A) A f)) UhKAKlES JTHACA, N. Y. 14S53 Fine Arts Library Sibley HalJ Cornell University Library NA 5550.A1W85 1919 The story of the Paris churches, 3 1924 015 401 304 DATE DUE iBfW"^'^" 9km^ UPK.W ^. •■ »OW5 (\pD22 ^ ^^liii**** i ^ TBTB^rilV? _^^. pl^l u^S sw Mm^ ,0^^^^^^ ^'mimim -i^l^ ,,smi si^fifii. ' ■ ' - ' -■' ^( *i CAVUONO PIIINTCOIHU.fi A. Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 92401 5401 304 THE STORY OF THE PARIS CHURCHES La bamte-L-hapelle. THE STORY OF THE PARIS CHURCHES BV JETTA S. WOLFF AUTHOR OF Les Franfais in Guerre," Les Fran^ai's en Voyage," Stories from the Lives of Saints and Martyrs," etc. New York BRENTANO'S Publishers /^r.«s'6-'r3 Coftrt; 6 fo., L . . • "4 L'Eglise Evangelique des Bi'Iettes . . .118 SECTION THE NINTH Notre-Dame des Blancs-Manteaui . . • .121 S.-Severin . . . • • • • J23 CONTENTS SECTION THE TENTH S.-Julien-Ie-Pauvre .... S.-Nicolas du Chardonnet 129 136 S.-Etienne-du-Mont S.-Medard SECTION THE ELEVENTH 141 147 SECTION THE TWELFTH S.-Jacques-du-Haut-Pas .... Val-de-Grace . . ^ . . , SECTION THE THIRTEENTH Eglise de la Sorbonne .... S.-Germain-des-Pres .... SECTION THE FOURTEENTH S.-Sulpice S.-Joseph-des-Carmes Notre-Dame-des-Champs Sainte-Clotilde . S. -Pierre du Gros Caillou [SECTION THE FIFTEENTH S.-Thomas d'Aquin S.-Franfois-Xavier . , . S.-Louis-des-Invalides and L'EgHse du Dome Sainte-Marie-Madeleine . La Chapelle Expiatoire . SECTION THE SIXTEENTH The British Embassy Church S.-Augustin S.-Philippe-du-Roule Holy Trinity (American Episcopal) S.-Joseph The Russian Church Chapelle du Bazar de la Charite SECTION THE SEVENTEENTH Notre-Dame-de-Lorette . La Sainte-Trinite ; S. -Louis d'Antin S. -Eugene S.-Vincent de Paul S. -Laurent S.-Martin 153 155 IS9 162 169 173 17s 176 178 183 lis 186 188 191 195 197 198 199 202 203 205 209 211 212 213 214 216 219 CONTENTS SECTION THE EIGHTEENTH Sti. -Marguerite . S.-Ambroise S.-Joseph L'Eglise Flamande S.-Antoine Picpus . S.-Eloi . Ste .-Marie Notre-Dame de la Nativite L'Immaculee-Conception Notre-Dame de la Gare. S. -Marcel Ste.-Anne de la Maison Blanche S.-Pierre de Montrouge SECTION THE NINETEENTH. Notre-Dame-du-Travail S.-Lambert de Vaugirard S.-Jean Baptiste de la Salle S.-Jean-Baptiste de Grenelle S.-Pierre de Chaillot . S.-Honore d'Eylau S.-Stephanos (Greek Church) S.-Georges (Anglican) Notre-Dame de Grace de Passy. Notre-Dame d'Auteuil . Ste.-Marie des BatignoUes S.-Franfois de Sales SECTION THE TWENTIETH S. -Ferdinand des Ternes. S.-Michel .... S. -Bernard de la Chapelle S.iDenys de la Chapelle. Notre-Dame de Clignancourt Ste .-Genevieve des Grandes-Carri^res S.-Jean I'Evangeliste S.-Georges .... S.-Jacques et S.-Christophe de la ViUette - S.-Jean-Baptiste de Belleville Notre-Dame de la Croix S.-Germain de Charonne LIST OF ILLUSTRATIONS FACING PAGE S.-Denys {Basilique) . . , . . .15 Notre-Dame. Fagade . 21 Notre-Dame. Choir and Nave . . • 27 Sacri-Cceur .... 43 S. -Pierre »« 1824 SI S.-Germain VAuxerrois in 1835 S6 S.-Germain VAuxerrois. Inner Porch . 58 S.-Eustache .... • 67 S. -Nicolas des Champs . 87 S.-Gervais .... .. 107 S. -Louis en Vile 112 S..-Siverin .... 123 S.-Julien-le-Pauvre. Fagade 129 S.-yulien-le-Pauvre 132 S.-Etienne du Mont 141 S.-Etienne du Mont. Nave 144 Valde-Grace .... iSS S.-Germain des Prh. Nave 162 S.-Sulpice .... 169 Les Invalides : La Chapelle S. -Louis . 186 La Madeleine , . • • • 188 Holy Trinity Church. Avenue de I' Alma. The Garden -199 The Russian Church . . ■ ■ 203 S.-Stephanos. The Iconostase. (Greek Church) 251 S. -Georges {Anglican) . 252 S.-Germain de Charonne 276 PREFACE Paris is the city of beautiful Churches. . . . Had the French Army fought less gallantly in the autumn of the fateful year 1914, which of those glorious Churches would now be standing ! The enemy was almost within reach of the city gates. Had the foe been able to advance, the Churches of Paris, like the Cathedrals of Soissons, Senlis, Reims and how many other beautiful sacred edifices, would doubtless have been in ruins. Had the hostile air-craft which dared to drop an incendiary bomb on Notre-Dame been less promptly and vigorously driven off the field, the grand Cathedral would have been in flames. I write now the story of what we might have lost, of what we doubly prize, spared to us by the heroic efforts of those who so nobly fought and those who fell in the great battle of the Marne. Everyone who comes to Paris, be it merely for a hasty passing visit, is eager to enter Notre-Dame, the Sainte- Chapelle and other ancient sacred historic monu- ments of the beautiful city. For long during this dread war-time the Churches were the only public buildings or historic monuments open. The Museums, now less rigorously closed, were fast shut . . . the Churches were always, open. Paris Churches, many of them, have an entran- cing historical as well as a precious architectural PREFACE interest. Curious old legends are often connected with their foundation. I have aimed at giving in concise and simple form their history rather than a mass of architectural detail. Those who have time can study for themselves from personal observation, by far the best way, and the help of books of refer- ence, the intricacies of the architectural features of the Churches. It is a rich field of study. Many people from habit and knowledge are able to take in at a glance the most salient points of architectural interest. What we all love to know in looking upon and wandering through a grand building which has stood for ages, are the circumstances of its birth, the course of its growth, the stories connected with it. All these I have tried my best to tell in the limited scope of a volume not too large to be easily portable. For the convenrense of persons coming to stay or live in Paris, I have given a brief account of the Churches which have no story to tell, no architec- tural beauty, but may be the nearest Church at hand, and may have even for temporary ' parish- ioners ' hallowed associations. Jetta Sophia Wolff. Paris, 1918. SECTION THE FIRST S.-DENYS NOTRE-DAME S.-Denys (Basilique). Lhy fils et C*"- Paris. S.-DENYS On the high road to Paris from the north, about six miles from the city boundary, stands the ancient basilica of S.-Denys, so intimately connected with the most stirring events of France from the earliest days of her history, and the burial-place of her Kings. Many churches, chapels and oratories through- out France are dedicated to S. Denys (the " Mon- seigneur S. Denys," of ancient documents), the patron saint of Paris, the missionary put to death on the northern heights overlooking the city ; but none is so grand, so enduring, as the church in the old township in the department of the Seine which bears the martyr's name. The first chapel erected on the site was a primi- tive building, an oratory raised in the very century of his martyrdom before the coming of the Franks. Tradition says it was built by a Christian lady of Roman birth named Catulla. Catulla, we are told, gained possession of the martyr's body, had it buried in ground she owned at a place named Tricennes, some miles to the noi-th of Lutetia, and built a tomb over it. In the fifth century Sainte Gene- vieve, destined to become a sister patron-saint of Paris, who was wont to go and pray there, built a chapel for the tomb. This small oratory-chapel 16 STORY OF PARIS CHURCHES was the nucleus of the grand basilica and of the Abbey. The first church on the site was built by King Dagobert. Dagobert founded the Abbey of S.-Denys early in the seventh century. The King was aided in this great work, as in many other matters, by his faithful adviser and companion, S. Eloi, goldsmith, silversmith, worker in metals of all kinds, maker of beautiful shrines. The church thus raised was richly decorated. It had finely -wrought bronze doors, jewel-encrusted furnishings, vessels of great value — all were swept away in the stormy years that followed. Dagobert was the first royal ruler buried in the church he had built. When taken ill the King is said to have been carried to a place of shelter close up against its walls, perhaps in the hope of mira- culous healing. There he died and was buried, and the Abbey church was thenceforward the recog- nised burial-place of French monarchs, although the Kings' immediate successors were not all laid there. The tomb of Dagobert now seen dates, however, only from the thirteenth century. For several centuries after his death the fete-day of King Dagobert was kept yearly with great pomp by the monks of the Abbey. The fine structure suffered continual damage during those days of ceaseless skirmishing and war- fare. King Pepin and Queen Bertha, who had been crowned within its walls, undertook its restoration, S.-DfeNYS 17 which was completed by Charlemagne about the year 775. The banner of the Abbey was the famous Orifiamme, a flag of flame-coloured silk, slit up thrice at its lower end, with green silk pendants, attached to a gilded lance. Each time the King went forth to war he was bound, as vassal of the Abbey in respect of certain landed property, to bear with him the Abbey banner. It waved at the head of the army and thus became the royal stand- ard of France. Put aside after the Revolution, the Orifiamme lay unheeded until the year' before the present war. Reconstructed and restored in 1913, it was hoisted for the seventh centenary of the battle of Bouvines, June 7th, 1914, and solemnly consecrated in April, 1917. The authorities at S.-Denys claim for the Orifiamme, hoisted by the English after Agincourt, the origin of the red ground of the British flag with the Union Jack in the corner. The invading Normans wrought havoc on all churches, monasteries and other buildings of im- portance which lay in their way. S.-Denys became a heap of ruins. Rebuilding was undertaken in the twelfth century by the Abbe Suger. The, beau- tiful basilica as we know it is chiefly Suger's work. The nave, the abside, the grand facade, and the inner porch were built under his direction. The chancel was not added until the century following, in the time of Louis IX. Built when the Roman- esque was giving way before the Gothic, the church B 18 STORY OF PARIS CHURCHES is a fine example of this transition stage in architec- ture. We see a mingling of round arch and pointed^ but the Gothic prevailed, and the basilica is the earliest impQrtant example in France of pointed Gothic architecture. The Sainte-Chapelle, of purer style, was built while the chancel of S.-Denys was in progress. Suger filled the windows with rich glass, the chapels with shrines, and furnished the altars with beautiful vessels of great vafue. Its wooden spire was soon struck by lightning, a frequent occurrence in those days, and the church otherwise injured. A stone spire was then built to replace the wooden one and successive restorations made, as time went on, by one or another of the dignitaries connected with the Abbey. During the fourteenth century and on beyond it, chapels were added and further additions made. In the fifteenth century S.-Denys suffered considerable damage. The town was attacked by the English during the struggles of the Hundred Years' War, and in 1436 the church was sacked. Those days passed. The basilica was restored, and it was at its doors that Henri IV presented himself before the dignitaries of the Roman Church to make his abju- ration. The King heard Mass within its walls, then went on and entered Paris. From the time of Hugues Capet most of the Kings of France were buried at S.-Denys, and right of burial there was often accorded by the Sovereign to distinguished military commanders. For the tombs S.-DENYS 19 of Henri II and Catherine de Medicis an elaborate circular chapel was built. It was destroyed in the eighteenth century ; its ruins may be seen to-day at Paris in the Pare Monceau., Louis XIV had no love for the place which re- minded him of the death of Kings, and when Madame de Maintenon founded Saint-Cyr, recourse was had to the rich Abbey of S.-Denys to provide revenues for the new institution. The Abbey was suppressed and plundered. At the Revolution the monks — Benedictines — were definitely dispersed. The fabric of the church was not attacked, but its treasures were scattered. Happily the greater number were taken to museums and thus saved from confiscation or destruction. Royal tombs were desecrated : horrible scenes took place. The bodies of the dead were turned out ; the leaden coffins carried oflE to make bullets for the Revolutionist guns. The church would have been razed to the ground had not a noted architect of the day, Alexander Lenoir, Cunningly suggested that the body of the building would make an excellent market-house, the chapels convenient surrounding shops. This commercial desecration did not come to pass, but the church was used as a temple of Reason, an artillery depot, a play-house for acro- bats, a flour warehouse, a granary ; the name of the Christian martyr was suppressed and the old town re-named la Franciade. Then came Napoleon. He stayed the progress of wanton desecration. His ambition was to assure 20 STORY OF PARIS CHURCHES for his own family a sepulchre in that fine burial- place of Kings. When the Concordat was effected,, a chapter was granted to S.-Denys ; religious ser- vices were held there once more. Most of the splendid stained glass had been taken away. Bits of it, carefully preserved, may still be seen in a window of the apse. The monuments are now arranged exactly as they were placed before the outbreak of the Revolution, but none of the tombs there date from earlier than the thirteenth century. And they have all been repeatedly restored, the greater number restored so completely as to be practically modern erections. The woodwork of the stalls dates from the fifteenth century. At the beginning of the nineteenth cen- tury the tower was again struck by lightning and seriously damaged. It was then restored to its present state by VioUet-le-Duc. The remains of the surrounding Abbey buildings became the educational institution of the Legion d'honneur, for the daughters of officers. Notre-Dame. Fafade. 10 {E. F.) Paris. NOTRE-DAME " Sacra-Sancta Ecclesia Civitatis Parisiorum "... the sacred, holy Church of the city of the Parisians, or more briefly, Sancta Ecclesia Parisiensis . . . thus was commonly described in early Christian times the Church on the island on the Seine. There were from the earliest Christian days two churches on the isle, built over the ruins of a pagan temple, a small Notre-Dame and a church dedicated to the proto-martyr S.-Etienne. Together they formed the episcopal church of the city. S.-Etienne was built in the fourth century on the site occupied later and at the present day by the sacristy. Notre- Dame, a larger, finer edifice, was erected in the sixth century by King Childebert and dedicated to Sainte Marie. ^ It stood on what is now an open space before the cathedral . . the Parvis Notr^- Dame. Three of the pillars of this ancient church may be seen at the Musee Cluny. _ - The two churches were richly endowed — exten-/ sive surrounding lands were attached to the founda- tion of both ; lands farther off were bound to supply food and other necessaries of life for the priests, clerks and choirmen. The distant and independent land of Provence is said to have furnished oil for the lamps. A devastating fire made havoc in I'lle de la Cite soon after the completion of Sainte-Marie, 71 STORY OF PARIS CHURCHES but left both churches untouched. In the ninth century another fire ravaged the island and Childe- bert's edifice was badly burnt. S.-Etienne was saved and was called thenceforward Notre-Dame de Paris. Its baptistry, a separate building dedi- cated to S. John, according to the custom of early Christian days, was known as S.-Jean-le-Rond. r~lC% time went on and the population of the city land surrounding districts increased, the Church of 'the Parisians grew in extent. Different chapels were built situated at some yards distance from the church itself, but united to it by connecting walls and passages. There was the Chapel S. Denys-du- Pas, originally an oratory erected to commemorate the fourth station of the missionary when, having set foot within the city, he was taken before the Roman Prefect Sicinnius and then led away to torture. The chapel was built on the site of the prefect's house ; the word pes, derived from the Latin passio, refers to the martyr's suffering. There was a chapel dedicated to S. Christopher, a monastery of nuns who had care of the cathedral linen, and a religious house where the special duty of the monks was to wash the feet of the poor and of pilgrims. There was the Chapel of Sainte- Genevieve-des-Ardents ; that of S. Aignan, one arch of which still stands. Buildings were extended chiefly ift a western direction. An oratory dedi- cated to S. Martin was built on the site where was subsequently erected Vhorloge du Palais, the clock- tower of the Palace of Justice, — where it still stands. NOTRE-DAME 23 There were in all eleven surrounding chapels dis-[ tinct from the church, yet foirming part of it; and close up against the church were the schools, the nucleus of the University of Paris, soon to become famous. Connected from the first with this Sacra Sancta Ecclesia of the Parisians was the city hospital : Nostra domus Dei Parisiensis, Our Paris Home of God — the Hotel-Dieu. The hospital dated from the end of the sixth century, erected probably on the site of a hostel for the Paris sick of earlier date, established there perhaps by Ste. Genevieve. The sixth century institution was supported, if not actually founded, by the seventh Bishop of Paris, Saint Landry. Dignitaries of the Cathedral on their retirement or at death were bound to endow a new bed. The hospital was enlarged, in great part rebuilt, in the early years of the sixteenth century. The walls of the annexe, old and black and con- taminated, lasted into recent days. The hospital itself was razed to the ground and replaced by the large modern building now seen, in the nineteenth century (1868-1878). Winding in and out among these different chapels and the walls of the Hotel-Dieu were numerous courts and passages, more or less dark and mean and uncleanly. The episcopal church was in great need of reparation and enlargement when, about the middle of the twelfth century. Bishop Maurice de SuUi determined not to restore but to rebuild. Sainte-Marie, ravaged by fire, was already in ruins. 24 STORY OF PARIS CHURCHES S.-Etienne was pulled down and a grand new build- ing begun. Pope Alexander III had taken refuge in Paris, and the first stone of the new Cathedral was laid by this notable Guelph in the year 1163. In 1185 the high altar was placed and consecrated, and the Patriarch of Jerusalem preached the first Crusade in the recently erected nave of Notre-Dame de Paris. Adjoining the Cathedral Sulli built a splendid episcopal palace on the site of the ancient bishops' dwelling. Maurice de Sulli died in 1196. His successor, Eudes de Sulli, carried on the work with equal ardour. The last vestiges of the ancient church S.