the church. There is probably no Gothic interior in France which has -suffered more terribly from the destruction of its ancient windows than -Notre Dame. The coldness and severity which the mural decorations of -Viollet-le-Duc vainly strive to mitigate were perhaps not felt at all -when the light from every window seemed to be transmitted in glowing -and gleaming shafts of every conceivable colour and tone. Fortunately, -the old glass still remains in the great rose windows. That over the -west door has been described; the others will be noticed in the account -of the transepts. The rest of the glass was deliberately destroyed, not -by an infuriated mob, but by those in authority, in 1741. - -The work of destruction was performed by Jean Leviel and his brother, -who cheerfully substituted for the priceless material they removed -great sheets of dull, monotonous _grisaille_, with borders ornamented -with the _fleur-de-lis_. The introduction of _grisaille_ has been -quaintly described by Michelet as _le protestantisme entrant dans -la peinture_. Its use at Notre Dame is nothing short of a disaster. -Efforts have been made in some parts of the building to replace it with -glass of a less sombre character, but these efforts so far have done -little to lessen our regret for the calamity of 1741. - - - - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - ANGLE OF THE CHOIR AND SOUTH TRANSEPT.] - -CHAPTER V. - -THE TRANSEPTS AND THE CHOIR. - - -The austere character of the nave emphasises the splendid decorations -of the eastern parts. No massive screen prevents our seeing the church -from the great entrance to the apse. The fact that the choir is open -possibly lessens our sense of mystery and of awe, but we are more than -compensated by the splendid view of the building from end to end. - -The irritating custom of railing off the eastern limb of the church -and demanding a fee for admission happily does not obtain at Notre -Dame. It is all but universal in England, and renders an intelligent -appreciation of the architectural history of our great churches a -matter of some difficulty. At Paris one may wander where one will, -so long as one does not interrupt the offices. That pompous and -irresponsible chatterer the cathedral verger does not impose himself -upon us, and disturb our study and diminish our pleasure, as he does in -churches on this side the Channel. Only the Sacristy need be visited in -the company of an official. - -The transepts of French cathedrals are rarely such important features -as they are in those of this country. The vast church of Bourges has no -transepts at all. At Noyon, as at Paris, the transepts have no aisles. -Of the crossing and transepts at Paris Viollet-le-Duc and Guilhermy -write as follows: - -“At the four angles of the crossing, massive piers, some covered with -combined pilasters, others with clustered columns, rise without a break -from the ground to the vaulting. The two transepts at the outset were -only of two bays similar to those of the nave. They were lengthened -by a shallower bay when the façades were rebuilt. The later bays are -easily distinguished from the four older ones. Thin round vaulting-ribs -cross at a crown deeper and more pronounced than those of the older -parts. The north and south doors are set in a rich arcading, of which -the divisions and the tympanums can be compared to nothing more fitly -than a large window with mullions. In the south transept, statues more -or less mutilated, representing Christ and the saints, remain at the -points of the gables. In describing the exterior of the façades we -pointed out the open gallery which extends the whole breadth of each -transept, and the great rose window a little above it. The exterior -arcading of the gallery is repeated by a similar arcading inside. -There is a passage between the two rows of little columns, and there -is another above this. The effect of the rose windows in the interior, -with glowing stained glass in all their compartments, recalls the -marvellous descriptions that Dante has given us of the circles of -Paradise. The incomparable splendour alternately astonishes and -enchants us. To decorate the side walls of his bays, Jean de Chelles -continued the arcading and the mullioned windows.” - -The vaulting and the rose of the south transept were repaired between -the years 1725 and 1728 by Boffrand, the king’s architect, at the -expense of Cardinal de Noailles. The pair of arches leading to the -choir aisles with their elaborate crocketed canopies are somewhat -feebly contrived in both transepts. The clustered shafts are clumsily -arranged. The details on the north side differ from those on the south. -On the east and west sides of both transepts there are two narrow bays -of the triforium. The clerestory consists of short pointed windows -with wheel windows beneath them. This is due to Viollet-le-Duc, and -is intended to show us the arrangement which obtained throughout the -church previous to the alterations which resulted from the fire in the -thirteenth century.[12] - -[Footnote 12: In his “Paris” (London, Edward Arnold, 1900), Mr. Hilaire -Belloc thus refers to the fire of 1218: “In 1218 a happy accident gave -us the incomparable unity which the Cathedral alone possesses among -mediæval monuments; for in that year, on the eve of the Assumption, -four inspired thieves climbed into the roof-tree and warily let down -ropes with slip-knots to lasso the silver candlesticks on the altar. -These they snared, but as they pulled them up the lights set fire to -the hangings that were stretched for the feasts, and the fire spread to -the whole choir.” The writer gives no authority for this story.] - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE NORTH TRANSEPT.] - -At the angle of the south transept in front of the great south-east -pier of the crossing is the famous statue of the =Virgin and -Child=, which, in Notre Dame, occupies a place not unlike the far -more famous and more venerable statue of S. Peter in the vast basilica -which at Rome is dedicated to him. Mr. Belloc has used a photograph of -it as the frontispiece to the volume quoted in the footnote, and he -writes of it as follows: “But of all the additions to the interior of -Notre Dame which popular fancy or the traditions of some crisis give -it, none is more worthy of being known than that which alone survives -of them, and which I have made the frontispiece of this book. It is not -that the statue has--as so much of the fourteenth century can boast--a -peculiar beauty; it is indeed (when seen from below, as it was meant -to be) full of a delicacy that the time was adding to the severity of -the thirteenth century; it has from that standpoint a very graceful -gesture; the exaggeration of the forehead disappears, the features -show the delicate and elusive smile that the fourteenth century always -gave to its Madonnas, and there appears also in its general attitude -the gentle inclination of courtesy and attention that was also a -peculiar mark of a statuary which was just escaping the rigidity of -Early Gothic. But its beauty, slight and ill-defined, is not, I repeat, -the interest of the statue. It is because this image dates from the -awakening of the capital to its position in France, because it is the -symbol of Paris, that it rises up alone, as you may see it now, where -the southern transept comes into the nave,[13] all lit with candles -and standing out against the blue and the lilies. It is a kind of core -and centre to the city, and is, as it were, the genius catching up the -spirit of the wars, and giving the generation of the last siege and -reconstruction, as it will give on in the future to others in newer -trials, a figure in which all the personality of the place is stored -up and remembered. It was made just at the outbreak of the Hundred -Years’ War, it received the devotion of Etienne Marcel, it heard the -outcry that followed the defeat of Poictiers and the