-Etienne were razed to the ground in 1218. The chancel, nave and fagade of the marvellous Cathe- dral which replaced it were finished in 1223. The two square towers were added during the next decade with the idea that in due time they would be topped by spires. Successive architects abstained from making any addition to those majestic, emin- ently characteristic towers. In modern days VioUet-le-Duc designed florid Gothic spires which happily were never built. Erected thus, " straight away," without interrup- tion or delay, the Paris Cathedral is " all of a piece," the pure Gothic of its marvellous lines undisturbed by later-date interpolations. Those grand un- broken lines and clear-cut arches dominating the vast interior from end to end are perhaps a little severe in their uncompromising purity of style, a little cold, but not on that account the less majestic NTOTRE-DAME 25 and imposing. One always feels about Notre-Dame that one would not have it otherwise than it is, not a stone touched, not an ornament added. Churches, church porches, church buildings generally, were not in past ages reserved uniquely for religious services and ceremonies. The civil as w^U as the religious life of every city, every town- ship, centred round its church. Consultations and councils were held in the church porch ; judgments were pronounced there ; disputes settled, quarrels appeased, . . or the reverse. The result of such proceedings was not always conducive to peace. The monomachies — duels by which a certain class of lawsuits were decided — ^were fought before the great doors of the Church of the Parisians in the island on the Seine. Sick persons also crowded there. They flocked to the porch of the Cathedral to wait, watch, be healed miraculously or by human agency. Within its doors the offices were said with unbroken regu- larity throughout each day; and through the ages succeeding its foundation until well into the nine- teenth century, the Confraternity of the Matiniers gathered unfailingly at Notre-Dame at midnight to recite after the stroke of twelve the first office of each new day. The Cathedral was richly decorated. Splendid stained glass filled its windows, finely wrought bas- reliefs were sculptured on its walls and its altars. There was beautiful woodwork, there were wonder- ful statues and paintings. Gifts of great artistic 26 STORY OF PARIS CHURCHES value were continually added. From the year 1449 the Goldsmiths' Company made a rich offering annually. The walls were in course of time so entirely covered with pictures that no more could be accepted. But in the seventeenth century the interior suf- fered deplorable architectural injury. Louis XIII had made a vow, a historic vow, to consecrate the Kingdom of France to the Blessed Virgin. As a memorial of this consecration the King planned the erection of a wonderful image of the Virgin on the high altar of Notre-Dame. The statue was finished in the reign of his successor, Louis XIV, and ruth- less changes were made in the beautiful Cathedral when it was set up. The marvellous rood-screen, many carved-oak stalls, some cloistered passages, the ancient high altar, surrounded and surmounted by beautiful work of past days, richly wrought chdsses and reliquaries, bronze columns, gold and silver statuettes, fine stained glass ... all were sacrificed, carted away. In the same century the grave-stones which had formed the flooring of the chancel and other parts of the Cathedral were taken up and replaced by coloured tiles, and the big bell, the bourdon to which its donor, Jean de Montaigne, brother of the ninety-fifth Bishop of Paris, had given the name of his wife Jacqueline, was recast and renamed Emmanuel-Louise-Therese after King Louis and the Queen. Most of the royal weddings took place at Notre- Dame. The Dauphins of France were baptised Notrc-Dnme. Choir and Nave. N. D. et C"- Pari NOTRE-DAME 27 there. Te Deums were sung in state within its walls after victories and on other occasions of national rejoicing and thanksgiving. Trophies and flags were hung there. The Revolution brought catastrophe. The Assemblee Constituante met at the Bishop's Palace. The mob rushed upon the Cathedral, hacked to pieces the twenty-eight statues of the Kings of Israel above the doors of the grand facade in the belief that they represented the Kings of France. The tiles within were torn up, priceless glass smashed, pre- cious ornaments of every sort made away with. The bell -turret was knocked down. The Convention voted the destruction of the entire Cathedral. Happily that vote was not put into execution. Notre-Dame was saved, its walls were left standing, but its furnishings \^5ere mercilessly wrecked and desecrated. A bonfire was made on the Parvis before its doors of all the Mass-books, old missals. Bibles, etc., found within. The crowning act of desecration was the Festival of Reason celebrated there in 1793. SuUi's beautiful palace was utterly destroyed in) another time of revolutionary disturbance, the three days of July, 1830. The Cathedral was entirely restored by VioUet-le- Duc in the middle of the nineteenth century. The fleche built to replace the ancient turret bell-tower was his design. Then only, in the year 1864, Notre- Dame de Paris was solemnly consecrated. Through 28 STORY OF PARIS CHURCHES all the previous centuries no consecration of the Cathedral as a whole had ever taken place. The total length of Notre-Dame is 130 metres, its width 48 metres. The grand fagade measures 40 metres; the towers are 68 metres high. Double aisles surround the nave. It has thirty-seven chapels, one hundred and thirteen windows, three great rose windows, seventy-five free pillars, many more encased in the stone-work. The open-work tribune has a hundred and eight colonnettes. The sculpture immediately above and around the central door of the grand facade, known as la Porte du Jugement, is thirteenth century work. The statues of the Kings on the second storey are modern, replacing those destroyed at the Revolution. TKeV most ancient door is the Porte Ste.-Anne, with its marvellously-wrought ironwork preserved from the old Church S.-Etienne. Le|end bids us regard those iron bars not as made by human hands but as the work of a demon or of the devil himself ! The artist to whom the task had been given, finding the work beyond his power to accomplish in the time allotted, was in despair . . so runs the tale. A certain Biscornet then appeared, offered to do the work for him, to do it perfectly . . his price the artist's soul. The bargain was made. The two side doors were expeditiously accomplished. The central door remained unfinished. It was the door through which the Holy Sacrament passed, and the demon was powerless before it. Above the third door of the facade, la Port^ de la NOTRE-DAME 29 Vierge, we see la Galerie de la Vierge, where in past ages candles were lighted each year on the night following Sexagesim^ Sunday while the clergy sang litanies upon the Parvis. Near the sacristy, a modern erection, the Porte S.-Etienne records the name of the ancient church which once stood there. It bears engraved upon it the name of the architect, Jehan de Chelles, the only architect of Notre-Dame whose name has come down to us, and the date 1257. The Porte Rouge — the Canon's door — ^giving on the rue du Cloitre, is also the work of Jehan de Chelles. The gargoyles, those grotesque and monstrous) stone figures projecting from the walls, are chiefly connected with contrivances for draining off water from the roof. Grotesque figures are to be seen on the walls and roofs of most of the old churches in France, sometimes within their walls. They are said to represent the devil's agents always at hand, eager to tempt and to trip up the faithful. Some of those at Notre-Dame are ancient ; others have been renovated or replaced in modern times. Despite the storms and vicissitudes of its history, the Cathedral has preserved some of its most pre- cious stained glass. The ancient rose windows are the glory of Notre-Dame. The finest is that of the north transept (thirteenth century). Until the middle of the eighteenth century every window throughout the Cathedral was of ancient stained glass. Then one Pierre Leverere, Verrier, under- took a barbarous " improvement." The precious 30 STORY OF PARIS CHURCHES glass of the nave and chancel, some of it anterior to 1182, was taken out and replaced by white panes with armorial bearings and flowery borders ; and the man himself left written out in cold blood a record * * of his achievement ! The stained glass of the chancel is modern, the work of Marechal. The pictures with which the Cathedral was so richly dowered were for the most part placed in safety in Museums . . . happily ! The Virgin and Child with S. Denys and the Bishop Matifas in the Chapelle des Sept Douleurs in the abside (fourteenth century) is the single ancient painting left. The mural paintings are modern, done at the time of the nineteenth century restoration. But the bas-reliefs and several of the statues are ancient, a glorious heritage of past ages. The most remarkable bas-reliefs are those surround- ing the chancel on its outer side. They date from the thirteenth and early years of the fourteenth centuries, the work of two famous sculptors, J. Ravy and Jean de Bouteiller. The most noteworthy statues are the celebrated " Notre-Dame de Paris " (fourteenth century), formerly in the ancient Chapel S.-Aignan; the eighteenth century statues behind the high altar, Louis XIII putting his crown under the protection of the Virgin, by Couston; Louis XIV, by Coyse- , .. vox ; the Vierge by Raggi {Chapelle S.-Guillaume). There are many more statues the work of modern sculptors, which were set up at the time of Viollet- NOTRE-DAME 31 le-Duc's great restoration, and many monuments. Among those raised to the memory of bishops of the Cathedral and the diocese, we note that of Simon Matifas de Bucy behind the high altar, Bishop of Notre-Dame at the close of the thirteenth century, and who built its abside, and that of Mgr. AflEre, slain on the barricades which he had mounted to address the revolutionists of 1848, endeavouring vainly to calm their rage. The archbishop is shown with a palm in his hand, pointing to an inscription which records the last words he uttered : " Puisse mon sang etre le dernier verse " ; May my blood be the last shed. The woodwork throughout the Cathedral is very beautiful. That of the chapel S. -Pierre dates from the sixteenth century; that of the chancel, of an entirely different style, is seventeenth century work, put there at the time of the changes due to the Voeu de Louis XIII. The grille, i.e., the great iron gates of the chancel, are very fine. The Church of the Parisians was from the time of its foundation rich in sacred relics. Amid the demolition of old walls and the construction of new ones these relics were carefully preserved — objects of historical and pathetic interest, added to from time to time. Although many of these precious possessions were destroyed at the Revolution, the Cathedral has still a remarkable " Tresor " . . .1 pieces of the true Cross, portions of the bones of] revered saints, remnants of their clothing, historic] 32 STORY OF PARIS CHURCHES relics ancient and modern. The Crown of Thorns and other sacred relics, preserved until recent times in the Sainte-Chapelle, were at its disaffection added to the Tresor of Notre-Dame. Chief among the historic events connected with Notre-Dame are the following : A.D. 1239. S. Louis, barefoot, carried within its walls the Crown of Thorns. 1302. The first assembly of the States-General. 1304. Philippe-le-Bel entered on horseback. 1431. Henry VI of England declared King of France. 1560. Marie Stuart crowned Queen Consort. 1594. Henri IV present at Mass. 1638. Solemn vow made by Louis XIII. 1668. Adjuration of Turenne ; standards taken from the enemy by Marechal de Luxembourg placed in the Cathedral. 1687. Bossuet pronounced the funeral oration of le Grand Conde. 1793. Festival of Reason. 1804. Coronation of Napoleon I. 1810. Marriage of Napoleon and Marie-Louise. 1820. Funeral of the Due de Berri. 1852. Marriage of Napoleon III. 1864. Consecration of Mgr. Darboy. 1871. Funeral of the victims of the Commune. The names of those victims are inscribed on black marble slabs in the south transept — on one slab the NOTRE-DAME 33 clergy, on the other the lay hostages slain in May, 1871. Since August, 1914, other historic services have been held — requiem services, memorial services, for the soldiers of France of every degree fallen on the battlefield ; 'and reparation services after the desecration of Reims and other sacred edifices, en attendant grand services of thanksgiving after the final victory of the armies of France and her Allies. SECTION THE SECOND LA SAINTE-CHAPELLE ' LE SACRE-CGEUR LA SAINTE-CHAPELLE Looking at the beautiful Sainte-Chapelle we think involuntarily of a chasse, a shrine, a richly-worked jewel-case. The Sainte-Chapelle is a shrine. When Louis IX brought to France the Crown of Thorns, a portion of the true Cross, and other sacred relics, the King decided to build a chapel specially de- signed to preserve in reverent safety these most precious of all precious relics. The chapel was begun in 1244 and finished in the incredibly short period of three years, the work of the royal archi- tect, Pierre de Montereau. It was his masterpiece . . a perfect example of pure Gothic architecture. On April 25th of the year 1248 — Quasirfiodo — the- beautiful erection was consecrated by the Pope's legate as the Chapel of -the Holy Cross and the Holy Crown. The upper chapel was reserved for the King and the Court, the lower one was for the people. Charters dating from 1245 and 1248 record the terms of the endowment by King Louis. A number of clergy, beadles, clerks, etc., were duly attached to the Chapel; the treasurer was one of the most important personages of the day and the Court. A reliquaire of great, beauty was made to hold the precious relics. It had ten locks ; the keys of these locks were in the custody of the Kings of France 38 STORY OF PARIS CHURCHES until the time of Louis XIII. S. Louis and many succeeding Kings of France mounted the little stair- case by the altar at stated times to exhibit the sacred relics to the people gathered in the chapel below. On Good Friday in the year 1423 it was the Duke of Bedford, Regent of France for Henry VI of England, who held the relics in the sight of the assembled people and pronounced the blessing. Other relics, other treasures, were added as time went on, all enclosed in reli^uaires of their own, and placed within or close beside the great shrine. And through succeeding centuries, until nigh upon the outbreak of the Revolution, the sick of all degrees and classes flocked to the Sainte-Chapelle in the hope of being healed by virtue of the holy relics. The relics of the Cross were usually exposed at mid- night of Good Friday each year. At length, in the time of Louis XVI, this ceremony was forbidden on account of the abuses it gave rise to, the screams of the epileptic, etc. On the north-east side of the Chapel there was originally a little sacristy, two storeys high, like the Chapel, where deeds, charters, gold and silver vessels were carefully preserved. For long the royal archives were kept in safety there. It was razed to the ground in the eighteenth century. The wide outer staircase which led to the upper chapel was also done away with. The upper chapel is now reached only by the narrow turret-stairs or through the corridors of the Palais de Justice. The Sainte- Chapelle stands accurately east and west. Part of LA SAINTE-CHAPELLE 39 the facade was rebuilt in the fifteenth century and an oratory was added by Louis XL A rood-screen x>f the sixteenth century, carved-wood stalls of great beauty, altars, the pulpit, all have long since dis- appeared. The walls without and within are prac- tically just as they were when first built, save for unimportant details. The interior, disaffected since 1906, is now bare and empty. • The bones of its " pious founder," S. Louis, laid in a silver shrine, were brought to the Sainte- Chapelle from S.-Denys some twenty-seven years after his death. They were taken back to S.-Denys after a time, remained there a few years, then were returned, enclosed in a rich shrine, and laid with pomp and ceremony in the beautiful Chapel he had built and which he loved so intensely. As officially attached to the Palais de Justice, there were various customs and ceremonies peculiar to the Sainte-Chapelle. On Easter- day each year the clergy bearing the Host went in procession round the interior of the Palais. Every time an assembly of the clergy was convoked by the King, the prelates first prostrated themselves in the Chapel before the sacred relics and implored the blessing of the Holy Spirit. On Whit-Sunday, during the chanting of the Gospel, an " angel " descended from the vaulted roof holding a silver cruet from which he poured waterron the hands of the celebrant. The official in charge of the sacristy and its contents was bound to present flowers, wafers, a white pigeon and flax 40 STORY OF PARIS CHURCHES for burning, in remembrance of the tongues of fire. Royal marriages frequently took place in the Sainte-Chapelle ; Queens-Consort were crowned there. It was there Isabeau, daughter of Charles VI, was officially bethrothed to Richard II of England. To the Sainte-Chapelle came Emperors and Kings with offerings of gold, frankincense and myrrh after the manner of the Magi. During the disturbed years immediately preced- ing the Revolution, the rich possessions of the holy Chapel were confiscated, chaplaincies and canonries were suppressed ; the services were carried on by the King's ordinary chaplains. On the outburst of the Revolution the Chapel was closed. The relics were sent in safety to S.-Denys, but were afterwards carried back to Paris in a mocking procession, taken to the Convention, then to the Mint, where the reliquaires were melted down. Other objects of value were carried away to different museums. On the Chapel walls were posted up the words: " Propriete Nationale a Vendre." A club met within it in the days of the Directoire ; later it was used as a storehouse for flour. In the year 1800 a band of priests succeeded in gaining possession of the lower chapel by hiring it. Mass was then cele- brated regularly. This did not last. In 1803 both the lower and the upper chapel were used as a deposi- tory for law documents. The beautiful building was not restored as a place of worship until 1837. VioUet- le-Duc, aided by several other noted architects, LA SAINTE-CHAPELLE 41 undertook the work of restoration, which was car- ried out at an immense cost. November 3rd, 1849, on the occasion of an important judicial cere- mony, the ancient chants were once again sung at the Sainte-Chapelle, and for many following years Mass was celebrated with great pomp annually on the opening of the law-courts : la Messe Rouge. The beautiful edifice barely escaped destruction in 1870. The Palace of Justice was on fire; the flames rose and leapt around the Chapel, but did not touch it. The colossal statues of the twelve Apostles, which replace ancient statues destroyed and dispersed, are said to be portraits of well-known persons living at the time the restoration was undertaken. Artists and workmen served as models for other figures. Some of the ancient statues, recovered in fragments, were brought back at one time but were again dis- persed. Many, however, of these valued fragments may be seen to-day at the Musee Cluny. The most precious possession of the Sainte- Chapelle is its stained glass, almost all ancient. Some of the windows have passed through the hands of modern restorators, but for the most part the rich colouring, the glorious work of thirteenth and fifteenth century artists, remains intact, and the Holy Chapelle is still the chdsse of past ages, the shrine with its vitraux as the precious stones which adorn it. The Sainte-Chapelle was disaffected after the passing of the Separation Act, and dismantled- But 42 STORY OF PARIS CHURCHES since August, 1914, it has been once more the scene of memorable and moving services. In the spring of the year 1915 an oflficial Requiem Mass was said there for barristers and other men of law fallen on the battlefield. The President of the Republic, himself a barrister, was chief mourner. And on two occasions festivals have been held for the sing- ing of. ancient chants and hymns. SacreCcEur. Livy fits et C"- fans- LE SACRE-CCEUR The Church of the Sacre-Coeur is visible from almost every part of Paris. From the heights of Montmartre the dome-crowned basilica overlooks the city, while from far and near the Parisians may look up at the vast white-walled church on the sum- mit of the Butte — their Church of the National Vow. Close by is another church, small and grey, the ancient Church S. -Pierre, which succeeded a pagan temple and was built to commemorate the martyr- dom of S. Denys and his two companions, S. Eleu- thius and S. Rusticus, put to death on a spot lower down on the hillside (see p. 51). The Sacre-Coeur is a modern structure. It is a historic church, nevertheless — impressively historic — for it was built in the sorrowful days succeeding the war of '70 by "La France humiliee et repen- tante," and is known as VEglise du Voeu National. The words of the Vow strike us very forcibly in these days of warfare and invasion. " Under the stroke of the misfortunes which deso- late France, threatened it may be by still greater misfortunes, under the stroke of sacrilegious attacks at Rome against the rights of the Church and of the Holy See and against the sacred person of the Vicar of Christ : 44 STORY OF PARIS CHURCHES " We humble ourselves before God and, uniting together in our love for the Church and our country, we acknowledge that we have been guilty and are justly chastised. And to make honorable amends for our sins, and obtain from the infinite mercy of the Sacre-Coeur of our Lord Jesus Christ pardon for our faults, as well as the extraordinary succour which alone can deliver the Sovereign Pontiff from his captivity and put an end to the misfortunes of France, we promise to contribute to the erection at Paris of a sancluary dedicated to the Sacred Heart of Jesus." On the 23rd of July, 1873, the " Assemhlee Nationale " voted in favour of a law declaring " d'utilite publique " the construction by national: subscription of the church which the Archbishop of Paris proposed to erect on the heights of Mont- martre in honour of the Sacred Heart of Jesus Christ, to call down upon France and on her capital, in particular, divine mercy and protection. The Archbishop of Paris was thereupon authorised tO; obtain possession of a site which was to be thence- forward and for ever the property of the archiepis- copal See. The situation of the site had been from the first an uncontested point. The votive church must be erected on the summit of the Butte sacred to the memory of the great Christian martyr of France,, the patron saint of the capital. It was no easy spot on which to raise a monumental building. The Butte was a territory of quarries ; quarries of soft LE SACRE-CCEUR 45 white stone had been worked on the northern heights above the city from time immemorial. It was found, however, that the actual site on the hill- top had never been excavated. The ground was nevertheless quite unstable. Friable sandstone and plastic clay descended deep down in all direc- tions. To gain a solid foundation on the sand and the clay for the immense building planned was a stupendous task. It was achieved by probing the Butte down to the level of the streets at its base, almost to the level of the Seine, and building up- wards from that solid basis gigantic foundations of hard, rock-like stone. A vast crypt with chapels and • passages lies immediately below the church throughout its entire extent. The Catholics of the whole of France con- tributed to the cost of construction. Members of the French Government, in great force, official per- sonages or their representatives, a regiment of soldiers,, joined the great concourse of ecclesiastical dignitaries at the laying of the foundation stone, on the 16th of June, 1875. The first Mass was celebrated in the crypt on April 21st, 1881, and ever since the Sacre-Coeur has been the rallypoint for Catholic associations, guilds, etc., for the diocese, and the goal of in- numerable and continual pilgrimages from every part of France and from lands beyond. Splendid and impressive services and ceremonies take place there the whole year through. The building of the church extended through 46 STORY OF PARIS CHURCHES several decades. The outer walls were only finally completed quite recently when, on the Saturday in Holy Week, 1913, the belfry tower to the north was finished, its last stone added. In the interior work is still going on and much remains to be done. The style is twelfth century Byzantine. The fact that among the eighty-six competitors who pre- sented plans, three only had prepared Gothic designs, impressed the Committee as significant of the greater fitness of the Byzantine style of archi- tecture for the vast structure on the hill-top. The architect, Abadie, died suddenly while building was in progress. His plans were conscientiously carried out by succeeding architects. Seen from afar, away on the heights above Paris, whether with the sun shining upon it or seen, as frequently happens, through a feathery mist, the vast edifice of white stone, its great central dome surrounded by four lesser ones, a lofty bell-tower on the north side, has a wonderfully imposing effect. The summit of the cross above the dome is 84 metres above the level of the streets surrounding the church, 209 metres above the level of the Seine. The belfry is 25 metres higher still. Among the many offerings made to the church in the course of its erection the most notable was an enormous bell, la Savoyarde, given by the diocese of Chambery. Its weight is 26,215 kilo- grammes. Its sound reaches many miles. The most striking works o£ art within the church are : the lamp in the form of the stern of a ship in LE SACRE-CGEUR " 47 the Chapelle de la Marine; a magnificent altar of Carrara marble in the Chapel Ste.-Radegonde, called also the chapel des Saintes Reines de France ; thependentivesof the roof of the dome — four angels, by four different noted nineteenth century sculp- tors ; the marble statue of S. Antoine de Padoua in the Chapel S. -Vincent de Paul ; the statues of Ste. Genevieve in the Chapel Ste.-Ursule, of S. Ignacius and S. Francois Xavier in the Chapel S.-Ignacius, of Cardinal Guibert in the Lady Chapel, and the fine bronze altar there. The bas-reliefs and other decorations are good and the Byzantine colouring throughout is very rich and effective — the whole giving nevertheless a somewhat heavy impression — an impression which will no doubt be greatly modified when the interior of the vast building is at length completed, the decorations all added. SECTION THE THIRD S.-PIERRE DE MONTMARTRE S.-GERMAIN L'AUXERROIS D S.-PIERRE DE MONTMARTRE AND LA CHAPELLE DU MARTYRE This ancient church on the heights of Montmartre, its worn and darkened walls contrasting with the white-walled dome-crowned basilica of the Sacre- Coeur close up against it, stands on the site of the first Christian church of the Parisii, the church erected to commemorate the death of the martyr S. Denys and the two companions slain with him. The Christian church replaced a pagan temple, probably a temple of Mars. Four blackened marble pillars seen to-day in the church — two in the sanctuary, two at the west door — are vestiges of the ancient Roman temple. The primitive building fell into decay. It was restored in the ninth century, and two centuries later was given over to the monks of S.-Martin-des- Champs. {See p. 87.) The monks who made their abode on the hill-top, occupied the territory for some forty years, then gave it up to a congrega- tion of Benedictine nuns. That was in the time of Louis le Gros. The King and his pious wife, Queen Adelaide de Savoie, founded there a Benedictine Abbey. Remains of its walls still stand. The chancel of the Church S. -Pierre was reserved for 52 STORY OF PARIS CHURCHES the use of the nuns, and there each Abbess was buried. It is still known as " le choeur des dames." Among " ces dames " in early days was Queen Adelaide herself. After the death of King Louis she married the Constable Mathie de Mont- morency. The Constable died and the former Queen retired from the world and took up her abode in the monastery she had founded. There she died in the year 1154. Her eflfigy is still pre- served on an ancient broken tombstone, its edge surrounded by holes once filled by precious stones, amid several other tombstones dating from past ages. A disastrous fire wrought havoc in the church and Abbey buildings about the middle of the sixteenth century. The nuns stayed on there until the century following. Then they quitted their monastery and settled lower down on the Butte, in a building attached to the little Chapelle du Martyre, keeping, however, certain rights and privileges at S. -Pierre. At the Revolution the old church was used as a temple of Reason, in 1815 as a storehouse for fodder, in 1871 as a depot for munitions. Happily the venerable building was not entirely destroyed. In recent times it was made the chief station for wireless telegraphy. Knocked about thus ruth- lessly, falling to ruin, it was near being razed to the ground in our own day. The Societe des Amis des Monuments Parisiens saved it. In 1908 it was re- opened for public worship after complete restora- tion. S.-PIERRE DE MONTMARTRE 53 The facade is modern and very simple ; the rest of the building dates in its chief features from the twelfth century. The east-end of the church as seen from without, and the early Gothic arches and pillars within are full of beauty and interest. The marble slab of the high altar was on the altar of the ancient Abbey chapel. Close to the church, is a Calvaire, erected about the year 1835 as a souvenir of the ancient Cal- vary once at the summit of Mont Valerien, with stations of the cross in bas-relief and an under- ground chapel. The chapel Notre-Dame de Lourdes close by is no longer used as a place of worship. The Chapelle du Martyre stands on a spot bor- dering what was in early times the long, straight Roman road leading from Lutetia to the Eternal City, for centuries past known as the rue des Martyrs. It is a convent chapel built over a crypt, dating from the earliest days of Paris history, but only discovered beneath the convent buildings in the year 1611. The site is a sacred one — that of the last station of S. Denys. A rude stone altar was found in that subterranean oratory, and on the wall an inscription in Latin to the effect that in that cell S. Denys had invoked the name of the Holy Trinity. It was there the martyr suffered death ; there, probably, his body was buried and lay until the Roman lady Catulla took it away to her own property at a distance. Sainte Genevieve built the first oratory over the 54 STORY OF PARIS CHURCHES cell. Thenceforward Christians from far and near made pilgrimages to the spot. In the century fol- lowing its erection, King Dagobert invested the foundation with special privileges. At the close of the eleventh century the chapel was given to the monks of S.-Martin-des-Champs established at S.-Pierre. Forty years later it became a dependency of the Abbey founded by King Louis and Queen Adelaide, and was rebuilt as a priory, the underground cell lost sight of, forgotten. Distinguished persons from all parts bent their steps to the priory, among them Thomas-a-Becket. And there on the 15th of August, 1534, the Italian student Ignatius Loyola called around him six faithful friends, and those seven devout and enthusiastic young men, making a solemn vow before the statue of the Virgin, bound themselves together in a company — the Company of Jesus, founding thus the Order of the Jesuits. Fifty years later Henri IV took his way to the historic chapel on the Butte, without the city walls, to pray and to give thanks for victory. By his help restorations were then undertaken. While working at the old walls a hidden staircase was unearthed, narrow, rude and tortuous : it led to the cell and the altar. Their antiquity was incontestable. King Henri had died, assassinated, but Marie de Medici and the whole Court took the keenest interest in the wonderful find ; notable personages from all parts of the known world made pilgrimages to the " Cave of S. Denys," and towards the end of the century the Benedictine nuns from the Abbey on the hill- S.-PIERRE DE MONTMARTRE 55 top made the priory over the crypt their definite abode. The Revolution brought disaster, ruin. The Abbess, Madame de Montmorency-Laval, aged and blind, was dragged before the tribunal, con- demned to deaths guillotined on the Place-du- Tt6ne, then styled " la Place du Trone Renverse," now Place de la Nation. The old Abbey buildings were sold, knocked down, the Chapelle-du- Martyre destroyed ; but the crypt remained intact. During the siege of Paris in 1870 the broken walls above it were patched up under the direction of the Abb^ Le Rebour, vicar of the Madeleine, and Mass was celebrated there on the fete of Ste. Genevieve, 3 Jan., 1871. The chapel and convent were then rebuilt, and in 1880 given over to the Dames Auxiliatrices du Purgatoire, whose special office it is to care for the religious education of the children of the Paris poor. A solemn pilgrimage is organised yearly for the Octave of S. Denys : October 9 — 16. S.-GERMAIN L'AUXERROis The first chapel on the site where for centuries past has stood this grand old church, was built about the year 560. It was a small oratory erected on the high road between Paris and Nanterre, the birthplace of Sainte Genevieve, to commemorate the passage of Germain, Bishop of Auxerre. There, in a wayside halting-place, the bishop had been wont to stop and rest when he passed from town- ship to township, from village to village, preaching and making converts. A century later, under the direction of another S. Germain, Bishop of Paris at the time, a baptistry was built up against the oratory, by King Chilperic, a circular structure, as were all baptistries in early Christian days, of con- siderable size, and the church dedicated to S. Germain was commonly called thenceforth S.-Ger- main-le-Rond. It was the christening-place of the inhabitants of the city and of the country around as far west as S.-Cloud. Situated close to the Seine, just beyond the city boundary, water from the river was easily and abundantly conveyed to the pond- like font. Baptism was administered at stated periods. In the intervals, when the font was dry, catechumens gathered round it, climbed into it, to receive instruction. Thus originated the first Paris school, a catechists' school and a choir school in S. -Germain I'Auxerrois in 1835. N. D. et C^- Photo. Paris, S.-GERMAIN L'AUXERROIS 57 the beginning. The school flourished exceedingly, grew in importance and in scope. In the time of Charlemagne, that great founder of schools, it was there, no doubt, that sons of the nobles of Paris and its vicinity gathered to learn to read and write. The school continued to exist well into the first decade of the seventeenth century. A street near the church still bears the name rue de I'Ecole. The " Place-du-Louvre " was formerly la Place de I'Ecole. This early foundation was the eldest daughter of the Paris Cathedral and the priests of Notre-Dame were bound to celebrate a special Mass each year on the fete-day of its patron-saint. An important community of clerks was attached to the church, the first regularly organised community in Paris. Its chapter was bound to furnish the bishop of the diocese with a horse and oats wherewith to feed it whenever he joined the army of the king. A few quiet years passed ; then came the invad- ing Normans. The church fell into their hands, was made into a fortress surrounded by moats, was left on their retirement despoilt and in ruins. King Robert le Pieux restored it, almost entirely rebuilt it, in the eleventh century. In the century following, under Philippe-Auguste, it became VEglise Royale, the Paris Chapel-Royal. Its great bell from that time forward announced every royal birth, every great national event. It rang with tragic note on the 24th of August, 1572, giving the signal for the massacre of the Huguenots. The bells of S.-Ger- 58 STORY OF PARIS CHURCHES main I'Auxerrois are still the most important in the city, thirty-six in number, each with its special name, making a splendid peal. As long as a King or an Emperor ruled in France, S. -Germain, with its dependent church, S.-Roch, remained the church in closest connection with the two royal palaces, the Louvre and the Tuilieries. The tribune where Marie Antoinette used to sit, the prie-Dieu where she knelt, may still be seen. It was the vicar of S. -Germain, I'Abbe Maguin, who ministered to the unhappy Queen while she was imprisoned at the Conciergerie. Many notable persons were buried at S. -Germain I'Auxerrois — all the artists whose deaths took place at the Louvre were laid there, all the King's fools. For centuries a memorial service for the deceased artists was held annually. So recently as the year 1898 a quantity of human bones were dug up from beneath the shadow of the old walls. Nothing now remains of King Robert's edifice. The base of the tower is the most ancient part of the existing fabric. Some of the old stones no doubt entered into the walls of successive re-buildings and restorations, but they cannot be traced. A twelfth century spire and four small surrounding bell-towers were destroyed in the eighteenth century. The central door leading into the church, the chancel and the abside date fundamentally from the thir- teenth century. The figures on the side entrance are fourteenth century work. The porch, with its fine arcades and numerous statues, and traces of ancient iis«*?f;SBE?^'i. S.-Germain I'Auxerrois. Inner porch. S.-GERMAIN L'AUXERROIS 59 colouring, dates as a whoie from the fifteenth century. There we see Charlemagne, S. Louis, S. Denys, S. Germain and other saints or person- ages of saintly reputation. These statues, however, are modern, the work of Desprez (1841). Two only, S. Francois d'Assise and Ste. Marie I'Egyptienne, are ancient (sixteenth century). The rest of the facade, the nave, the transepts — all were built or rebuilt, restored, in the fifteenth and sixteenth centuries. The high altar dates from the beginning of the seventeenth century, the iron and bronze gates of the chancel from the latter part of the eighteenth. Those gates are very fine, but the restoration that was undertaken in that archi- tecturally unfortunate period was bad and led to very regrettable work. The ancient pillars were fluted, the beautiful rood-screen was broken down and carted away. Some remains of it may still be seen in the Louvre Gallery. The greater part of the splendid stained glass wa^destroyed at the Revolu- tion, but several ancient windows happily remained unhurt. The Rose and four other windows in the north transept, the Rose and two windows in the south transept are ancient (sixteenth century). The church has now a great deal of modern stained glass, some of it very good. Exquisite wood- work is seen on every side. The marvellously carved black oak Gothic reredos in the Chapel Notre-Dame de la Compassion is said to have been ^ brought here from a church in Belgium. The Catechists' Chapel, the most ancient of the chapels, 60 STORY OF PARIS CHURCHES is surrounded and closed in by wood-work of rare beauty, and gives the impression of a church within a church. On its altar is an arbre de Jesse once in an old church in Champagne. The Chapel Notre-Dame de Bonne-Garde, its walls covered with ex-votos, is a special centre of devotion, for its statue of the Virgin was found unhurt amid a heap of ruins after an attack upon the church by the Paris mob in 1831 while a memo- rial service was being held for the Due de Berri. Carried back into the church, it was placed in the Chapel S. -Louis and called thenceforward Notre- Dame de Bonne-Garde. All the chapels are won- derfully interesting, rich in works of art — statues, paintings, bas-reliefs. At the Revolution the beautiful old church was de- secrated and declared to be a " temple de la Recon- naissance." It was restored for public worship after the Concordat. Forty years later, in consequence of the attack in 1831, it^was closed for a time and used as the Town Hall of the 4th arrondissement. The tower, restored in 1860, has again been restored quite recently. Viollet-le-Duc, who built the Mairie close by, erected a tower on the space between that building and the church. It was so high as to over- look the Tuileries Palace. Napoleon III, therefore, had it suppressed lest its summit should be used as a point whence to spy upon his privacy. SECTION THE FOURTH S.