captivity of the -king.” Mr. Belloc concludes: “It has been for these five hundred years -and more the middle thing, carrying with full meaning the name ‘Our -Lady of Paris,’ which seems to spread out from it to the Church, and -to overhang like an influence the whole city, so that one might wonder -sometimes as one looked at it whether it was not the figure of Paris -itself one saw.” - -[Footnote 13: See p. 70.] - -In front of the statue is an iron grille terminating in spikes for -candles. After Poitiers, the citizens of Paris annually offered a -gigantic candle to be burned in front of this statue in order that the -ills which afflicted France might cease. It was of the exact length of -the walls of the capital itself, and was of course coiled up ropewise. -The first presentation was made on August 14th, 1437. The candle -necessarily grew with every increase in the area of the city. By the -beginning of the seventeenth century it was felt that the limits of -vastness had been reached, and in 1605 a silver lamp, which was always -to burn before the statue, was presented instead of the candle. This -was destroyed by the Revolutionists. On the pillar below the statue is -a sculpture said to represent Eve with the serpent’s tail. The identity -of the existing statue with the original one so eloquently described -by Mr. Belloc has been doubted, but the grounds for doubt appear to be -small. In this transept are two marble slabs in memory of seventy-five -victims of the Commune. - -The place on the north side, corresponding with the statue of -Notre-Dame de Paris on the south, is filled by a statue of St. Denis, -a fairly good work by Nicolas Coustou.[14] The splendid glass of the -great rose window in the south transept has in the main divisions of -its four circles the twelve apostles, and a host of bishops and saints -with symbols and palms, to whom angels bear golden crowns of glory. In -one of the small compartments St. Denis is represented carrying his -head, and in others are scenes from what is known as “les Combats des -Apôtres,” amongst them being the arrival of St. Matthew in the presence -of the King of Egypt, and the baptism of the King after his conversion -by the Apostle. The great rose window of the opposite transept is -devoted to scenes from the life of the Virgin. She is represented with -Christ in her arms, and is surrounded with an army of patriarchs, -judges, prophets, priests and kings, all of whom are related to the -Saviour by ties of blood or as His spiritual forerunners. The glass -includes curious representations of the Antichrist, decapitating -Enoch; and of the destruction of the Antichrist by the Almighty, who -appears in a cloud. The small rose or wheel windows in the sides of -the transepts have been filled with glass from designs by Steinheil. -The pavement of the transepts is of squares of black Bourbon -marble alternating with Dinan stone. Great attention was given by -Viollet-le-Duc to the polychromatic decoration of the transepts, - -[Footnote 14: See p. 89.] but it cannot be said that he has been more -successful in these parts of the church than elsewhere. The effect -aimed at appears to have been that of tapestry with simple patterns; -indeed, of the whole it is said, “cette décoration forme, jusque sous -les roses, une sort de brillante tapisserie.” Some of the canopies are -of the most intricate patterns, but they would be better suited to -wood or metal work than to painting. The scheme includes a series of -paintings by Perrodin of persons distinguished in the history of the -diocese of Paris. The figures have elaborate decorative borders. - -The removal of statues and memorials from the nave, which we have -already deplored, had just the shadow of a justification from the -purely æsthetic standpoint. Many of the monuments were incongruous, -some were positively grotesque. In Westminster Abbey we have an example -of the shocking effect of inappropriate statuary in a Gothic building; -we know, only too well, how terribly one of the most beautiful -interiors in the world suffers from a crowd of tombs which are out -of keeping with the very spirit of the place. By the removal of the -memorials at Notre Dame, the church has doubtless regained the aspect -intended by its designers. - -The nave leads uninterruptedly to the choir, which ends in the high -altar; and the high altar, with the adjacent shrine of St. Marcel, was -the primary reason of the existence of the cathedral. We have seen that -in its earlier form little or no provision was made for chapels and -consequently for side altars. Everything was arranged to concentrate -the eye on the chief altar, and to lend dignity to its position. Its -sacred character was respected even in the far-off days in which the -body of the church was used for commercial purposes, or for festivals -the reverse of religious. - -The great eastern limb of the church is raised above the transepts -by three steps. Once we have passed into the =Ambulatory=, or -_pourtour_, of the choir, we are in the most interesting part of the -building; for here our story is of historical monuments and decorative -objects still happily existing, and not an account of things which have -long since ceased to be. When we step into the ambulatory, we pass from -newer to older work, but we experience no violent transition from one -style to another. The style of the choir is, speaking generally, the -style of the whole church. The differences, interesting as they are -to the minute student of architectural development, are such as would -remain unnoticed by those who do not pretend to special knowledge. -This unity reminds one of an Italian Romanesque basilica rather than -a Gothic cathedral. Viollet-le-Duc has noted that the capitals in the -triforium of the choir seem to be earlier in date than those of the -main arcade beneath it; that if nothing were left save the capitals -of the two parts, one would conclude that those of the triforium were -earlier. This is manifestly impossible, but it shows that not the -smallest deviation of style was allowed in constructing the upper story. - -Among the capitals of the columns in the choir there are a few -representations of animal life amongst the conventional foliage, -while the capitals in the nave represent foliage alone. The choir is -throughout a shade nearer Romanesque than the nave, but the difference -is so slight that only close examination reveals it. Already we have -remarked on the superiority of an apsidal termination to any other form -in a Gothic church. The ordered grandeur of Notre Dame is nowhere more -impressive than in the beautiful sweep of the apse with its spacious -ambulatory. It must have been even more imposing in its simplicity -before the construction of the side chapels was undertaken, although -we are far from regretting an addition which, though it may have -reduced the original dignity of the church, has added variety to it and -rendered it more interesting. - -Let us begin our detailed examination of the choir and its chapels with -the famous =Screen= of sculptures by Jehan Ravy and his nephew -Jehan le Bouteiller, which we must study from the ambulatory. In his -_History of Sculpture_, Professor Wilhelm Lübke devotes considerable -space to this series in the chapter devoted to “Northern Sculpture -in the Late Gothic Epoch” (1300 to 1450). After stating that France -exhausted herself during the golden age of Gothic sculpture, and that -the period under discussion was so stormy as to be unfavourable to the -production of works of art, he writes of the screen as follows: - -“One of the most important works of the epoch [the end of the -thirteenth and the beginning of the fourteenth centuries] are the -extensive reliefs which cover the choir screen in the interior of the -Cathedral of Paris. These are only the remains of the formerly far -richer plastic ornament which, in a great measure, fell a sacrifice -under Louis XIV. to a vain love of