-ROCH L'ORATOIRE S.-EUSTACHE S.-ROCH The first stone of this well-known church in the rue S. Honore was laid in the year 1653 by Louis XIV upon the site of three small chapels, one dedicated to the five wounds of our Saviour, one to Sainte Suzanne, the other, given up to plague-stricken Spaniards, to S. Roch. The name S. Roch pre- vailed. The church was not finished till nearly a century later, and the facade, with its Doric and Corinthian columns, was still fresh and new when the Revolu- tion broke out. Six years later, on the 13th Ven- demaire of the year IV. (5th October, 1795), the insurgent " Sectionnaires " took up their position on its broad steps. Napoleon and his troops faced them. The Sectionnaires were the first to fire. Firing went on until the young Corsican artillery officer was unquestionably victor. It was the decisive day which made the future Emperor master of Paris and of France. In the stone work may still be seen the holes made by the grape-shot of Napo- leon's troops, some of the first grape-shot used. The chief points of interest within the church are the Lady Chapel and the Chapel of the Cal- vary, which, with the Chapel of the Adoration, form a sort of triple abside, and the numerous tombs and monuments. Bossuet, Corneille, Le- 64 STORY OF PARIS CHURCHES Notre, the renowned gardener of Versailles, and many other noted personages, lived and died in the parish of S.-Roch, and slabs or memorial statues on every side record their names and their attributes. Here was buried Abbe de I'Epee, the inventor of the deaf and dumb alphabet. The alphabet is engraved on the base of the monument erected to his memory. Special services for the deaf and dumb are held regularly in the church. Near the great door is the " Chapelle des Monuments," full of memorial groups and statues. The Nativity over the altar in the Lady Chapel, the work of Anguier (1684), was formerly in the Church of Val-de-Grace. Beyond it, through the opened shutters over the altar in the Chapel of the Adoration, is seen the wonderful Calvary of the Catechists' Chapel. The view of the interior of the church looking towards the great door from the communion-rails of the Lady Chapel is singularly impressive. The walls and ceiling of the church are covered with frescoes. Most of the paintings in the chapels date from the 17th and 18th centuries. The group of statuary representing the baptism of our Lord (Le'Moyne, 1748) in the Chapelle des Fonts was taken from the ancient Church of S.-Jean-en- Greves, destroyed at the Revolution. The pulpit, a remarkable but insesthetic structure, was set up in the year 1758. The most notable eccle- siastical orators of days past and present have preached from it. the narrow streets of Old Paris for that great modern thoroughfare, I'Avenue de I'Opera, the walls of the beliry of S.-Roch were undermined, became unsafe. It had to be pulled down and has never been rebuilt. Its four big bells, perfectly sound, may be seen lying low in the Chapelle des Monuments. E L'ORATOIRE The Oratoriens are a society of secular priests whose chief duties are the study of sacred literature and the instruction of the young or the ignorant. L'Oratoire de France was founded in the year 1611 ; the church in the rue S.-Honore, built by the archi- tect Mansard, was the mother church of the society. The Court was at the Louvre tlien, and u^der Louis XIII, Louis XIV and Louis XV it served as the Court Chapel. The fagade was remodelled about the middle of the 18th century. The Revolu- tion broke up the Society of the Oratoriens ; their chapel was used first as a military store-house, then as a dep&t for the scenic furniture of the Opera, which was at that time on the Place Louvois. In 1810 it was given to the Protestants to replace their Chapel S.-Louis-le-Louvre, pulled down to enlarge the Place du Carrousel. It has remained the chief French Protestant church of Paris ever since. The statue of Coligny faces the spot where he was slain on S. Bartholomew's day, 1572. It was placed there in 1889. The Society of the Oratoriens was re-organised and re-established in 1852. ■ 1 "^ 'ill* . TV I r:L^\ S.-EUSTACHE The nucleus of this immense church, the larg.est in Paris after the Cathedral, was a little chapel built, tradition tells us, about the year 1260 by one Alias, in expiation for his sins of cupidity, and dedicated to Ste. Agnes. Alias had unjustly exacted a tax- upon each basket of fish sold in the Paris piarkets. The old crypt, still known as the Ghapel of Ste. - Agnes, has for years past been hired out as a shop; there beneath the very walls of the church a fruiterer plies a thriving trade. Early in the 13th centuryt the chapel > became a parish church. It was enlarged and from the. Abbey Saint-Denys were brought relies of the.' Roman majrtyr Placidus. The church was; dedi- cated to S. Placidus, whose name soon tookL the French form, Eustachius, Eustache. Thencefor- ward the fete-day of Ste. Agnes continued to:be~,kep|lh in January, that of S; Eustache in September — the church had, in fact, two patron-saints. The building was soon too small for, the reli^QUS. needs of the, steadily increasingipopulation of whati wasi in those days, and forlong. afterwards, a fashioxi- abk quarter of, the. city. A. grajid church was planned, its. first stone laid by Jean de> la=, Barre, , Prevot de Paris,' in, the, year 1532, but the, work of construotion went. on very, slowly. The church was 68 STORY OF PARIS CHURCHES not finished until the century following. It was con- secrated in the year 1637 by Jean de Gondi, the first Archbishop of Paris. The fagade was still un- finished. Old prints show us a fagade planned and begun in Gothic^ style, perfectly in keeping with the rest of the building. When a century later its com- pletion was taken in hand, the original plan and work were replaced by the fagade we know, heavy, ungraceful, out of harmony with the Gothic walls behind it. The whole of the work done at this time was strangely inartistic, for two chapels and a bay of the nave were lopped off, thus shortening the church, making it look awkwardly short for its height and width. The Church of S.-Eustache was from the first a centre of religious activity. It was surrounded in olden days by the grand mansions of the nobility, many of which, for long past business houses, still stand. It was regarded as a royal church, for suc- cessive Kings of France and their families frequently attended its services. Louis XIV made his first Communion there. It was the parish church of Madame de Maintenon in her girlhood. The most noted preachers, Massillon among others, spoke from its pulpit. Many notable personages were buried there : Colbert, La Fontaine, Vaugelas, Voiture, le Marechal de Tourville. Few of the tombs remain : that of Colbert, by ,Coysevox, is in the Chapel S.-Louis de Gonzague. The organ was from the first day of grand organs S.-EUSTACHE ^ 69 a very fine one, and the church was dowered with beautiful and costly gifts. The Revolution brought desecration. The fete of Reason was held at S.-Eustache with the same grotesque and blasphemous pomp as at Notre- Dame. The Women's Club assembled there. The church became a place of rioting and debauchery. Fortunately many of its precious possessions were carried away to the Musee des Petits Augustins and thus saved from destruction. When Mirabeau died his body was carried to S.-Eustache and laid witljin the church before being taken to the Pantheon. The Revolution over, it was one of the first of Paris churches to be restored for public worship. Pope Pius visited it and blessed the statue of the Holy Virgin in 1804. The quarter now entirely changed. It became a centre of commercial enterprise. The Halles, the great central markets of the city, were erected close around the grand old church. S.-Eustache was soon the parish church of a dense, ever-increasing population connected with the markets. Among the people it is- still spoken of as Notre-Dame des Halles. Under the Commune (1871-2) the church again suffered severely. A slab within its walls records the names of the hostages so tragically put to death at the time. The vicar of the parish was among the priests taken by the Communards. He was saved from death by the devotion and courage of the market-women. When " ces dames des Halles " knew that their cure, greatly beloved, was no STORY OF FAmS CHURCHES in the hands of the Commune, they determined to rescue him. One of the most fearless amon'gthem •obtained, by her undaunted insistence, admittance to the ferocious authorities and loudly declared that unless the priest were given up unhurt the dames des HaWes would make things hot for the Commune. The good abbe was saved. S.-Eustache measures 104 metres in length, '43 in breadth, and is 33 metres high. In style it is a mingling of Gothic, Romanesque and Renaissance. The general plan and arrangement of the church is Gothic, the shafts are octagonal, most of the arches semi-circular, the details and general, decorations Renaissance. The heavy, inartistic grand fagade has a portico and two rows of columns, Doric and Ionic. On either side of the church the transepts, both north and south, have portals of less importance but far greater beauty and of Gothic style, with fine Rose windows and good statuary. That to the south, looking towards the Halles, is very handsome, and the north door and windows, hedged in between the tall, dark old houses of the Impasse S.-Eustache, is a pleasing architectural surprise as seen at the end of the dull, narrow passage. Within, the church is Jgrandi^nd imposing. The chancel is splendid; the high; altar is of white Parian marble, the pavement of marble forming mosaics, the stained glass by the artistSoulignac, from designs by Philippe de Cham- paigne. The exquisitely carved stalls were brought here from the convent Picpus suppressed for a time S.-EUSTACHE ^ 71 in 1-7%; the church is rich in beautiful wood- work. -The banc d'oeuvre (municipal bench) is a •masterpiece in Renaissance style. The sacristy door is pure 16th century work. Above it is the tribune once used by the Duchess of Orleans, the mother of Louis-Phihppe ; her prie-Dieu is still there and a remarkable altar-cloth embroidered in jet dating from the time of Louis XIII. There is a marvellously carved confessional in the Chapel Ste. -Genevieve. The bas-reliefs, statues and paintings are for the most part remarkably interesting. The paintings in the Chapels S.-Joseph, S. -Vincent de Paul and Ste. -Marie Madeleine are ancient, cleverly restored by 19th century artists. That over the altar in the Chapel Ste. -Genevieve is perhaps a Titien. The " Martyr e de S. Eustache " (Vouet) over the door near the " Chapelle de la Ville de Paris " was a gift of Louis XIV. The " Adoration des Mages," in the baptistry chapel, is believed to be a Van Loo. The statue of S. Jean, in the centre of the door in the south transept, was in the ancient church. The statue of the Blessed Virgin by Pigalle came from the church of les Invalides. One of the chief features of S. -Eustache is the grand organ, one of the largest and grandest organs known. It has 78 registers, 20 pedals, 10 octaves, 4,356 pipes. . . . Glorious musical ser- vices are held in normal times on the festival of Ste. Cecile, the patron-saint of music, and on Good 72 STORY OF PARIS CHURCHES Friday Rossini's Stabat-Mater is sung ; on Christmas Eve a splendid Midnight Mass is celebrated. Grand and majestic though it is, the vast interior, with its mingling of Gothic and Romanesque in lineal design, its exuberance of Renaissance decoration, gives yet a certain sensation of architectural discord- ancy and unrest. SECTION THE FIFTH S.-LEU ET S.-GILLES CHAPELLE DE L'ASSOMPTION NOTRE-DAME DES VICTOIRES ^.aLEU ET S.-GILLES Somewhere about the middle of the sixth century a. monk named Lupus was at the head of a Christian community established in the old town of Sens. Clothaire, son of JKiijg Ciovis, fighting to make him- self master of the territories of his brothers, attacked and besieged the town. Lupus thereupon called the people to prayer by the ringing of a bell. Bells were new things then. The besieging army had never yet beard one. The sound startled the soldiers ; they fled in terror, believing it to be the voice of a demon. And the inhabitants of the district, thus suddenly and unexpectedly delivered from the enemy, said Lupus had worked a miracle. The monk was venerated as a saint and in due time canonised. The Latin name Lupus became in French Leu. When about the year 1138 the Abbey S.-M^gliore was founded, its chapel was dedicated .to S.-Gilles and S.-Leu. The Abbey chapel, re- ferred to in those days as "a lopg way from the City of Paris," was in the outlying town- ship of Champeaux, a rurd suburb then — now and for .many long years past, its old name lost, one of the busiest and most densely popu- lated ,q,uarters of the Capital. A century later a distinct church was built for the lay inhabitants of the district, dedicated, like the Convent chapel, to 76 STORY OF PARIS CHURCHES S.-Gilles et S.-Leu. This church was rebuilt in the following century— about the year 1320— and still stands. Its ancient walls have undergone many subsequent restorations. The chancel and the side chapels were rebuilt in the 17th century ; in the 18th century the floor of the sanctuary was raised and the subterranean chapel built beneath it for the Knights of the Holy Sepulchre. There, in the year 1804; crouched up against the statue of Christ on the aUar, Georges Cadoudal, the would-be assassin of Napoleon, lay for several days in hiding. In the 19th century the abside was lopped off to make room for that wide and busy modern thoroughfare, the boulevard Sebastopol. One of the most ancient Confraternities of the city is connected with the church and parish. The Con^ fraternity of S. Leu, called the Royal Confraternity, was instituted in olden days for the moral protection of children." In pre-Revolution times the first-born of the Kings of France were inscribed at birth as members. The style of the church shows an intermingling of Gothic and Renaissance. The Renaissance facade, with sculptured figures, giving on the boulevard Sebastopol, dates from the eighteenth century — its architect Baltard. The ancient facade on the rue S.-Denys side is quite without architectural interest. The general style of the interior is Gothic. The chancel and several other " restored " parts are Renaissance. The old church is rich in statues and paintings. The portrait of S. Francois de Sales, S.-LEU ET S.-GILLES 77 painted after his death, and the " Manage de Ste. Catherine " on pillars in the chancel are by Philippe de Champaigne (sixteenth century); " Le Pere Eternal " is by Lebrun. The bas-relief in wood, painted, in the Chapelle Ste. -Genevieve, its subject the creation of the world, and the statue of Ste. Genevieve, were originally in the old Abbey S.- Magliore. Three bas-reliefs in the passage leading to the sacristy were brought here from the ancient cemetery " des Innocents," now a square and pub- lic garden. The Chapel S. -Joseph is surrounded by very beautiful woodwork. The general decorations date for the most part from the seventeenth and eighteenth centuries. The fine Gothic pulpit is modern. During the Revolution the church was used as a storehouse for salt-petre. It was restored for public worship in 1802, but was greatly damaged by the Communards in 1871. CHAPELLE DE L'ASSOMPTION The Chapelle de rAssomption, now used only as the Catechists' Chapel for the parish of the Made- leine, was built in 1622 by the Community of the Haudriettes. The community had been founded at the beginning of the fourteenth century by the wife of a certain Etienne Haudri. Etienne had gone forth on a pilgrimage to the tomb of a saint in Spain ; months passed, years went by . . . the pilgrim did not return. His -wife believed herself a widow, and in her grief and loneliness determined to give upther large dw^Uingr to be used as a convent for- women who, like hterselfi had lost their husbands. Then' Etienne came back. But the pious pilgrim entirely approved the step his wife had taken, and instead of desiring the restoration of his home became himself a generous supporter of the widows' convent. The house served as the convent for three centu- ries. Then the Haudriettes moved to the rue S.- Honore and built there the circular dome-crowned chapel. They were dispersed at the Revolution; their convent was taken possession of by the State. The chapel was used for a time as a scenic storing- house attached to the Opera. Restored after the Concordat, it served during forty following years as CHAPELLE DE L'ASSOMPTION n the parish church of the district pending the tardy completion of the Madeleine. The new buildings of the Cour des Comptes stand now on the site of the Widows' Convent. The chapel has no architectural interest. The interior of the cupola was painted by Delafosse (seventeenth century). On the walls there are sev- eral eighteenth century pictures, one, the Adoration des Mages, over the altar of the Lady Chapel by Van Loo. NOTRE-DAME DES VICTOIRES The first stone of this well-known church was laid by Louis XIII, and the name by which it was con- secrated was given in commemoration of the taking of La Rochelle from the Protestants. It was fin- ished in the year 1656. It was for long attached to the Convent of the Augustins dechausses, the bare- footed friars, commonly known as Les Petits Peres, a name acquired in the first instance on account of the remarkably short stature of some of the monks. The church was therefore frequently referred to as Notre-Dame des Petits-Peres. The square facing it is still La Place des Petits-Peres, and the rue des Petits-Peres is close by. The convent extended as far as the present Bourse— the Paris Exchange. It was broken up at the Revolution. The church was sacked, then used as the Bourse de Commerce. It was restored to the ecclesiastical authorities by Napoleon in 1807. It suffered again in 1871. Battalions of the Fideres took possession of the church. Horrible scenes of desecration took place. The form of the chancel, extremely long and narrow — taking up the whole of the abside — ^bears evidence to its primary condition as a convent cha- pel. The carved woodwork of the stalls is very rich and beautiful. Outwardly the church has no remarkable feature. NOTRE-DAME DES VICTOIRES 81 The facade is of the style known as Jesuit, with Ddric and Corinthian columns superimposed. Within, Notre-Dame des Victoires is intensely interesting. The most striking spot is the Lady Chapel, with its myriads of ex-votos and the statue of Notre-Dame des Victoires, refuge des pecheurs, its artist unknown. The chapel is always full of people kneeling in supplication or in thanksgiving ; pilgrims come from far and near. Above it are two tribunes, now closed, in one of which Marie Leckzinska, the wife of Louis XV, had her prie- Dieu. In the choir are seven fine pictures by Van Loo, one 'of which shows King Louis XIII and Cardinal Richelieu giving thanks for the victory at La Rochelle, and dedicating the church to the Virgin Mary. There is also a good piece of stained glass representing a Calvary. / The Chapelle S.-Augustin, the Lady Chapel of convent days, has a window picturing the Vow of Louis XIII. In the Chapelle S.-Jean I'Evangeliste the altar is partly of very fine mosaics, and near it is . the tomb of Lulli, the great musician (1667), of whose compositions Madame de Sevigne, on first hearing them, said there could not be finer music in heaven. The pulpit is the same that was placed there exactly where it still stands when the church was first built. The church is never empty. Whatever the day or the hour, men and women of every condition and 82 STORY OF PARIS CHURCHES class may be seen kneeling there in earnest suppli- cation or grateful thanksgiving. Working women go in with their babies, their market-baskets, their bundles. . . At mid-day, the Paris luncheon-hour, work-girls of the neighbourhood crowd there to rest, to spend a quiet half-l^our, find shelter from the temptations of the street, welcomed and encouraged by the clergy and the ofi&cials in care of the church. And " pilgrims " flock there from all parts of the world. A "devotion" to "Marie, Notre-Dame des pecheurs " was instituted by its first vicar after sighal answer to prayer in the year 1832. Pope Pius IX sent two golden crowns for the Virgin and Child of the statue. They were destroyed or stolen during the Commune in 1871, but were*re- placed by members of the Confraternity in 1876. SECTION THE SIXTH NOTRE-DAME DE BONNE-NOUVELLE S.-NICOLAS DES CHAMPS STE.-ELISABETH NOTRE-DAME DE BONNE-NOUVELLE Where this church now stands, in one of the busiest and most populous quarters of Paris, a little chapel was built in the year 1551 for the inhabitants of the district, then a country village without the city boundary. Forty years later the whole country round was devastated by the wars of the end of the sixteenth century, and when Henri IV laid siege to Paris the church and adjacent buildings were razed to the ground. The wars over, a new church was planned and its erection set about. The first stone of the chancel was laid by Anne d'Autriche in 1624. Tradition says that on her way to the church in course of construc- tion, or when passing by one day, the Queen heard a piece of good news, and resolved thereupon that the new church should be a memorial of the happy event. What it was we do not know. But instead of being dedicated like the chapel, its predecessor, to S. Louis and S. Barbe, the church became Notre- Dame de Bonne-Nouvelle. The edifice was sold at the time of the Revolution, but given back and restored for public worship at the Concordat. Afewyearslater it was rebuilt. Of the seventeenth century structure the tower alone remains. After the attack on S. -Germain I'Auxerrois in 86 STORY OF PARIS CHURCHES 1831, the Paris mob, surging along the boulevards, rushed upon the church of Notre-Dame de Bonne- Nouvelle, and in 1871 it was attacked by the Com- munards and its vicar killed. The church is in the style of a Roman basilica and without architectural interest. The decorations within are also unremarkable, with the exception of a picture near the sacristy by Mignard (seventeenth century), representing Henriette of England, the wife of Charles I, her children, and S. Francois de Sales, an Assomption dating from the sixteenth cen- tury, and in the Chapelle des Ames du Purgatoire} a marble haut-relief by Charles Desvergnes which gained the grand prix de Rome in 1895. S.-Nicolas des Champs. S. -NICOLAS DES CHAMPS Amid green fields on the spot where, on reaching the boundaries of Paris, S. J5»^artin healed a leper, a chapel dedicated to the saint was built in the early days of the Christian era. A better-built edifice was erected by Henri I, the son of Hugh Capet, and endowed. It was the nucleus of the famous Abbey. In the eleventh century regular canons were attached to it, and the King of France bade Hugues, sixth Abbot of Cluny, S. Hugh of the Calendar, establish there a monastery of his Order. It be- came a priory ; continuing to grow, it was soon one of the largest, richest and most reputed priories of the land. Richelieu wa^ titular Abbot of S.-Martin-des- Clhamps. Among its regular abbots were many men of note. The foundation possessed the right of nomination to innumerable ecclesiastical offices^ and benefices. The extent and beauty of the Abbey buildings may be appreciated to-day by a visit to the Arts et Metiers, i.e., Arts and Crafts institution, which was their destination after the Revolution. The ancient refectory, now used as a library, was built by Pierre de Montereau* architect of the Sainte-Chapelle. It is one of the most beautiful of thirteenth century relics. Tall, slender columns 88 STORY OF PARIS CHURCHES reach to the vaulted ceiling, the flagstones of the paved floor are, some of them, the very same the old monks walked upon. The church had two fine towers, and numerous tourelles stood out from the adjacent buildings. The cloisters were rebuilt in the early part of the eighteenth century, when, alas ! many of the most ancient walls and statues, a re- markable mortuary chapel and a tower, were , , , destroyed in order to make room for the new constructions. Around so important an Abbey the population, naturally, steadily grew from the very time of its foundation. As early as the twelfth century the monks decided that a church must be built for the inhabitants of the district without the Priory walls. Thus in the midst of green fields, pn the Abbey lands, a parish church was erected, dedicated to S. Nicolas, and served by a secular priest appointed by the monks of S. -Martin. It was rebuilt in the fifteenth century and enlarged in the century following. The grand portal facing the rue S. -Martin, a striking assemblage of Gothic mouldings, niches, statu- ettes, and the lower end of the nave, are what remain intact of the fifteenth century erection. The tower is seventeenth century work. The result of these successive restorations and enlargements is a mingling of styles : we see Gothic of two different ages, that of Charles VI and of Henri III, giving the effect of two churches in juxtaposition. The effect of the whole is not inharmonious. It has been called the Church of a Hundred Columns. The ancient S. -NICOLAS DES CHAMPS 89 presbytere is in communication with the church by a windoW' and a ladder, the " echelle pailbulaire." The Chapel S.-Etienne within the church was for- merly the private passage for the monks of S. -Martin. The reredds of the high altar is remarkable (seventeenth and eighteenth century). The Chapel of the Sacre-Coeur has a fourteenth century reredos with paintings on wood. The paintings of the ceiling in the Chapel Ste.-Anne are very ancient and were for yeWrs hidden beneath a coat of whitewash. The Circumcision in the chapel of the saintes reliques is also very ancient. The altar in the Chapel of the Font, style Regence, was taken from the destroyed Church S.-Benoit, The immense Calvary was put up as a souvenir of a mission preached in 1822. There are many fine paintings, and much good ' woodwork, notably that of the organ case and of the Chapel S. -Joseph. The great actor Talma, Gassendi the astronomer, and other persons of note were buried at S. -Nicolas des Champs. In the sacristy, among the portraits of former vicars of the parish, is that of the Abbe Claude Joly by Philippe de Champaigne. i During the Revolution the church was used as a temple to Hymen. STE.-ELISABETH This interesting old church was originally the chapel of a convent founded at the beginning of the seventeenth century by the nuns of the third Order of S. Francois. Marie de Medicis and her son, Louis XIII, took the nuns under their special pro- tection, and the Queen-mother laid the first stone of their chapel in the year 1628. It was consecrated some years later, dedicated to Saint Elizabeth of Hungary, and commonly called Notre-Dame de Pitie. Opposite the chapel was the chief entrance to the Temple, where King Louis XVI and his family were imprisoned. The Temple Square alone re- mains to remind the passer-by, and the surround- ing inhabitants, of that historical building. The Revolutionnaires suppressed the convent (1790), turned the chapel i'nto a store-house for fodder. It was restored to the ecclesiastical authorities at the Concordat, but did not; become a parish church until 1810. On approaching the old blackened walls of the church those of us who have visited Florence are struck by a sense of reminiscence : its facade is an exact copy of the Italian church Santa Maria Novella. The building was originally much larger than it is now. A Lady Chapel fifteen metres in length STE.-ELISABETH 91 stretched beyond the chevet across what is at pre- sent the busy rue Turbigo. The point at which it was lopped off to make room for the new street is clearly apparent. Entering, one finds oneself in a church which seems to be essentially composed of woodwork, exquisite woodwork. A frame of beau- tiful carved wood surrounds the whole of the in- terior. The great organ, the galleries around it, the pillars of the nave for almost half their height, all seem encased in woodwork, and on reaching the abside we find a wonderful series of bas-reliefs in black oak, seventeenth century work, brought hither from the old Abbey S.-Waast at Arras in the time of the Second Empire. These marvellous wood-pictures surround the abside in its whole ex- tent. There is more good woodwork of modern date in the Chapel Ste. -Genevieve. The paintings on the pillars at the entrance of the Lady Chapel date from the seventeenth century ; the rest of the pictures and statues are modern, for the most part -the work of nineteenth century artists, many by Abel de Pujol. The stained glass is good, but not an- iCient. The marble font dates from 1654. For many years the family of the Naundorffs, who call themselves Bourbons and claim to be the de- scendants of the son of Louis XVI, whose death in ' prison they deny, assembled annually with their partisans in this old church for the celebration of a memorial Mass for the guillotined King whom they regard as their ancestor. The memorial Mass is still celebrated, but in a modern chapel in another 92 STORY OF PARIS CHURCHES quarter of Paris, with th^ consequent loss of the cpuleur locale afforded by the old Church Sainte- Elisabeth so familiar to the. King and the Dauphin,' when imprisoned in the grande tour of the Temple opposite. SECTION THE SEVENTH S.-DENYS DU SAINT SACREMENT S.-JEAN ET S.-FRANCOIS S.-MERRY S.-DENYS DU SAINT SACREMENT S.-Denys du S. Sacrement stands on the site where once stood the fine town house of the Marquis de Turenne, which gave its name to the street. Those were days of religious upheavals, of strife between Catholics and Protestants. The mansion of the warrior Turenne was made the meeting-place for a series of conferences between four pastors holding Protestant doctrines, each with variations of detail, all anxious to come to an understanding among themselves. The warrior was present at the con- ferences and ended by embracing Protestant doc- trines. His house remained steadfastly in the pos- session of Catholics, for it was inherited by Cardinal Bouillon, who gave it up totheDuchesse d'Aiguillon, and the Duchess established there the Nuns of the Saint-Sacrement, when they were forced to fly from Toul in the wars of the latter part of the seventeenth century. The nuns built a chapel which was used after the Revolution as a parish church with the added name S. Denys. Then it was rebuilt and enlarged by the architect Godde (1825-35). It is a plain, low building of basilica form exter- nally, its only point of architectural interest the peristyle and the triangular front of the porch with bas-reliefs. 96 STORY OF PARIS CHURCHES Within it has a fine carved wood pulpit, a beauti- ful Pieta in the Chapelle Ste. -Genevieve, the last work /)f Delacroix, and a frieze in the choir by Pugol (1838). S.-JEAN ET S.-FRANCOIS This grey-walled old church in the Marais was originally the chapel of a convent built on the site of a tennis-court in the early years of the seven- teenth century by a Capuchin monk, Friar Mole, the brother of Mathieu Mole, the famous garde des Seaux. The district was an aristocratic one in those days. Inhabitants of the mansions round about frequently attended the chapel services. Among them was Madame de Sevigne, whose house, now the Musee Carnavalet, was hard by. The monks were dispersed, their convent seized, on the outbreak of the Revolution. But the chapel was not at once disaffected. On the contrary, it became for a time a parish church with as its patron saint S. -Francois d'Assise. And among its vestry men was Romain de Seze, the great barrister, who so courageously and so eloquently pleaded the defence of Louis XVI before the Convention. When the King was condemned, from this church were fetched the sacred ornaments for the celebration of Mass on the morning of his execution. The stole, etc., may still be seen, preciously preserved in the sacristy, and several other historic relics ... an ostensoir given by the guillotined King's daughter, the Duchesse d'Angouleme ; a hair-cloth tunic worn f G 98 STORY OF PARIS CHURCHES by Isabella de France, the sister of Louis IX — S. Louis. The church services, however, were soon suppressed, the building sold. Bought back after the Concordat and restored for public worship, the clergy from the old Church S.-Jean^en-Greve, who had charge of the services, added the name of their own patron-saint to that of S. Francois. As a parish church the old convent chapel soon proved far too small. In 1828 it was enlarged by the addition of a chancel ; the Catechists' Chapel was added in 1832, built by the architect Godde; the porch in 1855 by Baltard. The building is without architectural beauty, but has within its walls paintings of special interest, in particular those giving the history of the miracle of the Host {see below). They decorate the walls of the nave, eight in number, exact copies of tapes- tries which before the Revolution hung in the Church " des Billettes " {see p, 118), or in that of S.-Jean-en-Greve. The whole story is there pic- tured, and is as follows : Scene i. A woman begs a pawnbroker Jew to let her have for Easter-day a gown she had left with him. He consents on condition that she gives him in return the Sacred Host she will receive when making her Communion, II. The woman communicates on Easter-morning at the Church S. -Merry. III. The woman hands the Host to the Jew in exchange for her dress. IV. The Jew, surrounded by his wife and chil- S.-JEAN ET S.-FRANCOIS 99 dren, pierces the Host with a pen-knife. Blood gushes from the Sacred Host. V. Deaf to the supplications of his wife, the Jew nails the Host to the wall. The blood flows anew. He strikes it but cannot break it. VI. The Jew pierces the Host with a lance. Blood continues to flow. VII. The Jew throws the Host into a pan of boil- ing water. It springs out and the image of the Crucified Saviour appears. The Jew's son stands at the door telling people about to enter the church that it is useless to go in as his father has killed their God. A woman enters the Jew's house, ostensibly to get a light, and gains possession of the Host. 100 STORY OF PARIS CHURCHES the nineteenth century^one by Ary Scheffer (1822), S. Louis malade visitant les Pestiferes. The fine statue, S. Francois en Priere, by Ger- main Pilon (sixteenth century), was formerly at the Louvre. The statue of S. Denys (seventeenth cen- tury) came from the Abbey Montmartre. The beautiful woodwork of the chancel and the exquisitely carved reliquaires came from I'Eglise- des-Billettes {see p. 118). The carved wood candelabres in the Lady Chapel are works of great artistic worth and beauty. S.-MERRY In the long-past days when the narrow old slum-iike streets forming what is now the Quartier S. -Merry were green fields and leafy woodland, an extensive hunting-ground, a little chapel was built there dedi- cated to S. Pierre. Hither came on a visit to the capital, about the middle of the seventh century, Merry, Abbot of Autin, of saintly reputation. The city of the Parisii pleased him, evidently, for he stayed on during three whole years. Then he died and was buried near the chapel, and miracles were said to be worked at his tomb. Presently there came one Eudes de Fauconnier, offering at the little chapel thanksgiving for victory over the invading Normans. To mark his gratitude the warrior built a new chapel up against the old one, and S. Merry was associated with S. Pierre as its patron-saint. This Eudes was probably the famous warrior known as Odo the Falconner. At the end of the ninth century the chapel was made into a collegiate church. It took rank as the third daughter of Notre-Dame, for the priests of the mother-church of Paris officiated there, had charge of all the services and ecclesiastical duties connected with it : it was commonly spoken of as Notre-Dame- la-Petite. The church was entirely rebuilt in the time of 102 STORY OF PARIS CHURCHES Francois I. Among the ancient stones the masons discovered the tomb of Eudes, his bones not yet crumbled to dust, his leathern boots still intact. The old church is interesting and beautiful both without and within. Sordid houses, mean streets close it in so completely as to make many of its beauties discoverable only on persevering explora- tion. The crypt, the remains of the church as it was built by Eudes, reconstituted in 1515, is believed to be on the exact spot where S. Merry was buried. His bones were carefully guarded until the Revolu- tion. All that was left of the relics and the shrine that held them after the desecration and destruction of Revolutionary days, placed in a new shrine, are carried in solemn procession each year on the festi- val of the saint. The style is Gothic throughout, externally. The original statues and statuettes of the three doors of the facade, very beautiful work, were all destroyed at the Revolution and replaced in 1842 by two capable artists, Desprez and Brun. Within, the fine Gothic work of the sixteenth century was mercilessly hacked about in the eighteenth century, the pointed arches of the chancel " re- stored " by being made into round arches, the pillars stuccoed to imitate marble. Much of the precious ancient glass was also deliberately cut away at this time, and replaced by white panes ! Frag- ments of ancient glass remain, put together, in the Lady Chapel, and the window in the Chapelle Ste.- Philomene dates from 1580. S.-MERRY 103 There is much beautiful woodwork, notably that of the Chapel Ste.-Anne at the entrance to the crypt, that of the Chapelle de la Bienheureuse Marie de V Incarnation, of the Chapelle des Morts, and of the ancient baptistry-chapel. There are many paint- ings of worth and interest, both ancient and modern. The painting on wood in the Chapel S.-Francois- Xavier, " Ste. Genevieve gardant son troupeau," dates from the sixteenth century. In former days the church possessed a series of twelfth sixteenth-century tapestries by Dubourg, some fragments of which may be seen at the Musee Cluny. The "treasure" includes, besides the relics of the patton-saint, several ancient reliquaries and sacred vessels. At the Revolution this fine old church was used as a temple of Commerce, SECTION THE EIGHTH S.-GERVAIS S.-LOUIS EN L'lLE S.-PAUL ET S.-LOUIS L'EGLISE EVANGELIQUE DES BILLETTES S.-Gervais. Uvy jlls et C* Paris. S.