ostentation. The earlier series -on the north side contains a crowded representation in an unbroken -line of the History of Christ; from the Annunciation to the Prayer -at Gethsemane. These representations are vividly conceived, and the -style in which they are executed breathes the spirit of the thirteenth -century. Perhaps they belong to the end of that century or to the -beginning of the next. The reliefs on the south side are different in -many points. They continue the History of Christ; and, indeed, the -whole was so arranged that the cycle which began at the east passed -along the north side to the west end of the choir, and was continued -on the lectern,[15] where the Passion, Crucifixion and Resurrection -were depicted in front of the congregation, concluding at the south -side in a scene moving from west to east. Of the latter scenes, the -only ones now in existence are those which extend from the Meeting -of Christ as the Gardener with Mary Magdalen to the Farewell to the -Disciples after the Resurrection. The artist of these later scenes left -his name, in an inscription that has now disappeared,[16] as Jehan -Ravy, who for twenty-six years conducted the building of Notre Dame, -at the end of which time it was completed under his nephew Master -Jehan de Bouteiller, in 1351. Master Ravy evidently thought that he -could improve upon his predecessor’s work on the north side; for -while the latter had combined the scenes into one unbroken series, he -divided his into separate compartments by arcades, so that these later -representations, which are still in existence, are separated from each -other by small columns. In so doing he followed the general taste of -the century, which was inclined to exchange a picturesque character -for the calm epic relief of the former period. While, however, his -somewhat short figures are certainly superior in correctness to the -figures of the north side, owing to his understanding of the physical -structure and to the neatness of execution, there is in the figures -of the north side a fresher tone of feeling and more grace of action, -compared with which the far more constrained attitudes of the later -works form an unpleasing contrast, and even occasionally degenerate -into commonplaceness. Thus in these works, in spite of all expenditure -of artistic care, there is an unmistakable decline of creative power.” - -[Footnote 15: The Rood-loft.] - -[Footnote 16: This has been restored, and reads: “C’est maistre -Jehan Ravy maçon de Notre Dame par l’espace XXV ans qui commença -ces nouvelles histoires, et Jehan le Bouteiller son nepveu qui les -aparfaites en MCCCLI.”] - -The series on the north side should be visited first. The scenes are -fourteen in number, and have reference to the Visitation: - - The Shepherds and the Star of Bethlehem; - The Nativity; - The Visit of the Magi; - The Slaughter of the Innocents; - The Flight into Egypt; - The Presentation in the Temple; - Christ among the Doctors; - His Baptism; - The Marriage-Feast at Cana; - The Entry into Jerusalem; - The Last Supper; - Christ Washing the Feet of St. Peter; - The scene in the Garden of Olives. - -The later works on the south side, in which Professor Lübke traces a -decline of creative force, represent: - - The Meeting of Christ as the Gardener with Mary Magdalen; - The Holy Women (the Three Maries) Kissing the Saviour’s Feet; - Jesus appearing to the Apostles (who are represented in a - turreted building); - The Disciples of Emmaus, with Christ among them; - The Breaking of the Bread; - Another version of Christ Appearing to the Apostles; - The Doubt and the Conversion of St. Thomas; - The Miraculous Draught of Fishes; - Christ’s Message to the Apostles to Preach the Gospel to - all Nations. - -It is extremely fortunate that these very interesting sculptures have -been left to us, for they constitute incomparably the most important -of the internal decorations at Notre Dame, which, as we have seen, -is relatively poor in the mediæval tombs which are the glory of -Westminster Abbey. While we are thankful for what is left, we cannot -help feeling a grudge against Cardinal de Noailles, who caused some of -the scenes to be removed, and thus left the series incomplete. That the -modern restoration of the painting of the sculpture was wise can hardly -be maintained.[17] - -[Footnote 17: The fine collection of casts at the Crystal Palace -includes most of this series. It is a pity that they cannot be placed -in some more appropriate and convenient place.] - - [Illustration: VIEW OF THE CHOIR AT THE END OF THE XIII. CENTURY, - SHOWING THE CARVED ROOD-SCREEN AND THE SHRINE OF - ST. MARCEL. - (_From Viollet-le-Duc._)] - -For the moment we will leave the ambulatory, and consider the -=Choir and Sanctuary=. It will be interesting, before we examine -the present state of these parts, to sketch briefly their aspect in the -fourteenth century. Corrozet and De Breul have left us descriptions -which have been illustrated and elucidated by the indefatigable -Viollet-le-Duc. The entrance to the choir at the crossing was filled -by a magnificent screen of stone richly adorned with carving. This -was about eighteen feet high. The top formed the rood-loft, which was -approached by two circular staircases placed at either end of the -screen. In the centre was, of course, the entrance to the choir. When -the doors were open the high altar could be seen from the end of the -nave. Over this door was a decorated gable terminating in a great -crucifix. According to De Breul this crucifix was a masterpiece of -sculpture, as were the other statues which composed the group. The loft -was broad, and had on both sides an open stone parapet, on which were -placed carved lecterns. The west front of the screen had sculptured -scenes of the Passion, which formed part of the series by Jehan Ravy -and Jehan de Bouteiller lately described. On either side of the -doorway, beneath the sculptures, were small altars. The choir-stalls -of carved wood occupied much the same place as do those which we see -to-day. Between the rows of stalls were low tombs with recumbent -figures. The Sanctuary, approached by steps, was railed off, and filled -the apse. The space between the columns was filled by a screen with -carved scenes, which rose almost to the level of the bases of the -capitals. The altar was low, and of stone, and possessed a re-table on -which was placed a cross. Enclosing it on all sides, save that towards -the church, was a screen with hangings of tapestry. At the four corners -of this screen were tall figures of angels. Immediately behind the -altar, and towering over it, was the shrine of St. Marcel, a lofty open -structure of brass and other metals in two stages, ending in a gable at -the apex of which rose a crucifix. - -On the first stage, so that it could be seen from all parts of the -choir, was the feretrum or reliquary of St. Marcel. This chief shrine -had on its side shrines of less importance, while, in the background -to the north, was the small altar of the Trinity, on which was placed -the reliquary of Notre Dame, containing portions of the dress and other -relics of the mother of Christ. A few fine tombs were also in the -sanctuary, and not far away was a bronze statue of Eudes de Sully. An -illustration, partly conjectural, of the choir and sanctuary in the -condition which I have attempted to describe from Viollet-le-Duc’s -_Dictionnaire_, is reproduced here. It will be seen that while the -furniture and ornament of this part of the church is sufficiently -splendid, it is nevertheless simple. There would be ample space for the -due performance of the great ceremonials which constantly took place. -Such was the appearance of the choir and sanctuary until Louis XIV., in -fulfilment of the vow of Louis XIII., who had dedicated himself and his -kingdom to the Virgin, began his transformation. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - GRILLE AT ENTRANCE OF CHOIR.] - -The =Choir= is raised above the body of the church by three steps, -and on the right and left hand is enclosed by a low _grille_ in -wrought iron with gilding. This rests on a stone foundation, and is -terminated towards the centre by two massive columns, on which -are hung the gates, which are of very beautiful design, representing -conventionalised foliage and flowers. At the top of the gate, in the -centre, is a foliated cross. The two bays on the south side of the -choir nearest the entrance have the same arrangement of a small pointed -window with a rose window beneath it, as exists in the side of the -transept immediately adjacent. The remaining windows are in the altered -and enlarged form, and the triforium of the choir is similar to, though -of earlier date than, that which runs round the nave. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE CHOIR, LOOKING WEST.] - -The =Stalls= occupy three bays on either side of the choir. The -erection of these stalls is part of the work undertaken by order of -Louis XIV. in accomplishment of his father’s vow, and it follows that -they are not in character with the architecture of the choir. It was -once proposed that for this reason new stalls of “Gothic” design should -take their place. There is little likelihood of this being done now. -Incongruity among things beautiful in themselves is by no means a -calamity, and we may fairly question alike the taste and the learning -of those who crave for uniformity at all cost. One is glad to think -that Viollet-le-Duc never for a moment contemplated the banishment of -these stalls, which are a particularly fine example of the best work -of which the craftsmen of the time were capable. The stalls have been -rearranged since they were first placed in the choir, and their number -has diminished. Originally there were one hundred and fourteen stalls; -now there are ten less. They are divided on each side into upper and -lower tiers, each tier having twenty-six seats. The carvings are the -work of Jean Nel and Louis Marteau, the designs being supplied by Jean -de Goulon. The designer and the executants have combined to produce a -really admirable piece of work, of which a full account is given in a -very careful monograph, published by Chouvet in Paris in 1855, entitled -_Album des Boiseries sculptées du Chœur de Notre Dame de Paris_. In -this volume the carvings are dealt with one by one, and their merits -intelligently discussed. At the back of the upper row of stalls are -eight large carved panels, which represent scenes in the life of the -Virgin. At the west end of the stalls are placed, opposite to one -another, the throne of the archbishop and a similar throne for the -dean of the chapter. These thrones or seats have elaborately-carved -canopies. The relief on the back of the chair or throne on the right -represents the cure of Childebert I. by St. Germain, Bishop of Paris. -On the opposite chair is represented in similar style the martyrdom of -St. Denis. Throughout the entire cathedral, in sculpture, in stained -glass, in carving, the Virgin is glorified, and next to her in honour -comes St. Denis. The stalls are lighted by lamps in metal brackets, -and the choir itself is illuminated by handsome candelabra similar to -those in the nave. In the second bay on the north side of the choir is -a small organ used in the daily offices. - -Close by this organ the stones of the pavement are movable, and cover -the entrance of a small crypt. This is the principal subterranean -chamber of the cathedral, and it was constructed so recently as the -eighteenth century. It was set apart as the burial place of the -Archbishops of Paris, and is little more than a vault. Over the coffins -of those of the Archbishops who have been Cardinals are suspended their -red hats and tassels. The excavations for this little crypt led to a -discovery which was of great interest to archæologists. Amongst other -Roman remains was a small altar to Jupiter, which is now preserved in -the Cluny Museum. In _Paris à travers les Ages_ we read of a small -crypt below the Chapelle S. Anne, on the south side of the nave. Used -now as a coal cellar, it was formerly a burial place, as is attested -by the following inscription: “Cave pour les cercueils de plomb; cave -pour la sépulture des chanoines; caves pour la sépulture des musiciens, -enfants de Chœurs et officiers clercs.” - -The pavement of the choir is of pieces of marble of various colours, -which together form a geometrical pattern. As one looks at it, one -laments the magnificent tombs with bronze effigies which were formerly -the glory of this part of the church. - - [Illustration: _Photo_] [_Ed. Hautecœur, Paris._ - THE CHOIR FROM THE SOUTH TRANSEPT.] - -The =Sanctuary= is approached by four steps of Languedoc marble, and -three additional steps of the same material lead to the high altar. -The =High Altar= still retains most of the leading features of the -arrangement of Louis XIV. It was begun in 1699, and finished in 1714. -The pseudo-classical architecture by means of which the great pillars -of the apse were hidden has of course been swept away. The principal -group of sculpture, representing the Descent from the Cross, is -by Nicolas Coustou, who was born at Lyons in 1658. He was a pupil of -Coysevox, his uncle, who at that time was director of the Academy of -Painting and Sculpture at Paris. He obtained the _grand prix_, and went -to study at Rome, where he was profoundly influenced by the work of -Michael Angelo. Coustou’s output on his return to France was enormous. -The “Descent from the Cross,” at Notre Dame was doubtless inspired by -the famous group by Michael Angelo in St. Peter’s at Rome. It cannot -be said that Coustou has approached the greatest of the Italians in -the profundity of his pathos or in tragic solemnity, but the group at -Notre Dame is not without decided merit, although it leans towards the -melodramatic and artificial. - -On one side of the altar is a kneeling statue of Louis XIII. by -Guillaume Coustou, and on the other a similar statue of Louis XIV. -by Antoine Coysevox. Guillaume Coustou was the younger brother of -Nicolas, and like him studied at Rome. He represents Louis XIII. -offering his crown and sceptre, which he holds in his hands, to the -Virgin. The statue of Louis XIV. suggests the accomplishment of his -father’s vow. Coysevox, from whose chisel it came, was the leading -French sculptor of his time. He was born at Lyons in 1640, and died -in 1720. The statues of angels bearing the instruments of the Passion -are by various sculptors. The angel with the crown of thorns and that -carrying the reed are by Corneille Van Clève. The angel with the nails -is by Claude Poirier; that with the sponge by Simon Hurtrelle; that -with the scroll by Laurent Magnier; and that with the lance by Anselme -Flamen. The bas-relief in bronze-gilt in front of the altar represents -the Entombment, and is by Van Clève. The cross and candelabra formerly -belonged to the cathedral of Arras. The lectern of sculptured bronze -is dated 1755, and has on its base the name of Duplessis, founder to -the King. A superb example of Gobelins tapestry, the gift of Napoleon -I., is used on great festivals to cover the floor of the sanctuary. The -pavement is partly in mosaic, and has a representation of the arms of -France. - -The comparatively new stained glass of the choir and apse is not so bad -as one might expect. It is by Maréchal of Metz. The central window of -the apse is devoted to the Visitation. To the right are Eudes de Sully -and St. Marcel; St. Augustine and St. Jerome; St. Luke and St. John; -Daniel and Jeremiah; David and Abraham; St. George and St. Martin; -Charlemagne and Pope Leo. III.; and St. Hilaire and St. Irénée. To the -right the subjects are St. Denis and Maurice de Sully; St. Gregory and -St. Ambrose; St. Mark and St. Matthew; Ezekiel and Isaiah; Aaron and -Melchisedec; St. Stephen and St. Laurent, St. Louis and St. Gregory -VII., and St. Remi and St. Martin. The small rose windows of the -choir, like those of the transept, are filled with glass by Steinheil. -The choir, more perhaps than any other part of the cathedral, has -suffered from the wholesale destruction of glass which has already -been described. Visitors to the cathedral of Chartres can estimate the -value of mediæval glass in a Gothic cathedral. It is unfortunate that -the great windows of the clerestory at Paris were filled up before -the notable revival in the art of stained glass, which commenced in -England, and has now extended to France. - -We must now return to the Ambulatory and the adjacent chapels. It is -in this part of the church that Viollet-le-Duc’s decorations are most -profuse, and it is not possible to consider them successful. It is -quite probable that no such scheme of decoration could be open to fewer -objections than that of Viollet-le-Duc. The truth is that the colour -confuses our appreciation of the fine lines of the architecture, and it -is frequently restless and irritating where it should be most reposeful. - -=The Chapels of the Choir.