-GERVAIS The nucleus of this beautiful church was a little chapel built to shelter the relics of the two brothers, Gervavius and Protarius, martyrs of the time of Nero, whose bones were brought to Paris by that active sixth-century prelate, S. Germain. The chapel stood without the city boundary, but the district grew populous ; the chapel became a church and the centre of a parish, the most ancient parish on the outskirts of the city to the north, and so important as to have a baptistry chai)el within the city bounds. It was dedicated, as were all baptis- tries, to S. Jean, and became in course of time the parish church S.-Jean-en-Greve, swept away in part at the Revolution, the rest of the building, which had been incorporated in 1' Hotel de Ville, burnt down in 1871. In the eleventh century both the church and the baptistry chapel became the property of the Con- vent of S. Nicaise, a dependency of the Abbey of Bee in Normandy, and until the Revolution the benefice was in the gift of the priests of the Nornian Abbey. The original structure fell to pieces or was demol- ished in the thirteenth century. The charniers, their beautiful moulding crumbling away — but about to be restored — are vestiges of the ancient church, 108 STORY OF PARIS CHURCHES and date from the twelfth century or from earlier still. A new church was built, but was not dedicated till 1420, many years after its completion. Still legible on the grey stone of the inner wall on the north side of the church, near the sacristy door, is the following inscription : " Bonnes gens plaise vous savoir que cette eglise de messieurs Saint Gervais et Saint Prothais jut dediee le dimanche devant la fete de Saint Simon et Saint Jude Van 1420 par la main de reverend Pere en Dieu Maitre Gonbault eveque d'Agrence et sera a toujours la fete de la dedicace, le dimanche devant la dite Fete Saint Jude et Saint Simon." " Good people, may it please you to know that this church of Messrs. Saint Gervais and Saint Pro- thais was dedicated on the Sunday before the fete of Saint Simon and Saint Jude, of the year 1420, by the hand of Reverend Father in God, Sir Gon- bault, Bishop of Agrence, and that will be for ever the fete of its dedication, the Sunday before the said fete of Saint Jude and Saint Simon." The thirteenth century church was in its turn pulled down, and at the close of the fifteenth and into the early years of the sixteenth century rebuild- ing went on once more, and the existing structure was erected, minus its grand portal. A century later, in the year 1616, Louis XIII laid the founda- tion stone of the facade, and the architect Salomon de Brosse, who had designed it, superintended the work. The Renaissance portail he achieved, with S.-GERVAIS 109 its Greek pillars in three tiers, Doric, Ionian, Corinthian, superinjposed, is very fine but does not accord with the style of the rest of the building nor prepare us for the striking Gothic beauty of the interior. Within, the church is wonderfully impressive. The nave is unusually narrow, the vaulted roof very high, the pillars grandly massive. There is glorious stained glass and exquisitely carved woodwork ; and on every side there are pictures, frescoes, statues and bas-reliefs of remarkable worth and interest, dating chiefly from the sixteenth and seventeenth centuries, some modern ones by the great masters of the nineteenth century. The stalls of the chan- cel, dating from the time of Henri II, were brought , hither from the Abbey of Port-Royal. The Lady Chapel, with its arched roof forming a crown in open stonework, marked with the date 1517, is a masterpiece of architectural skill. The glass of the three windows at the chevet are by Pinaigrier (1531). Other glass by Pinaigrier is in the Chapel S.-Jean Baptiste. The gold-toned glass in the chan- cel, the Martyrdom of S. Laurent, and S. Pierre healing a paralytic, is by Cousin (1551). Other glass in the chancel is seventeenth century work. The paintings on wood, nine panels in the Chapel of the Sacre-Coeur, are said to be the work of Albert Diirer, and were previously in the old Church du Saint Sepulcre. The painting on wood over the fine carved oak banc d'oeuvre is by Perugini. The picture, the be- no STORY OF PARIS CHURCHES heading of John the Baptist, in the Chapel S. -Louis, is believed to be by Tintoret, the Christ en Croix in the Chapel S.-Benoit Labre by Philippe de Cham- pai'gne. The walls of the Chapelle Doree, entered through the Chapel Ste.-Anne, are entirely covered with exquisite seventeenth century paintings on wood in Flemish style. It is often called the Chapelle Scarron, for Scarron was married there to the young girl known later as Madame de Maintenon, and is believed to have been buried there. His tomb, as well as that of Philippe de Champaigne, was destroyed at the Revolution. The tomb of the Chancellor Le Tellier, a fine marble monument with his statue, remained unharmed. The candelabre and gilt cross, masterpieces of eighteenth century art, were formerly in the Abbey Church of Ste. -Genevieve. The sacristy is reached through iron gates, a grille, of marvellous workmanship. At the Revolution the church was attacked by the insurgents, who attempted to shake down the pillars. They stood firm till Robespierre, so it is said, anxious perhaps for his own safety and that of others near the spot, commanded them to cease their efforts. The church was then used as a temple pf Youth. S.-Gervais is known for its choir-school. " Les Chanteurs de S.-Gervais " study and sing only the music of the time and style of Palestrini — unaccom- panied plain. song. Four times a year, in normal times, they give a grand public recital. S.-GERVAIS 111 In the early days of Paris history the law authori- ties of the city used to assemble on the open space before the ancient church and there, beneath the shade of an immense elm-treej justice was admin- istered. Hence the exprejssion : " Attendre s.ous l'Orme"= to wait beneath the elm-tree, used in reference to tardy justice in matters of law. A tree still stands upon the spot, and a tree figures in the iron railing of the balconies of old houses near. S.-LOUIS'EN-L'ILE The island on the Seine known in later times as rile Saint-Louis, so named in remembrance of the King who erewhile loved to wander there, was in olden days intersected by a creek, forming thus two islets : I'lle Notre-Dame and I'lle Aux-Vaches. The former was part of the domain of the Cathedral Chapter ; the latter pasture land whither cows were led out to graze. Both islets were covered with grass-grown fields until the seventeenth century. Then the creek was filled up and became the rue Poulletier. In the year 1618 one Nicolas-le-Jeune, a master- tiler, built, at his own expense, a chapel on Vile Notre-Dame. The chapel thus erected was soon raised to the dignity of an eglise curiale by Arch- bishop Gondi. It proved in a few years' time too small for the parish. To enlarge it a chancel was designed, and its first stone laid in the year 1664. Building went on slowly, and when the chancel was at length completed Le Jeune's chapel, forming the nave, was beginning to crumble. The erection of a new nave was set about, but the work progressed as slowly as before, and the new building was not fin- ished until the year 1726. Meanwhile the old belfry had been struck by lightning. The present tower, with its curious spire, was built to replace it about S.-Louis en Pile. Levyfils ft C'- Photo. Paris. S.-LOUIS-EN-L*ILE 113 the year 1741. The edifice was not yet perfectly completed and has to this day remained unfinished, for the facade is a mere rude wall without the grand portail designed by the architect Le Due. The Renaissance sculpture and decorations of the rest of the building are the work of one of the vestrymen, Jean-Baptiste de Champaigne, a nephew of the great painter, Philippe de Champaigne, who dwelt on the island. The church is rich in works of art, many of them ancient and of great value, but almost all collected and put there in recent times. After the Revolu- tion, S.-Louis-en-l'Ile, greatly injured, was left un- restored until after the appointment of the Abbe Bossuet as Vicar in 1864. The Abbe gave up his time, his strength, his money, through the rest of his life to the work of restoration, sold even to the last volume of a valuable library he had collected, and died penniless, was buried by the parish. But he left his beloved church restored, enriched, a very treasure-house of sacred art. The paintings in copper on the pillars of the nave are the work of Lebrun. The S. Jerome in the Chapel of the Sacre-Coeur is believed to be a Fra Bartolomeo. The Annunciation in the Chapel de la Communion is said to be a Raphael. The Annun- ciation in the Chapel S. -Madeleine is by Fra Ange- lico. The stone used for the erection of the high altar was brought from the Palace of Fontainbleau, ■<\7here in the time of Napoleon it formed the altar of the chapel of the imprisoned Pope Pius VII. k S.-PAUL ET S.-LOUIS By its double name this seventeenth century church recalls the ancient parish church of the district " S.- Pol " and a thirteenth century chapel of diminutive size dedicated to S. Louis. S.-Pol, known in its early days as S.-Pol-des-Champs, was originally a cemetery-chapel without the city bounds, built by S. Eloi for the nuns of the convent he had founded. It was dedicated in the first instance to S. Paul the Hermit ; in course of time the Hermit yielded to the Apostle as patron-saint of the church. Rebuilding took place in the thirteenth and again in the fif- teenth centuries. The fifteenth century edifice was a very fine one; there at a font now at Medan, Charles VI and Charles VII were baptised. Charles VII on his accession took possession of various private mansions in its vicinity, the dwellings of his nobles, and converted them into a palace, le Palais S.-Pol, with gardens sloping down to the Seine. The Court attended the services of the church hard by; it became the Chapel Royal of those fifteenth cen- tury days. Rabelais, Nicot — who introduced tobacco in France — and later the architect Mansard, were buried in the church, and in the graveyard which surrounded it were buried the prisoners who died at the Bastille, the Man of the Iron Mask among them. S.-PAUL ET S.-LOUIS 115 Human bones have been dug up in the neighbour- hood in quite recent days. Meanwhile, in the year 1580, one of the great mansions near had been acquired by the Jesuits and a seminary for priests organised there. The small private thirteenth century chapel of the mansion was dedicated to S. Louis and used by the Jesuits for some fifty years ; then, in 1627, the first stone of a new chapel was laid by Louis XIII, and the King defrayed in part the cost of its construction. The chapel was built from the designs of two priests of the seminary aided by the celebrated architect Vignole, who took for his model the Church of Jesus at Rome. This was "the origin of the term Jesuite commonly used in France for the ornate Renais- sance style as seen in the facade of the chapel thus erected. — the present Church S.-Paul et S. -Louis. ' There Richelieu, as a newly-ordained priest, cele- brated his first Mass in the year 1641. In remem- brance thereof he took upon himself the cost of completing the chapel by the erection of the great portal. When Louis XIII died his heart was laid in the chapel, as was also in due time the heart of his successor, Louis XIV, beneath monuments 'which cost 600,000 francs. Princes of the house of Conde, Bourdeloue, the great Jesuit preacher, and other noted personages, were buried in the chapel. The church and the chapel were centres of religious activity until the outbreak of the Revolution. When that tremendous bomb burst, the Revolutionists took possession of the old 116 STORY OF PARIS CHURCHES Church S.-Pol and the Tiers Etat held there their first assembly on April 21st, 1789. There they drew up their list of grievances to be submitted to the States-General. Then the church was sold and pulled down. The Jesuits' Chapel was saved. The priests had stored within its walls their own fine library and the books taken from the sup- pressed convents, some 72,000 volumes. Piled up to the vaulted ceiling, the books formed a barricade, protecting thus the interior of the chapel from de- struction when attacked. Many costly monuments were destroyed nevertheless, and valuable posses- sions carried away. But the fabric remained. With the added name S. Paul in record of the ancient church destroyed, the Jesuit Chapel S.- Louis was restored for worship as the parish church of the district, at the Concordat. Until quite recently some vestiges of the ancient Church S.-Pol still stood, close up against the walls of the old seminary, now the lycee Charlemagne. The church is rich in decoration and sculpture, both without and within. The columns in three tiers of the profusely ornate fagade are Corinthian and composite. The handsome dome was the second dome erected in Paris. The first was that of the Chapel S. -Joseph des Carmes. The altar of the Lady Chapel and the marble altar in the Chapel of the Sacre-Coeur date from the seventeenth cen- tury. The statue of the Blessed Virgin in the Chapel N,-D. des Sept Douleurs is by Germain Pilon, and was taken from an old church destroyed. S.-PAUL ET S.-LOUIS 117 The Woodwork of this chapel is very beautiful, as is also that of the Chapel S. -Vincent de Paul. The Christ-en-Croix in the sacristy (eighteenth century) was in olden days in the Chapel of the Bastille. The marble statue of the baptistry-chapel by Pilon was formerly in the ancient Abbey S.-Denys. The pic- tures are all modern (nineteenth century). The holy water-scoops were a gift from Victor Hugo at the baptism of his first child, born in the parish. L'EGLISE EVANGELIQUE DES BILLETTES In a house on the site of what is now a Protestant church there dwelt in olden days a Jew who, in contempt of the Christian Sacrifice, cast into the fire or into a pot of boiling water a consecrated Wafer {see p. 98). The Host was miraculously saved. The Jew was put to death and his dwelling taken possession of by the Crown (1290). The Host he had attempted to destroy was placed in the ancient Church S.-Jean-en-Greve, destroyed at the Revo- lution, originally the baptistry of S.-Gervais, and during five hundred years a solemn service of repa- ration was annually celebrated there. A church dedicated to the Saint-Sacrement was built on the site of the Jew's house some two hun- dred years after its destruction. It was commonly known as I'Eglise des Billettes from the heraldic design worn on the scapulaire of certain Carmelite monks connected with it. The cloisters of the fif- teenth century church still stand — ^beautiful Gothic cloisters surrounding a small courtyard. The church was rebuilt in 1745. But at the Revolution it was closed and in 1808 was given to the Lutherans. SECTION THE NINTH NOTRE-DAME DES BLANCS-MANTEAUX S.-SEVERIN NOTRE-DAME DES BLANCS-MANTEAUX The Blancs-Manteaux, i.e., the White-Cloaks, were nuns, more properly designated Servites — Servants, of Mary, of an Order founded by an Italian named Benozzi, and under the special protection of S. Louis. The nuns came to Paris about the middle of the thirteenth century and set up housekeeping in the Marais, in a street near the Temple, called thenceforward the rue des Blancs-Manteaux, the name it still bears. Less than twenty years later the Order was suppressed. Nuns of an Order founded by S. Guillaume de Malavalcame to replace them. The rue des Guillemites still exists close to the church. A roomy edifice was then built to replace the Servites' chapel. It was consecrated in 1397, in the presence of King Charles VI. There was laid the body of the Due d'Orleans after his assassi- nation by Jean Sans Peur on the threshold of the Hotel Barbette close by. In the early years of the seventeenth century the Guillemites united with the Benedictines of S.-Maur and a new church was built on the old site, the church still existing. Its foundation stone was laid by the notable Chancellor Le Tellier, whose tomb is at S.-Gervais, in the year 1685. The monastery attached to the church was in a flourishing condi- tion and noted for its splendid library, 20,000 vol- 122 STORY OF PARIS CHURCHES umes collected by the inmates. It came to grief like all other religious institutions at the Revolution. Secularised, it became eventually the Paris Monte- de-Piete— the State Pawn-shop, which, rebuilt on an immense scale some years later, still occupies the site of the old convent. The church was restored for public worship as a parish church after the Concordat. At the acces- sion of Louis XVIII, and for many succeeding years, a memorial service for Louis XVI and for Marie-Antoinette was held there annually on the 21st of January and on the 16th of October, at which the Will of King Louis was read aloud and soldiers presented arms. In the nineteenth century the church was enlarged and the fagade, which had been added in the seven- teenth century by the Barnabites to the old priory Church of S.-Eloi, left in ruins after the Revolution, was adapted to it. The fine carved oak pulpit, brought from Belgium, was placed in the church at the same time. The woodwork throughout is very beautiful, dating chiefly from the seventeenth and eighteenth centuries. The six columns of the organ loft were in olden days part of the organ-case at S. -Germain des-Pres. The church is rich in statues and pictures, many dating from the seventeenth and eighteenth centuries, others modern. S.-Severin. S.-SEVERIN In early Christian days, when the site of this beauti- ful Gothic church was rural land just without the boundary line of the city of the Parisii, there dwelt on or near the spot a holy hermit named Severinus. To Severinus came in the year 550 Clodvig, son of Clodomir, seeking shelter when the rest of his family had been massacred by the wicked uncla Clotaire. Cared for and instructed by Severinus, Clodvig became a monk, the S. Cloud of later days. Severinus died and was buried near the cell wherein he had lived, and there Clodvig built an oratory in his memory. The oratory became a place of pilgrimage. Miracles were said to be wrought there. The Chapelle S. Severin was known throughout the whole surrounding region and in lands beyond. In the ninth century came the invading Normans : the country was ravaged, the chapel burnt to the ground. Rebuilding was undertaken in the eleventh cen- tury on an important scale. On the site of the oratory-chapel a church was erected which consti- tuted the chief parish church of the district. There in 1199 the first Crusade was preached by Foulques de Neuilly, and from the early years of the century following the vicar of S. -Severin had jurisdiction 124 STORY OF PARIS CHURCHES over all the parishes on the left bank of the Seine. In the time of S. Louis the church was again rebuilt. The first three bays of the nave are what remain of that thirteenth century edifice. Rebuilding was once more undertaken in the fifteenth century. The chancel as we know it dates from about the year 1490 ; it was built from the plans of Michel le Gros, the only architect of the beautiful old church whose name has come down to us. The upper part of the nave dates from about the same time. The portal is not that originally built. It was brought hither from the ancient Church S.-Pierre-aux-Boeufs, razed to the ground in 1837, and dates from the thirteenth century. The chief entrance in previous times was that beneath the tower on the north side. In the stonework of that old door are the wasted figures of two lions. The clergy of S.-Severin were wont in ancient days to pronounce judgment on certain cases brought before them from the steps between these figurines — hence the saying : " Datum inter Hones." On the wall below the tower may still be read, half-effaced, the touching appeal, a common one in past ages : " Bonnes gens qui par cy passez, priez Dieu pour les trepasses." (" Good people who pass this way, implore God for the dead.") The abside has been called a Palmariam. The French writer Huysmans says of it : " L' Abside reste une des plus etonnantes ombrellas que les artistes d'autan aient jamais brodees pour abriter le Saint Sacrement de I'Autel." S.-S^VERIN 125 It is truly a marvellous example of Gothic archi- tectural " embroidery." The church is remarkable as showing the Gothic in each of its three periods : primitive, rayonnant, flamboyant. On the site of the presbytery garden there is a door, usually open, and beyond it a curious facade with gargoyles and the remains of a Gothic cloister, partly taken up now by the Catechists' Chapel. This and one at I'Eglise des Billettes {see p. 118) are the only traces of cloisters left in Paris churches. S.-Severin is noted for its glorious stained glass. The upper windows of the nave are all ancient (fif- teenth and sixteenth centuries), and were taken from the Abbey S.-Germain-des-Pres. The subject of one of these windows is the death of Thomas-a- Becket. Other glass is modern. The pictures and statues are for the most part modern. Some of Flandrin's masterly work is here — in the baptistry chapel and the Chapel S.-Jean. The statue Notre-Dame de Ste. Esperance, between the two chapels of the abside, dates from the eigh- teenth century. The Calvary in the Chape^ S. Charles is ancient, taken from the charniers. The organ is said to be the oldest of Paris church organs. Its woodwork dates from 1745, and is very fine. The handsome pulpit is modern. In the fifteenth century a curious thing happened. The church changed its patron-saint. The name remained the same, but instead of the old hermit of the days of S. Cloud, a certain Abbe Severin, more generally known, was henceforth regarded as the 126 STORY OF PARIS CHURCHES titulary saint of church and parish. The abbe was always represented on horseback; his ways of life were evidently the reverse of those of the old solitaire. Travellers, therefore, put themselves under his protection. Their votive offerings were horse-shoes, with which the doors in former days were almost completely covered. Thankofferings and votive slabs in gratitude for benefits of a diffe- rent nature succeeded the horse-shoes. Situated in the vicinity of the University and not far from the Palais de Justice, records are there of examinations successfully passed, successful lawsuits and the like. A single word and a date sometimes suffice, on a few inches of marble, and are eloquent in their brevity. And now in these days in this old church, as in every church in Paris and throughout the whole of France, records are put up of gratitude for life spared or a limb successfully amputated, etc., amid the fire and bloodshed of war-time. The abbe Severin was honoured alone for three centuries, then in 1753 justice was done by restitut- ing the hermit without deposing the abbe : the church was put under the patronage of both the saints Severin. The fete-day of each is kept on its special date every year. At the Revolution it was proposed to utilise the church as a powder magazine. This, happily, was not done ; it was merely closed and kept shut up for several years. By order of Napoleon it was re- opened in 1802. SECTION THE TENTH S.-JULIEN-LE-PAUVRE S.-NICOLAS DU CHARDONNET S.-Julien le Pauvre. Facade. S.-JULIEN-LE-PAUVRE Hidden away in the heart of the city, entered through a rude old courtyard, surrounded by mean streets, this quaint and ancient church of diminu- tive size is one of the most interesting of the historic churches of Paris. The original foundation was an oratory erected in early Christian times on the spot, close to the Sequana — the Seine — and Tile de la Cite, and on the Roman road leading from Gena- bum — Orleans — to Lutetia. A hostel was then built close up against the oratory for the reception of pilgrims and travellers, and there in the sixth century came to lodge the famous Gregory of Tours — S. Gregory. The hostel buildings were extended, other buildings grew up around them ; the little oratory was soon replaced by a church, built on the model of a Roman basilica, and was in a prosperous condi- tion until the ninth century. The Norman invaders brought destruction. From the time of their raids until the eleventh century the church lay in ruins. It was then given over to secular lords and roughly rebuilt. Early in the twelfth century the whole pro- perty was transferred to the monastery of Long- port, a dependant of the famous Cluny Abbey. The church and hostel were now entirely rebuilt and became an important priory. 130 STORY OF PARIS CHURCHES It was at this period that it took for its titulary patron-saint the S. Julien we know as S. Julien le Pauvre or S. Julien des Pauvres, originally S. Julien I'Hospitalier. The hostel-chapel had been dedicated to two other saints Julien — S. Julien de. Brionde, the Roman martyr, and S. Julien le Con- fesseur, Bishop of Mans. The old church recalls, therefore, the memoiy of three saints Julien. S. Julien r Hospitaller, in deep remorse for a terrible .mistake which had led to the death of two persons, perhaps his parents, had vowed his life to poverty and to the work of succouring travellers. He and his wife thenceforth spent their days in ferrying pilgrims and other wayfarers across a dangerous spot in the river, and in helping to the utmost of their power persons seeking shelter. S. Julien I'Hospitalier, therefore, was a very practical and a very popular saint. Who so fit as he to be the patron-saint of the hospitable priory? The martyr and the confessor went to the rear — the name of S. Julien-le-Pauvre alone remained. The hospitality of the old foundation was now extended in another direction. The schools of Paris, the nucleus of the University, hitherto grouped round the Cathedral, migrated to the left bank of the Seine, and from the year 1200, when the University of Paris was definitely organised, its General Assemblies all took place at the Priory Church of S. -Julien. It became the headquarters of several corporations and guilds. By 3 decree of Philippe-le-Bel, the Provost of Paris who held the S.-JULrEN-LE-PAUVRE 131 ofl&ce of Conservateur de I'Universite, was bound to go once every two years to S.-Julien and solemnly swear to duly observe the privileges of Paris students. The election of University authori- ties took place within the church walls and, as history tells us, many riotous scenes also took place there. The students of those long-past days were no less rowdy than University students of more recent times. The priory grew rich. Land and houses in the vicinity were attached to it. Professors and students of all ranks, and frequent illustrious visi- tors, lodged at the hostel or in its neighbourhood. The Prior had the right to the title " PrStre Cardi- nal." The church was the centre of active Univer- sity life. Then, towards the close of the fourteenth century, schools and colleges were built upon the high ground to the south, known as the Montagne Sainte-Genevieve. Professors and students moved up the hill. Official elections continued to take place at S.-Julien, but with increasing disorder. The priory lost its prestige and its, revenues. The fabric was neglected and fell into decay. The facade of the old church crumbled, and when in 1650 restoration was undertaken, the Gothic portal and two bays had to be lopped off. A few years later it ceased to be a priory. Stripped of all its ancient rights, the foundation and its territories were attached to the Hotel-Dieu, the city hospital. The church became a simple chapel, a dependant of S.-Severin close by. 132 STORY OF PARIS CHURCHES The chapel was closed on the outbreak of the Revolution, then used as a storehouse for fodder. Restored for worship in 1824, it served as the chapel for a community of Augustine nuns until 1870, when it narrowly escaped entire destruction, for the old Hotel-Dieu was in part knocked down, the modern building erected ; new thoroughfares in course of construction were replacing on every side the winding streets and high-walled buildings of past days. The ancient church of S.-Julien was in the way, impeded the straight cuts made by up-to-date architects and town-planners. Happily it was saved and classed as a historic monument. In 1886 it was assigned to the Greek Catholics of Paris — the Melchites, who are under Roman ecclesiastical rule, and Greek services are regularly held there. An interesting feature of the ancient church, therefore, in the present day, is the iconostase, a sort of portico with icones separating the nave from the chancel. It is richly decorated and incrusted with mother-of- pearl and precious wood. Its curtains are drawn during the preparation of the elements and the Communion of the priest. S.-Julien is a striking illustration of twelfth cen- tury architecture at the transition stage from Ro- manesque to Gothic, while many of its stones date doubtless from still earlier days — are fragments of the primitive hostel. The twelfth century fagade, replaced in the seventeenth century by the present rude front, was pure Gothic. The ancient well, now just without the walls, in the courtyard, was in r^liii S.-JULIEN-LE-PAUVRE 133 former times within them. On the north side of the church there is a white slab covering the mouth of another well, long ago closed, famed in olden days as a miraculous spring and from which there was a conduit to the piscine still existing on the epistle side of the altar in the Chapel S. -Joseph. From far and near men flocked thither to be healed of their sicknesses, their infirmities, and its water was fetched from long distances. The nave of the church has undergone successive restorations, but the chevet from the iron gates of the chancel, the Chapel of S. -Joseph and the Lady Chapel are pure twelfth century work. The Chapel S. -Joseph has over the altar a painting showing S. Julien I'Hospitalier. The bas-relief of the high altar dates from the fourteenth century and shows the money-changer Oudard de Mocreux and his wife, who in 1380 founded the Chapel of the Hotel-Dieu. The oak stalls in the abside and the statue of the Virgin in the Lady Chapel date from the seven- teenth century. The bas-relie£ on the wall near the Lady Chapel was taken from the Chapel of I'Hotel-Dieu, where it had been since the middle bf the fifteenth century, when it was put up in memory of a liberal benefactor of the Hospital — Henri Rousseau. The two small pictures, with their beautifully carved frames, date from the eighteenth century. The church has two notable statues ; on the south side that of S. Vincent de Paul, on the north that of Baron Montyon, the founder of the Montyon Virtue 134 STORY OF PARIS CHURCHES prizes, gifts of money awarded yearly with great ceremony at I'lnstitut de France to persons and societies who, amid and in spite of great difficulties, have done exceptionally good and noble work or. made proof of self-sacrificing devotion to relatives, dependants or other persons in need of help or support. The statue of Montyon is a very fine one, by the sculptor Bosio, chiselled for the Hotel-Dieu, where it was set up in recognition of Baron Montyon's works of charity there. Removed from its place on the peristyle of the old hospital when it was replaced by the modern building, the statue was taken to the church that had been so closely connected in bygone days with the ancient House of God of the Parisians. A wall in ruins and one intact corner of the bays pulled down in the seventeenth century still stand. The intact corner is used as the sacristy. Bits of ancient stonework from the capitals of the pillars destroyed are carefully preserved there, and a rude eleventh century terra-cotta statue found beneath the soil when digging near the church some two hundred years ago. It is believed to represent Charlemagne. A door near the Sacristy leads to the open space occupied till recent years by the Annexe of the Hotel-Dieu, which stood close up against the church walls, and to the bit of ground behind the chevet, bounded by an ancient wall said to be a vestige of the great city wall of Philippe-Auguste. From this spot is seen the quaint old beU turret on S.-JULIEN-LE-PAUVRE 135 the suTnmit of the abside, and a curious, narrow flight of stone steps leading to it from higher up oa the church roof. A double line of timeworn lime- trees of neglected aspect mark the site of the alley where patients of the old hospital erewhile took their airings. Beyond, at a few hundred yards dis- tance, stands Notre-Dame, the Paris Cathedral, in all its beauty and grandeur. S. -NICOLAS DU CHARDONNET S. -Nicolas du Chardonnet, i.e., S. -Nicolas of the Thistlefield, stands on the site of an ancient burial- ground, once in the possession of the monks of S. Victor. In the early years of the thirteenth century Guillaume d'Auvergne, Bishop of Paris, took over the site, where till then thistles had evidently been masters of the situation, and built a chapel there. The population of the district, then as now the Uni- versity quarter of the city, rapidly increased ; the chapel became a parish church and was dedicated to S. Nicolas, the patron-saint of students. It soon proved inconveniently small and at the beginning of the fifteenth century was replaced by a much larger edifice, still however in the form of a chapel without tower or spire. A tower was added some two hun- dred years later — in 1625 — the tower which still stands, and where in the stonework may yet be seen engraved the name of the architect : " Charles Cotntesse, magon, jure du roy." By this time, how- ever, the rest of the fabric was crumbling, and towards the end of the century rebuilding was set about under the direction, not of an architect, but of a painter, the celebrated artis^t Lebrun. S. -Nicolas du Chardonnet was Lebrun's parish church ; he had been wont to draw and paint within its walls. The work of design and reconstruction S.-NICOLAS DU CHARDONNET 137 was for him a labour of love — a labour left, how- ever, uncompleted. The artist died in 1690, and the church remained stationary in its unfinished condi- tion for some years. Rebuilding then went on again, but in a dilatory fashion, through the first half of the eighteenth century. The facade has remained to this day a plain wall awaiting its portail. The lateral portal had been finished under the direction of Lebrun. The style of the church is French Renaissance with Grecian pillars. Within, in the Chapel S.- Charles, commonly known as the Chapel Lebrun, its painted ceiling and the picture " S. Charles," his own work, is the tomb of the artist's mother designed by her son and a monument erected to the memory of Lebrun and his wife, with a bust of the painter by Coy se vox. The fine monument in the Chapel S. -Francois de Sales (Jerome Bignoh) is by Girardon (1656). In the Baptistry Chapel, there is a picture by Corot, noted as being the only painting by this great master where the human figures are of chief importance rather than the landscape. Most of the other pictures and statues date from the seventeenth and eighteenth centuries. Some few are modern. The bas-reliefs in the Chapelle des Morts were taken from the tomb of Conde in the Jesuit Chapel S. -Louis, now the Church S.-Paul et S.rLouis. The organ case and the altar in the Chapelle du Calvaire are of beautiful eighteenth century wood- work. SECTION THE RLEVENTH S.-ETIENNE-DU-MONT S.-MEDARD S.-Etienne du Mont. S.-ETIENNE-DU-MONT In fulfilment of a vow made before starting forth to wage war upon the invading Visigoths, King Clovis built a church on the high ground known as the Mont Leucoticias, overlooking the city on the Seine, in the year 510 A.D. It was dedicated to S. Pierre and S. Paul and was consecrated by Bishop Remi, S. Remi of the Calendar. King Clovis and his wife Clotilde were buried in the church thus founded, and there soon afterwards were laid the remains of the saintly nun Genevieve. Thenceforward the church was commonly spoken of as the Church of Genevieve — soon of Sainte Genevieve. The Abbey Sainte-Genevieve was built around it. Mont Leucoticias became the Montagne Sainte-Genevieve. In the ninth century the church was attacked and set on fire by the Danes. A new edifice was quickly raised upon the site, dedicated first to Ste. Marie, later to S. Jean, and known as S.-Jean-du-Mont. It was again almost entirely rebuilt by the abbot Etienne de Tournay, at the end of the twelfth century. Through all these demolitions and restorations the ancient crypt of the first church, where lay the body of its founder King Clovis and that of Ste. Gene- vieve, remained intact. The tower of the twelfth century church, known as the Tower of Clovis, from 142 STORY OF PARIS CHURCHES time to time restored, repaired, still stands within the grounds of the lycee Henri IV. It served at one time as the observatory of Paris. Then, at the beginning of the thirteenth century, a parish church was built under the direction of the Genovifian monks, who officiated at the adjacent chapel, and dedicated to S. Etienne. At the close of the fifteenth century it was decided to rebuild this church on a grander scale. The work was begun at the beginning of the sixteenth century but went on very slowly. Different parts were added at inter- vals. The exquisite rood-screen was erected about the year 1600. The first stone of the facade was laid by Marguerite de Valois in 1610. The church as it now stands was finished at last, and consecrated by Gondi, the first Archbishop of Paris, on February 15th, 1626. The work of build- ing, extending thus over more than a century, left the church a striking example of the transition period at which it was erected. The facade and the rood-screen, the only rood-screen left in a Paris church, are Renaissance. The nave is round- arched, the chancel third period Gothic. One of the most impressive features of this wonderfully impressive building are the grand' arches joining the pillars of the chancel and the nave. The church is in the form of a Latin cross, with the unusual ar- rangement of two chapels in each arm of the cross. It is a very storehouse of beautiful stained glass, mpch of it dating from the sixteenth and seventeenth centuries. It should be seen when the sun is shin- S.-ETIENNE-DU-MONT 143 ing through those glorious panes. Pictures, frescoes, statues of great beauty and value, some ancient, others modern, decorate the church throughout. But the chief point of attraction and of pilgrimage is the Shrine of Ste. Genevieve. The original shrine wherein was preserved the stone coffin containing the body of the saint dated from 1242. It was in the crypt of the ancient church. Restored and remodelled later in the form of a church covered with precious stones, it was supported by the carved wood figures of four women, the work of Germain Pilon (sixteenth century). These figures are now in the Renaissance Gallery at the Louvre. During four hundred years a band of monks of the Abbey, " La Compagnie des porteurs de la. Chdsse," had the duty of caring for and carrying in procession on festal days the relics of Ste. Gene- vieve. In the year 1524 the honour of caring thus for the tomb of the patron-saint of Paris was given to notable citizens : " Les notables de la ville " — sixteen principal members and twenty-four attend- ants. The precious relics were seized at the Revo- lution and burnt. The shrine was sent to the Mint to be melted down, but the stone coffin, regarded as worthless, was left intact, and in 1803 it was taken to S.