= On the south side are the following -chapels:-- - -_Chapelle Saint-Denis._ The chief object of interest here is a statue, -by Auguste de Bay, of Archbishop Affre, who is represented at the -moment when he made his heroic appearance on the barricade of the -Faubourg Saint Antoine with an olive branch. This was on June 25th, -1848, during the Commune. The Archbishop was struck by a ball and -killed. - -_Chapelle Sainte-Madeleine._ This chapel contains the grave of -the Papal nuncio Garibaldi, Archbishop of Myra, who died in 1853. -Archbishop Sibour, who was murdered in the church of St. Etienne du -Mont on Jan. 8th, 1857, by a priest, is commemorated by a kneeling -statue in marble by Dubois. - -_Chapelle Saint-Guillaume._ The statue of the Virgin seated, with -the Child Jesus in her arms, is attributed to Bernini, who came from -Rome to Paris during the reign of Louis XIV. to make alterations and -additions to the Louvre. The Mausoleum of Henri-Charles d’Harcourt, -Lieutenant-general of the armies of the King, who died in 1769, is a -pretentious and theatrical work which was once highly esteemed. It is -by the sculptor Pigalle, and is of white marble. The widow who kneels -by the tomb and appears to be calling her husband is warned away by a -figure of Death. The genius of War is represented lamenting, and the -whole is completed by trophies of arms. - -_Chapelle Saint-Georges._ Amongst the elaborate mural decorations of -this chapel is a picture by Steinheil of St. George and the Dragon. -The statue of Archbishop Darboy is by Bonnassieux. The prelate is -represented falling amidst the bullets of the Communists, whom he -blesses as he dies. This tragic incident took place in the prison -of La Roquette, on May 27th, 1871. Close by is a kneeling statue of -Archbishop Morlot (_d._ 1862) by Lescorné. The chapel also contains a -statue of St. George by the same artist. - -The following are the chapels on the _north_ side of the choir:-- - -_La Chapelle de Notre Dame des Sept Douleurs_, or _La Chapelle du Petit -Chœur_. The bas-reliefs over the altar represent the angel appearing -to the Virgin Mary, the Descent from the Cross, and the Entombment. -The statue in wood of Notre Dame des Sept Douleurs is by Corbon. The -compositions, in six panels, by Perrodin, represent: Jesus bearing the -Cross; Christ on Calvary; the Descent from the Cross; the Communion of -the Virgin; and the Death of the Virgin. The nine carved wood stalls -are of the same period as those of the choir. They were possibly -part of the original series, which, as we have seen, was reduced in -number. At all events, the details indicate that the same designer -and craftsmen were employed on them. This chapel contains the only -important fragment of the original polychromatic decoration with which -the walls of the cathedral were anciently embellished. It consists of -a mural painting dating from the fourteenth century. In the centre is -represented the Virgin enthroned with the Child. To the right is St. -Denis, and on the left Bishop Simon Matiffas de Buci, who built the -three chapels on the left of the apse. Beneath the picture was formerly -the Bishop’s tomb. Below the representation of the Virgin and Child is -a curious design representing angels bearing away a human soul. This -painting was unfortunately restored by M. Maillot the elder, and has -consequently lost much of its antiquarian interest. - -_Chapelle Saint-Marcel._ Pierre Deseine’s enormous monument to -Cardinal de Belloy fills a large part of this chapel. The cardinal is -represented giving alms to two orphan girls. St. Denis looks on, and -records the cardinal’s name on a list of the bishops of Paris noted -for their charity. Close by is the tomb, with reclining figure, of -Monseigneur de Quelen, by De Chaume. Amongst the mural decorations of -this chapel the chief is a large painting by Maillot the younger. The -subject is the “Translation of the relics of St. Marcel from the old -Church of St. Marie to the Church of Notre Dame by Bishop Eudes de -Sully.” The personages represented are portraits of the officials of -the diocese, and include Archbishop Darboy and the Abbé la Place. In -the vaulting is a design representing the Coronation of St. Marcel. - -_Chapelle Saint-Louis._ This chapel has six statues in wood by Corbon, -representing Christ, the Virgin, St. John, St. Denis, St. Rustiguex, -and St. Eleutherius. The kneeling statue of Archbishop Louis-Antoine de -Noailles, who died in 1729, is by De Chaume. - -_Chapelle Saint-Germain._ Tomb of Archbishop Leclerc de Juigné -(died 1811), a kneeling figure in relief. The tomb was repaired by -Viollet-le-Duc, who modified its original design. - -_Chapelle Saint-Ferdinand._ Monument of Archbishop de Beaumont (died -1781), from designs by Viollet-le-Duc. - -_Chapelle Saint-Martin._ Monument of Jean-Baptiste de Vardes, Comte -de Guébriant, Marshal of France, who died in 1643, and of his wife -Renée du Bec Crespin. A splendid service was celebrated in Notre Dame -on the Marshal’s death. His wife was sent to Poland as ambassadress -extraordinary, and died there in 1643, without being able to erect a -monument to her husband. The Marquis de Vardes erected the tomb, which -was practically destroyed during the Revolution. It was renewed from -designs by Viollet-le-Duc. - -Behind the Sanctuary is the tomb with a jewelled effigy of Archbishop -Matiffas de Buci, who died in 1304. It was removed from La Chapelle -de Notre Dame des Sept Douleurs. In the arcading below the bas-reliefs -of Jehan Revy and Jean le Bouteiller are placed little brasses with -the names, arms, and date of the death of the persons whose remains -are buried at Notre Dame. A list of the most interesting of these has -already been given. - - - - - [Illustration: THE PLACE DU PARVIS IN 1650. - (_From an engraving by Van Merlen._)] - -CHAPTER VI. - -CONCLUSION. THE SACRISTY, ETC. - - -Notre Dame was within comparatively recent times surrounded with -streets so narrow that vehicular traffic was impossible. Amongst the -most characteristic were the Rue de Glatigny and the Rue de Marmousets, -which, as late as 1865, preserved the dimensions, and something of -the aspect, of a side street in the middle ages. The _quartier_ thus -intersected literally teemed with churches of which nothing remains. -Amongst them perhaps the most important were those dedicated to -Saint-Landry, Sainte-Geneviève des Ardents, Saint-Pierre aux Bœufs, -Saint-Aguan, Saint-Marine, Saint-Luc, Saint-Jean le Rond, Saint-Denis -au Pays and Saint-Christophe. None of them appear to have been large, -and of some the origin and history remain obscure. - -On the south side of the Cathedral stood the _Palais Episcopal_, which -was constructed by Maurice de Sully and added to by Matiffas de Bucy -and other prelates. On Feb. 14th, 1831, it was attacked by the mob, and -five hours sufficed for its complete destruction. The contents included -a library of 20,000 volumes, a collection of 1,500 manuscripts, -those of the ancient archives of the church, which escaped the -Revolutionists, a fine collection of pictures, and priceless works of -art of an ecclesiastical character. These were thrown into the Seine, -burned, or stolen. - -The =Cloître= or Cloister of Notre Dame was on the north side and -at the east end of the church. It is difficult to say what was its -early aspect, but in the sixteenth century and afterwards it in -no way resembled the cloister of a monastery, but consisted of an -agglomeration of separate houses. It was in the nature of a College -of Secular Canons. It was similar to the Temple in London in that it -possessed gates of its own, which shut it off from the rest of the -city. The Cloister contained thirty-seven houses for the canons of the -Cathedral, who were allowed to have living with them their near female -relatives. No other women, lay or religious, were allowed to sleep in -the cloister. The tedious Rue du Cloître Notre-Dame occupies a portion -of the space on which the Cloister stood. - -=The Sacristy= was formerly a part of the Palais Episcopal. It had -been rebuilt by Soufflot, whose work was partially destroyed in 1831. A -new sacristy has been constructed by Viollet-le-Duc in the style of the -thirteenth century. The exterior is richly ornamented with statues and -pinnacles. It communicates with the south ambulatory of the choir by -means of two covered passages, one of which leads into the _Sacristie -du Chapitre_, which contains a large hall, the room of the Chapter -above, which is the cathedral treasury, and a vestry for the canons. -The great hall has stained glass windows in which bishops of Paris are -represented. - -It contains a crucifix and two statuettes by Corbon, a fine _armoire_ -decorated with paintings of scenes in the life of St. Denis. There are -pictures in various parts of the building by Vaulos, Salvator Rosa, -Lebrun, Louis Testelin, Charles Poerson and others, but none of them -are of much note. A picturesque little cloister, with a fountain in the -middle surmounted by a crucifix, is one of the agreeable features of -the building. Its eastern arcade is glazed, the windows representing -scenes in the life of Ste. Geneviève. - -=The Treasury=, once endowed with enormous riches, was despoiled at the -Revolution of all but a few objects of value. There still remains the -reputed Crown of Thorns (supposed to have been given to St. Louis), -brought hither from La Sainte Chapelle. The so-called Nail of the True -Cross formerly belonged to the royal abbey of St. Denis. These relics -are only exposed on Fridays in Lent. The reliquaries are for the most -part imitations of those which were formerly in La Sainte Chapelle. -Perhaps the most interesting of the objects exhibited is a gold cross, -probably of twelfth-century workmanship. It belonged to the Emperor -Manuel Comnenus, and was bequeathed by the Princess Anne de Gonzague to -the church of St. Germain des Prés in 1863. In addition there are the -relic of the True Cross sent to Bishop Galon in 1109, from the Church -of the Holy Sepulchre in Jerusalem; the “discipline” of St. Louis; the -crozier in copper and wood of Bishop Eudes de Sully; the crucifix used -by St. Vincent-de-Paul at the death-bed of Louis XIII.; the pastoral -cross of Archbishop Affre; a silver image of the Virgin and Child -presented in 1821 by Charles X.; the _ostensoir_ given by Napoleon I., -and services of plate presented by the same monarch and by Napoleon -III. The vestments are very magnificent, and include the coronation -mantle of Napoleon I. and the chasuble worn by Pope Pius VI. when he -crowned him. The _soutanes_ worn by Archbishops Affre, Sibour, and -Darboy in their last moments, marked by the instruments which produced -their violent deaths, have a tragic interest. - -The somewhat obtrusively picturesque modern building to the west of the -Sacristy is known as the _Presbytère_. It has been often ridiculed, -and at times rather fiercely denounced, but if any building was to -be erected on the site, it seems difficult to imagine anything less -offensive. It is pleasing and unpretentious, and contrasts only too -favourably with the dull houses of the Rue du Cloître Notre-Dame, which -are as undistinguished as they well can be. - -The space at the back of the Cathedral is laid out as a garden. This -is modern and somewhat formal, but it affords a fine view of the east -end, and constitutes a welcome oasis of trees and grass in a grey waste -of commonplace buildings. In the centre is a fountain with a statue -of the Virgin and Child, and fragments of sculpture and carving taken -from the church at different times lie about. The reader who wishes to -understand at a glance the various changes which have taken place in -that part of the French metropolis which lies in the very shadow of -the cathedral should refer to the second volume of the magnificent work -_Paris à travers les Ages_, in which a plan of the district in 1881 is -compared with conjectural plans of the same in the years 1150, 1550, -and 1750. - -The huge open space west of the cathedral is the Place du Parvis -Notre-Dame. This oblong _place_ far exceeds the church itself in area, -and gives to the west front a somewhat dwarfed appearance. On the -left-hand side (looking east) is the vast Hotel Dieu, the modern name -of the hospital, known as the Maison Dieu, which for centuries has been -associated with Notre Dame. The present building was only completed -in 1877. It is from the designs of M. Diet, and is by no means of an -ornamental character, although the total cost was 36,400,000 francs. -On the west side of the Place du Parvis are the barracks of the Garde -Republicaine. Close to them is one of those open-air flower markets -which are so charming and characteristic a feature of the Paris of -to-day. - - - - - [Illustration: NOTRE DAME IN THE XIII CENTURY, SHOWING THE BISHOP’S - PALACE (L’ÉVÊCHÉ) ON THE LEFT. - (_From “Paris à travers les Ages.”_)] - -CHAPTER VII. - -LIST OF THE BISHOPS AND ARCHBISHOPS OF PARIS. - -(I have adopted the spelling and dates generally given by French -Catholic writers in compiling this list). - - -St. Denis, who is counted as the first bishop by Roman Catholic -writers, is said to have been succeeded by the following, of whom -little or nothing is known: Mallo or Mallon; Massus; Marcus; Adventus; -Ventorien; Paul; Prudence; St. Marcel (died about 436); Vivien; Felix; -Flavien; Ursicien; Apedemius; Heraclitus (? 490-525); Probat; Amelius; - -Saffarac (545-552). - -Eusèbe I. (552-555). - -St. Germain (555-576). - -Raguemond (576-591). - -Eusèbe II. (592-594). - -Faramode (?); Simplicius (?); Saint Céran (606-621); Leudebert (?); -Aubert. - -St. Landry (650-656). - -Chrodobert (656-663). - -Sigobrand (663-664). - -Importun (?). - -St. Agilbert (666-680). - -Sigefroid (?); Tournsaede (?); Adolphe (?); Bernechaire, (?). - -St. Hugues (722-730). - -Marséide. - -Fédole (?); Raguecapt (?); Madalbert (?); Desdefroid (?); Escheurade -(?). - -Ermenfroi (?) - -Inchalde (809-831). - -Ercheurade (831-857). - -Enée (857-883). - -Ingelvin (?). - -Gozlin (883-886). - -Anschéric (886-911). - -Théodulphe or Gendulphe (911-922). This bishop is believed to have -been succeeded by Falrade; Adelhelme; Gauthier I.; Albéric; Constante; -Garin; Rainaud I.; Elisiard, and Giselbert. - -Renault II., de Vendome (992-1019). - -Azelin or Albert (?). - -Francon (1020-1030). - -Imbert Hesselin (1030-1060). - -Godefroi de Boulogne (1061-1093). - -Guillaume I. de Montfort (1095-1102). - -Foulques I. (1102-1104). - -Galon (1105-1116). - -Giselbert or Gilbert (1116-1124). - -Etienne I. de Senlis (1124-1142). - -Thiébault (1143-1157). - -Pierre Lombard (1158-1159). - -Maurice de Sully (1160-1196). - -Eudes de Sully (1197-1208). - -Pierre II. de Nemours (1208-1219). - -Guillaume de Seiguelay (1220-1223). - -Barthélémy (1223-1227). - -(The see is believed to have been vacant for a year) - -Guillaume d’Auvergne (also called Guillaume de Paris) (1228-1249). - -Gauthier II. de Chateau-Thierry (1249-1250). - -Renault III. de Corbeil (1250-1268). - -Etienne II. (1268-1279). - -Ranulfe ou Raoul d’Homblières (1279-1288). - -Simon Matiffas de Bucy (1290-1304). - -Guillaume IV. de Baufet (1304-1319). - -Etienne de Bourret (1320-1325). - -Hugues II. (1326-1332). - -Guillaume V. de Chanac (1332-1342). - -Foulques II. (1342-1349). - -Audoin Aubert (?). - -Pierre III. de la Forêt (1350-1352). - -Jean I. de Meulan (1352-1363). - -Etienne IV. de Paris (1363-1368). - -Aimeric de Maignac (1368-1384). - -Pierre IV. d’Orgement (1384-1409). - -Gérard de Montaigu (1409-1420). - -Jean II. de Courte-Cuisse (1421-1422). - -Jean III. de la Roche-Taillé (1422-1423). - -Jean IV. de Nant (1423-1427). - -Jacques de Chastelier (1427-1439). - -Denis II. du Moulin (1439-1447). - -Guillaume VI. Chartier (1447-1472). - -Louis de Beaumont (1473-1492). - -Gerard Gobaille (1494). - -Jean V., Simon de Champigny (1494-1502). - -Etienne V., Poncher (1503-1519). - -François de Poncher (1519-1532). - -Jean VI. de Bellay (1532-1551). - -Eustache de Bellay (1551-1564). - -Guillaume Viole (1564-1568). - -Cardinal Pierre V. de Gondi (1568-1598). - -Cardinal Henri de Gondi de Retz (1598-1622). - - -ARCHBISHOPS. - -Paris was raised to the rank of an archbishopric on the demand of Louis -XIII. to Pope Gregory XV. (The Bull is dated Oct. 20th, 1622.) - -1. Jean-François de Gondi (1622-1654). First Archbishop of Paris. -Buried in Notre Dame. - -2. Jean-François-Paul de Gondi (Cardinal de Retz). Buried in -Saint-Denis (1654-1679). - -3. Pierre VI. de Marca (_d._ 1662). Buried in Notre Dame. - -4. Hardouin de Péréfix de Beaumont (_d._ 1671). Buried in Notre Dame. - -5. François de Harlay de Champvallon (_d._ 1695). Buried in Notre Dame. - -6. Louis-Antoine de Noailles. Cardinal (_d._ 1729). Buried in Notre -Dame. - -7. Charles-Gaspard-Guillaume de Vintimille du Luc (_d._ 1746). Buried -in Notre Dame. - -8. Jacques-Bonnet-Gigault de Bellefonds (_d._ 1746). Buried in Notre -Dame. - -9. Christophe de Beaumont du Repaire (_d._ 1781). Buried in Notre Dame. - -10. Antoine-Eléonore-Léon Le Clerc de Juigné de Neuchelle (_d._ 1811). -Buried in Notre Dame. - -11. Jean-Baptiste de Belloy. Cardinal. Died, aged ninety-eight years -and eight months, in 1808, and buried in Notre Dame. - -12. Alexandre-Angélique de Tallyrand-Perigord. Born 1736. Archbishop of -Reims 1776. Cardinal 1817; Died 1821. - -13. Hyacinthe-Louis de Quélen. Born 1778. Bishop of Samosate 1817; -Archbishop of Paris 1821. Died 1839. - -14. Denis III., Auguste Affre. Born 1793. Archbishop of Paris 1840. -Struck by a ball at the barricades in the Faubourg Saint-Antoine on -June 25th, 1848, and died two days later. - -15. Marie-Dominique-Auguste Sibour. Born 1792. Bishop of Digue 1839; -Archbishop of Paris 1848. Was assassinated on Jan. 3rd, 1857, in the -church of Saint-Etienne du Mont by a priest. He had as auxiliary bishop -Léon-François Sibour. - -16. François III., Nicolas-Madeleine Morlot. Born 1795. Bishop of -Orléans 1839; Archbishop of Tours 1842; Cardinal 1853; Archbishop of -Paris 1857. Died 1862. - -17. Georges Darboy. Born 1813. Bishop of Nancy 1850; Archbishop of -Paris 1863. Arrested as a hostage by the Commune on April 4th, 1871, -and shot on May 27th. - -18. Joseph-Hippolyte Guibert. Born 1802. Archbishop of Tours 1857; -Archbishop of Paris 1871; Cardinal 1873. Died 1886. - -19. François-Marie-Benjamin Richard. Born 1819. Bishop of Belley -1871; Coadjutor of Archbishop Guibert 1875; Archbishop of Paris 1886. -Cardinal 1889. - - - - -INDEX - - - Aisles, double, 22, 60 - - Altar, high, 86 - - Ambulatory, 76 - - Apse, 22 - - Archbishops, list of, 100-102 - - - Bells, 42 - - Bishops, list of, 98-100 - - Bishop’s Palace, 94, 98 - - Buttress system, 44 - - - Chapels added, 8 - - ” of the choir, 90-93; - of the nave, 66-69 - - “Chimères,” 40 - - Choir, 82; in the thirteenth century, 81 - - Clerestory: nave, 64; - transepts, 72 - - Cloister, or Cloître, 8, 95 - - Crypt, 86 - - - Darboy, Archbishop, statue of, 91 - - Decoration, coloured mural, 66-68, 75 - - “Devils of Notre Dame,” 20 - - Dimensions of the cathedral, 56 - - Doorways: west, 30-38; - transepts, 48-53 - - - Flèche, 42 - - - Galerie des Rois, 39 - - Garden, 96 - - Glass, stained, 69, 89 - - Gothic construction, 20 - - Grille of choir, 82 - - - Historical events, 9-16 - - Hospital (Hotel Dieu), 97 - - Hugo, Victor, on Notre Dame (_see_ Notre Dame) - - - Maurice de Sully, Bishop, first builder of the present church, 7 - - Monuments in the nave, 64 - - - Napoleon I., coronation of, 14 - - Notre Dame: early history of the church, 5-7; - historical events in, 9-16; - its place in French Gothic, 19; - Victor Hugo on, 27-29, 40, 42 - - “Notre Dame de Paris,” statue of, 72-75 - - - Organ, 64 - - - Parvis, Place du, 94, 97 - - Piers of the nave, 58, 60 - - Portail de la Ste. Vierge, 30 - - ” central, 34 - - ” Ste. Anne or St. Marcel, 33, 38 - - Porte Rouge, 53 - - Presbytère, 96 - - - Relics, 95, 96 - - Revolution, the, 12 - - Roman remains, 5, 86 - - Roof, 42, 57 - - Rose windows of transepts, 75 - - - Sacristy, 95 - - St. Denis, 5; statue of, 75; - chapel of, 90 - - St. Marcel, statue of, 33, 38; - shrine of, 76, 81; - chapel of, 92 - - Sanctuary, 81, 86 - - Screen, sculptured, in choir, 77 - - Stalls, choir, 85 - - “Stryge, le,” 41 - - - Tombstones in the nave, 56 - - Towers, 42 - - Transepts, 22, 48, 72 - - Treasury, 95 - - Triforium, 62 - - - Vaulting, 57, 62 - - - West front, 7, 24, 28-42 - - Windows, 46 - - - - - CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO. - TOOKS COURT, CHANCERY LANE, LONDON. - - - - -INTERNAL DIMENSIONS. - - - Length (total) 390 feet. - ” of nave 225 ” - ” of transepts 144 ” - Width of nave vault 39 ” - Height of ” “ 102 ” - ” ” towers 204 ” - Area 54,050 sq. feet. - - - - - [Illustration: PLAN OF THE CATHEDRAL OF NOTRE DAME, PARIS - - ENTRANCE TO THE TOWERS. - - 1 2 3 4 5 6 7 - - 14 13 12 11 10 9 8 - - 50 40 30 20 10 0 50 100 - - SCALE OF FEET. - - 1. Chapelle des Fonts Baptismaux. - 2. Chapelle Saint-Charles. - 3. ” de la Sainte-Enfance. - 4. ” Saint-Vincent-de-Paul. - 5. Chapelle de Saint-François-Xavier. - 6. Chapelle de Saint-Landry. - 7. ” de Sainte-Clotilde. - 8. Chapelle de l’Annonciation. - 9. ” du Sacré Cœur. - 10. ” Sainte-Anne. - 11. ” Saint-Pierre. - 12. ” Saint-Joseph. - 13. ” Sainte-Geneviève. - 14. ” des Ames du Purgatoire. - 15. Statue of Notre Dame de Paris. - - A. Chapelle Saint-Martin. - B. ” Saint-Ferdinand. - C. ” Saint-Germain. - D. ” Saint-Louis. - E. ” Saint-Marcel. - F. ” de N. D. des Sept Douleurs, - _or_ du Petit Chœur. - G. Chapelle Saint-Georges. - H. ” Saint-Guillaume. - I. ” Sainte-Madelaine. - J. ” Saint-Denis. - - A.K.M^{o}RGAN. del:] - - - - - [Illustration: _H. N. King, photo._] - WESTMINSTER. WALL ARCADE AND FRESCOES IN THE - CHAPTER-HOUSE] - - - - -BELL’S CATHEDRAL SERIES - -_Post 8vo. Profusely Illustrated, 1s. 6d. net each_ - - “This excellent series of Cathedral handbooks which have - thoroughly established their reputation as guides to the - archaeological, architectural, historical, and religious - stories of our cathedrals.”--_Saturday Review._ - -Volumes on London Cathedrals & Churches - - - =ST. PAUL’S CATHEDRAL.= An Account of the Old and New - Buildings, with a short Historical Sketch. By the Rev. - ARTHUR DIMOCK, M.A. Fourth Edition, Revised. With 38 - Illustrations and a Plan. - - “One of the richest volumes of Messrs. Bell’s ‘Cathedral - Series.’ The study of the fabric is painstaking, and the - details as to monuments will be found very helpful to a - visitor.... The whole history is brought down to the present - day.”--_London Quarterly Review._ - - “The work is cleverly compiled, and the illustrations add not - a little to its value as a souvenir to be treasured by those - who visit the cathedral, not because it is one of the sights - of London, but for the reason that they take an intelligent - and reverential interest in that great monument of Wren’s - genius.”--_City Press._ - - - =WESTMINSTER ABBEY.= By CHARLES HIATT. Third - Edition. With 45 Illustrations and 2 Plans. - - “It has been compiled with great care from the best - authorities, and is especially full on the monuments. Visitors - could not have a better guide to the most famous of English - minsters.”--_London Quarterly Review._ - - “This excellent work is likely to become the most popular guide - to Westminster Abbey. It supplies the need both of the student - of architecture and the visitor to London, giving a capital - _résumé_ of the history of the Abbey, with a well-written - description of the building itself. The book is profusely - illustrated.”--_Liverpool Mercury._ - - - =ST. SAVIOUR’S, SOUTHWARK.= By GEORGE WORLEY. With - 36 Illustrations and a Plan. - - “Mr. Worley’s painstaking description of the cathedral is the - most complete that we have seen, and its value is increased by - many good illustrations and a plan.”--_Manchester Guardian._ - - “Those who wish to visit this Metropolitan Cathedral - intelligently, and with personal profit, will do well to - possess themselves with this reliable and interesting little - handbook.”--_Builder._ - - “An admirable example of careful work.”--_Gentleman’s Magazine._ - - - =ST. BARTHOLOMEW-THE-GREAT, SMITHFIELD.= A short History of the - Foundation, and a Description of the Fabric, and also of the - Church of St. Bartholomew-the-Less. By GEORGE WORLEY. With 42 - Illustrations and a Plan. - - “The author has made a conscientious study of the venerable - Smithfield church, and has succeeded in presenting a thoroughly - interesting account of this remarkable relic of the twelfth - century.”--_Builder’s Journal._ - - “Mr. Worley has treated his subject with skill, and produced a - most readable volume.”--_Church Times._ - - - =THE TEMPLE CHURCH.= A Description of the Fabric and its Contents, - with a short History of the Order. By GEORGE WORLEY. Second - Edition, Revised. With 31 Illustrations and a Plan. - - “A short and excellent account of the church of the Knights - Templars in London, prefaced by a brief history of the Order. - Nothing has been forgotten that the curious might reasonably - want to know.... To any one interested, such an excellent - handbook as this, with its lucid explanations, plans, - photographs, and technical information of the very best, is - indispensable.”--_Spectator._ - - [Illustration: _Photo._] [_Photochrom Co._ - SOUTHWARK CATHEDRAL FROM THE EAST] - - BELL’S CATHEDRAL SERIES—_continued_ - _1s. 6d. net each_ - - BANGOR. By P. B. IRONSIDE BAX. - - BRISTOL. By H. J. L. J. MASSÉ, M.A. 2nd Edition. - - CANTERBURY. By HARTLEY WITHERS. 6th Edition. - - CARLISLE. By C. K. ELEY. 2nd Edition. - - CHESTER. By CHARLES HIATT. 4th Edition. - - CHICHESTER. By H. C. CORLETTE, A.R.I.B.A. 3rd Edition. - - DURHAM. By J. E. BYGATE, A.R.C.A. 4th Edition. - - ELY. By REV. W. D. SWEETING, M.A. 3rd Edition. - - EXETER. By PERCY ADDLESHAW, B.A. 4th Edition, revised. - - GLOUCESTER. By H. J. L. J. MASSÉ, M.A. 5th Edition. - - HEREFORD. By A. HUGH FISHER, A.R.E. 2nd Edition, - revised. - - LICHFIELD. By A. B. CLIFTON. 3rd Edition, revised. - - LINCOLN. By A. F. KENDRICK, B.A. 5th Edition. - - LLANDAFF. By E. C. MORGAN WILLMOTT, A.R.I.B.A. - - MANCHESTER. By the REV. T. PERKINS, M.A. - - NORWICH. By C. H. B. QUENNELL. 2nd Edition, revised. - - OXFORD. By the REV. PERCY DEARMER, M.A. 2nd Edition, - revised. - - PETERBOROUGH. By the REV. W. D. SWEETING, M.A. 4th - Edition. - - RIPON. By CECIL HALLETT, B.A. 2nd Edition. - - ROCHESTER. By G. H. PALMER, B.A. 2nd Edition, revised. - - ST. ALBANS. By the REV. T. PERKINS, M.A. - - ST. ASAPH. By P. B. IRONSIDE BAX. - - ST. DAVID’S. By PHILIP A. ROBSON, A.R.I.B.A. 2nd - Edition. - - ST. PATRICK’S, DUBLIN. By the VERY REV. J. H. BERNARD, - M.A., D.D. 2nd Edition. - - SALISBURY. By GLEESON WHITE. 5th Edition. - - SOUTHWELL. By the REV. ARTHUR DIMOCK, M.A. 2nd - Edition, revised. - - WELLS. By the REV. PERCY DEARMER, M.A. 5th Edition. - - WINCHESTER. By P. W. SERGEANT. 4th Edition, revised. - - WORCESTER. By E. F. STRANGE. 3rd Edition. - - YORK. By A. CLUTTON BROCK. 5th Edition. - - AN ITINERARY OF ENGLISH CATHEDRALS FOR THE USE OF TRAVELLERS. - By JAMES G. GILCHRIST, A.M., M.D., and the REV. T. - PERKINS, M.A., F.R.A.S. 2nd Edition, revised. - - -_Uniform with above Series, 1s. 6d. net each_ - - BATH ABBEY, MALMESBURY ABBEY, AND BRADFORD-ON-AVON CHURCH. By - the REV. T. PERKINS, M.A. - - BEVERLEY MINSTER. By CHARLES HIATT. 3rd Edition. - - ST. MARTIN’S CHURCH, CANTERBURY. By the REV. CANON C. F. - ROUTLEDGE. 2nd Edition. - - ROMSEY ABBEY. By the REV. T. PERKINS, M.A. - - STRATFORD-ON-AVON CHURCH. By HAROLD BAKER. 2nd Edition. - - TEWKESBURY ABBEY. By H. J. L. J. MASSÉ, M.A. 4th - Edition. - - WIMBORNE MINSTER and CHRISTCHURCH PRIORY. By the REV. T. - PERKINS, M.A. 2nd Edition. - - THE CHURCHES OF COVENTRY. By FREDERICK W. WOODHOUSE. - - MALVERN PRIORY. By the REV. ANTHONY C. DEANE. - [_In preparation._ - - LONDON: G. BELL AND SONS, LTD. - YORK HOUSE, PORTUGAL STREET, KINGSWAY, W.C. - - - - -Transcriber’s Note: - -Punctuation has been standardised; hyphenation retained as it appears -in the original publication. - -Changes have been made as follows: - - Page 4 - that our own proud Minster _changed to_ - than our own proud Minster - - Page 7 - Description de Notre-Dame, Cathédral de Paris _changed to_ - Description de Notre-Dame, Cathédrale de Paris - - Page 10 - se mit A genoux et fit _changed to_ - se mit à genoux et fit - - Page 13 - music by Gossee _changed to_ - music by Gossec - - Page 14 - parfaite à la moinde des actions _changed to_ - parfaite à la moindre des actions - - Page 15 - apres avoir reçu _changed to_ - après avoir reçu - - douce et legère _changed to_ - douce et légère - - Page 19 - mere decorative idiosyncracy _changed to_ - mere decorative idiosyncrasy - - Page 20 - Ths choir was begun _changed to_ - The choir was begun - - Page 40 - _Chimères or “Devils of Notre Dame_.” _changed to_ - _Chimères_ or “_Devils of Notre Dame_.” - - was in its decadance _changed to_ - was in its decadence - - Page 41 - ONE OF THE CHIMAERAS OF NOTRE DAME _changed to_ - ONE OF THE CHIMÈRAS OF NOTRE DAME - - Page 42 - which was irrevently compared _changed to_ - which was irreverently compared - - Page 52 - TYMPANIUM OF THE NORTH TRANSEPT DOORWAY _changed to_ - TYMPANUM OF THE NORTH TRANSEPT DOORWAY - - Page 53 - Near the _Port Rouge_ _changed to_ - Near the _Porte Rouge_ - - Page 65 - in the cathedrall church _changed to_ - in the cathedral church - - Page 67 - Il en résultei nstinctivement pour _changed to_ - Il en résulte instinctivement pour - - Page 78 - Notre Dame par Vespace XXV _changed to_ - Notre Dame par l’espace XXV - - Page 89 - by Antoine Coyevox _changed to_ - by Antoine Coysevox - - Page 90 - Archbishop Sibor, who was murdered _changed to_ - Archbishop Sibour, who was murdered - - Page 92 - Archbishop Leclercq de Juigné _changed to_ - Archbishop Leclerc de Juigné - - Page 95 - The =Cloîture= or Cloister of Notre Dame was on - The =Cloître= or Cloister of Notre Dame was on - - Page 96 - church of St. Germain des Près _changed to_ - church of St. Germain des Prés - - dull houses of the Rue du Cloîture Notre-Dame _changed to_ - dull houses of the Rue du Cloître Notre-Dame - - Page 99 - Barthélemy (1223-1227) _changed to_ - Barthélémy (1223-1227) - - Page 105 - Cloister, or Cloiture _changed to_ - Cloister, or Cloître - - - - - -End of the Project Gutenberg EBook of Notre Dame de Paris, by Charles Hiatt - -*** END OF THIS PROJECT GUTENBERG EBOOK NOTRE DAME DE PARIS *** - -***** This file should be named 60213-0.txt or 60213-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/2/1/60213/ - -Produced by The Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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