-Etienne. Some few remaining relics of the revered saint from difJerent churches were collected together and put within it. It has been kept there ever since, with great reverence, enclosed in a new shrine, profusely ornamented, guarded by a priest. The Company of Bearers, suppressed at the 144 STORY OF PARIS CHURCHES Revolution, was re-constituted in 1885, broken up and again re-organised in 1892. Devotions are made daily and all day long at the shrine of the patron-saint of Paris, and the fete of Ste. Gene- vieve, January 3rd, is kept each year with great solemnity. During nine days — a Neuvaine — im- pressive services are held within the church from early morning till evening, while on the Square out- side a sacred " Fair " is held. Medallions, crosses, rosaries, pictures and souvenirs of Ste. Genevieve, objects of piety of all sorts, are laid out for sale on stalls set up there. This war-year, 1917, there was a new stall, bearing in large letters, black and red upon a white ground, the words : " Nos Allies dans le del," i.e., "Our Allies in Heaven." The holders of that stall sold exclusively pictures and mementos of Ste. Genevieve, Jeanne d'Arc and S. Michel. The stall was always surrounded by eager purchasers. And the final service of the Neuvaine this year was peculiarly impressive, marked as it was by strong local colour. The evening was wet and cold and dark. Suddenly it became darker still ; the city from end to end was plunged in obscurity. And rushing through the streets, along the boulevards, went the warning firemen sounding the alarm : " Zeppelins !" Yet no one dreamt of staying away from that closing service. Trams ceased running, but the Paris Metro, the underground railway, was at once crowded to excess. There was no expression of fear. Thousands found their way to the church on S.-Etienne du Mont. Nave. N.D. Photo Paris. S.-ETIENNE-DU-MONT 145 the hill, that, too, showing no light without, lowered lights within. And then the organ pealed, and the vast congregation joined in a great chant of invoca- tion to the patron-saint of Paris, she who in ancient days had saved the city from the invading Huns. Veillez, veillez sur notre cite ! Priez, priez pour notre cite ! ran the refrain, repeated again and again. Later the refrain of another chant was : Dieu de cl^mence, O Dieu vainqueur, Sauve, sauve la France, Au nom du Sacre-Coeur. Ringing through the vaulted space of that grand old church on the Montague Sainte-Genevieve, above the darkened city, while the firemen were sounding the alarm in its streets, and all knew that if enemy aircraft entered Paris, bombs would certainly be directed towards such a spot as this, the scene was singularly impressive. We were soon told, how- ever, from the pulpit that the danger was over. The alarm, as it proved, was a false one. No one knew that at the time. A marble slab in the nave marks the spot where, on January 3rd, the first day of the Neuvaine of the year 1857, Mgr. Sibour was assassinated by the abbe Verge, a defrocked priest. K 146 STORY OF PARIS CHURCHES In olden days the entrance to S.-Etienne was through the Chapel of the Abbey Ste. -Genevieve, a basilica replaced in the year 1764 by what is now the Pantheon, built by Soufflot as a new Church Ste. -Genevieve, but secularised at the Revolution, and made later the burial-place of distinguished men, with the device : Aux grand hommes, la Patrie reconnaissante. S.-MEDARD The earliest building known to have existed on this site was a small chapel erected on the banks of the Bievre as a memorial to Medard, Bishop of Noyon, buried at Soissons, whose body was brought to Paris by the monks of the Abbey Sainte-Genevieve at the time of the Norman invasions. The Bievre was in those days an important stream. Coming from grassy slopes some 40 miles to the south of Paris, flowing into the Seine at a point a little below rile de la Cite, it played an essential part in the life of the citizens, turned its mill-wheels, was a reser- voir for many purposes, industrial and domestic, and — a drain. The little tributary came to Paris in those days sweet and clear and swift. It has long since become too deeply contaminated for open view. It has been hidden away below the pave- ments, only to emerge here and there at intervals, a black and turgid stream among the slums. But the parish of S. -Medard has remained, nevertheless, the parish of the Bievre. It flows deep down be- neath many of the curious old streets. Glimpses of it can be had in the neighbourhood of the Gobelins, for S.-Medard is the parish also of that great artistic Paris factory, and a sample of the work there, a beautiful piece of tapestry, a gift from the looms. 148 STORY OF PARIS CHURCHES hangs over the door of the sacristy of the quaint, old church. Priests from the Abbey Sainte-Genevieve offici- ated in the chapel for a century or two after its erection. It became in due time a parish church, dependant on the Abbey. Rebuilding was set about in the fifteenth century and extended into the cen- tury following. In the eighteenth century the church underwent restoration, as did so many other churches at that time, with the same inartistic results. The Lady Chapel behind the chancel dates from this restoration. It replaced what was commonly called the Chapelle de Clement de Reilhac, founded in the year 1380 by Reilhac, the King's lawyer, for the cdebration of Masses, 157 yearly, for different members of his family. The aspect of the church is very irregular — a mingling of different «tyles of architecture, giving the impression from without of a conglomeration of various buildings. Within we find a Gothic nave with vaulted, sculptured roof and a fifteenth century pendentive, a Renaissance chancel higher than the nave, 'Greek pillars without capitals in the abside. There is very fine woodwork, notably the ancient reredos of the Chapel Ste.-Anne with seventeenth century paintings given to the church by the Car- penters' Guild, the banc d'oeuvre, and the organ case. Here and there in the chapels we see fragments of ancient stained glass, and the east window is S.-MEDARD 149 composed entirely of such fragments dating from the sixteenth century. , Among the numerous statues and paintings dating from past ages, the most noteworthy are the pictures " Ste. Genevieve Bergere," believed to be by Watteau, in the Chapel Ste. -Genevieve, and the "Christ Mort" in the Chapel of the Sacre-Coeur, by Philippe de Champaigne ; the statue S. Denys Enchaine on the altar in the Chapel S. -Denys (eighteenth century), the statue of S. Marcel on the reredos of the Chapel S. -Vincent de Paul, the sculp- tured reredos in the Chapel S. -Louis and that in the Chapel Ste. -Catherine (sixteenth century). In the old cemetery, now a square and a market, which once surrounded the church and extended up the incline which became later the curious rue MonflEetard, celebrated Jansenists lay buried, and there among the tombs strange scenes took place during the early years of the eighteenth century. Miraculous cures were supposed to be worked. Women and girls fell into ecstacies on the graves of reputed saints. The number of such persons grew daily ; they were known as the Convulsionists. Pack- ages of earth taken from the graves were exported far and wide. The " scandale Medard " became so great that at last King Louis gave command to close the cemetery (1732). A witty inhabitant of the Paris of those days happened to pass that way the night after the King's order had been made known. He managed to get near to one of the tombstones and wrote upon it : 150 STORY OF PARIS CHURCHES De par le roi, defense a Dieu, De'faire miracle en ce lieu. The cemetery was sold in 1798, the tombs were overthrown. The church was used as a temple of work, and the seances of the Theophilanthropes were held ther^ during the Revolution. But after the Concordat it was the first of the Paris churches to be re-opened for public worship. SECTION THE TWELFTH s.-jacques-du-haut-pas val-de-grAce S.-JACQUES-DU-HAUT-PAS A DIFFICULT or dangerous passage across a road or river was in past times spoken of in France as a mauvais pas, a maupas, or a haut pas. In Italy in those days there were certain monks called the pontifici, i.e., makers of bridges. The work under- taken by these men of religion was done in order to enable pious pilgrims to cross streams and rivers. At Lucca the monks of the hospital S. Giacomo (S. Jacques) had rendered signal service in the making of bridges, and when, somewhere about the year 1350, a colony of the pontifici built a chapel in Paris upon the site of an ancient convent dedi- cated to S. Magliore, it was promptly surnamed the chapel of S.-Jacques-du-Haut-Pas. Three hundred years later the monks' chapel was replaced by a parish church duly dedicated to S. Jacques — the present structure. Begun early in the seventeenth century, it was not finished till near its close. The style is Doric, simple and severe. The single rather curious tower was designed by the architect Gittard ; the second tower planned was never added. The Lady Chapel and the Catechists' Chapel were built upon the ancient convent grave- yard. The church has many paintings of interest. In the Catechists' Chapel there are two paintings on 154 STORY OF PARIS CHURCHES wood, one by Mazzola (fifteenth century) — The Virgin and Child with S. Pierre and Ste. Lucie ; the other—" Ste. Felicite," by Bourdon (seventeenth century). Four pictures near the abside refer to events in the life of S. Jacques, one of which, " The Lapidation," is by Fragonard. The beautiful woodwork of the pulpit and the organ were origi- nally in the ancient church S.-Benoit, long since destroyed. S.-Jacques-du-Haut-Pas suffered terrible damage at the time of the Revolution. Almost all its fine stained glass was broken and lay for long in frag- ments on the pavement within. The Revolutionists used the church as a " temple de la Bienfaisance " ! Then, in 1796, on S. John the Baptist's day, Mass was once more celebrated in the church amid the ruins of splendid glass and other debris. A com- memorative Mass was thenceforth celebrated annually for some years on June 24th. The custom fell into disuse during the first half of the nineteenth century but was restored in 1864 and is still kept up. Among the vicars of S.-Jacques-du-Haut-Pas, in the eighteenth century, was the Abbe Cochin, founder of the hospital which bears his name. Val-de-Grace. val-de-grXce There existed from the eleventh or twelfth century at a few miles distance from Paris, in the country watered by the Bievre, a Benedictine Convent known as that of the Val-Profond. The district was low and marshy, the inhabitants around were poor, the community was never in a flourishing condition, and things grew worse as time went on. Then, at the end of the 15th century, Anne de Bretagne came to the aid of the nuns, did so much for them that out of gratitude they changed the name of their institution from Val-Profond to Val-de-Grace, Later on Anne d'Autriche determined to help the Sisters. She bought for them the ancient mansion of the Valois, near Port-Royal, and promised to build them a chapel. The Queen built the chapel some years afterwards in fulfilment of her vow after the birth of the son'she had prayed for. The little King Louis XIV, the child of her vow, then only seven years old, laid the first stone in the year 1645. The chapel was not finished until twenty years later. It is a very fine Renaissance structure of the style known in France as Jesuit. The dome is a copy of the great, dome of S. Peter's, Rome, and is forty metres high. On the great bronze doors we see the Royal monogram and the ancient emblem of France 156 STORY OF PARIS CHURCHES — the fleur de lys. The ceiling of the dome was painted by the renowned artist Mignard. His work was called by Moliere "la gloire du Val-de- Grdce." The immense fresco shows Anne d'Autriche surrounded by saints presenting to God her plan for th» church, S. Louis presiding. The high altar, the only altar there now, is surrounded by six marble columns — des colonnes torses, i.e., wreathed pillars, and above it is a handsome canopy on the model of that of S. Peter at Rome. After the Revolution the convent was turned into a military hospital and school of medicine, as it still is. The chapel is only used on Sundays and fete- days when services are held for the soldiers, and for the funerals of soldiers who die in the hospital. SECTION THE THIRTEENTH eglise de la sorbonne s.-germain-des-pre's - EGLISE DE LA SORBONNE It was in the year 1635 that Cardinal Richelieu, who had rebuilt the University Schools, founded in the 12th century by S. Louis' chaplain, Robert de Sorbon, laid the first stone of the church attached thereto. He did not live to see the placing of the last one. The great statesman had been dead four years when the church was finished, some ten years later. A community of priest-students, thirty-six in number, " la Societe de la Sorhonne," who dwelt in the old house of Robert de Sorbon, officiated in the church. It was their chapel. There they cele- brated memorial services and observed anniver- saries connected with the University, and among other ecclesiastical duties had the special one of saying Masses for malefactors condemned to death. They were commonly known as " les Messieurs de la Sorbonne." The Society was suppressed at the Revolution, the church despoiled, devastated. Various destina- tions for the building were proposed : Some among the Revolutionists would have had used it as a morgue — a dead-house. It narrowly escaped de- molition. In the end it was turned into a studio for painters and sculptors. The Cardinal's tomb was 160 STORY OF PARIS CHURCHES violated, the body taken up, the head carried away. The head was not however destroyed but preserved and restored to the family many years afterwards— in 1866. In the time of Louis XVIII, his minister, the Due d^ .Richelieu of those days, succeeded in getting the church restored as a religious edifice. It was given into the care of the Faculte de Theologie re-estab- lished at the college. Many celebrated preachers spoke from its pulpit in the years that followed, and grand musical services were held in the church. The Faculte was broken up in 1885 owing to lack of funds. The church was thenceforth de- pendent on gifts for its upkeep. The family of the Richelieu still kept their rights and privileges. Until the year 1942 it will continue to be, in a cer- tain sense, their private chapel. Their marriages take place there, and their funerals. They possess rfwo great vaults. Twenty-four coffins lie in the vault beneath the Cardinal's monument — six in the chapel near the high altar. The church has two grand facades, in Renais- sance style, with Corinthian columns, one giving on the courtyard of the University buildings, the other facing the Place de la Sorbonne, Boulevard S.- Michel. The ceiling of its great dome is covered with paintings by Philippe de Champaigne. The arms of Richelieu are seen on every side — on the facade of the courtyard, on the walls within, on the windows. The tomb of the statesman, a master- piece by Girardon, is the chief monument in the J^GLISE DE LA SORBONNE 161 church ; it was originally in the chancel, but is now in what was formerly the Lady Chapel. In the Chapel S. -Joseph is the more recent monument erected to the memory of the Due de Richelieu, Minister under Louis XVIIL The Church of the Sorbonne was officially dis- affected like all other State chapels after the Separa- tion Act (1906). But, on account of the rights held by the Richelieu family, the altar was not dis- mantled. Each time a Richelieu is married or buried, therefore, the church is regarded as a con- secrated building. S.-GERMAIN-DES-PRES The first stone of this ancient church was laid in the year 543. King Childebert had been warring in Spain, fighting against the Visigoths. He returned to France victorious, laden with treasure and bring- ing with him the relics of S. Vincent. On regaining his country and his capital the King determined to found a church whereiin to lay the precious relics. He chose a site amid green fields — prairies — on the outskirts of the city. S. Germain was Bishop of Paris at the time, and the church was built under his direction. It was dedicated to the saint whose bones were preserved there, and was long known as the church of S. Vincent, with the added name Sainte-Croix from its crucifix form. King Childe- bert died on the very day of its consecration. Bishop Germain then set himself to add a monastery, and in a few years the church became the centre of extensive and important Abbey buildings. The Abbey grew into a little city. It had three great gates and was surrounded by a moat into which flowed water from the Seine. Until the death of Dagobert and his interment in the basilica he had built at S. Denys, or even later occasionally, it was the burial-place of the Kings of France. Bishop Germain died and was buried in the Abbey he had built and cared for with unflagging energy. S.--(5ermain des Pr6s. Nave. Uvy jih et C'^- Photo. Paris. S.-GERMAIN-DES-PRfe 163 He was laid beneath the pavement of a chapel dedi- cated to S. Symphorien in record of the bishop's cure at Autun, whence he was called to Paris. The church was thenceforward called by his name and pilgrimages were made to his tomb. Its site is now the Catechists' Ghapel, entered through an ancient Gothic doorway near the porch. From the thir- teenth century the Abbey was definitely inscribed on all documents as the Abbaye S. -Germain. In the ninth century it was repeatedly attacked and devastated by the Normans. Partially rebuilt in the tenth century, it was entirely reconstructed and made into a fortified place in the twelfth. The tower of the restored church was covered with gilded copper, and for long was on that account commonly known as S.-Germain-le-Dore. The gilded capitals seen there to-day remind one of this ancient name. Among its various institutions and dependencies the Abbey possessed a jail, for the Abbots of early days had legal power to judge and to punish. Many noted men, several historical personages, were Abbots of S.-Germain-des-Pres — Hugh Capet, Casimir King of Poland, whose tomb is in the church, and others. Early in the sixteenth century the Abbey was put under the rule of S. Benoit. But the days of its power and prosperity were drawing to a close. In the seventeenth century many of the Abbey lands were given up to the secular authorities and work- 164 STORY OF PARIS CHURCHES men's dwellings built upon the ancient grounds of the monks. In the century following the Revolution brought desecration, despoliation and bloodshed. The monastery was suppressed ; the library and refec- tory were burnt. The ancient jail was filled with pris- oners ; many of the most notable persons of those tragic days were shut up there : Madame Roland, Charlotte Corday, Philippe Egalite and others. Three hundred victims, chiefly priests and nobles, perished in thg courtyard of the Abbey gardens during the massacres of September. The church referred to as Ci-devant Abbaye S. -Germain was made into a Maison de I'Unite, then used as a salt- petre factory, then as a temple of the Theophilan- thropists. It was restored for public worship in 1806. As well from an architectural as from a historical standpoint, S.-Germain-des-Pres is a church of re- markable interest. The twelfth century tower, the most ancient church tower in Paris, the porch with its thirteenth century bas-relief, the ruins of the Lady Chapel built by Pierre de Montereau, archi- tect of the Sainte-Chapelle, in the little square, the extent of the old edifice, the Gothic vaulting of the church, the splendid chapel of the Sacr6-Coeur, once the Abbey choir, the round-arched nave, show the transition from Romanesque to Gothic. The pillars of the chancel with their fine capitals are ancient ; those of the nave are copies of the original pillars which may still be seen at the Musee Cluny. S.-GERMAIN-DES-PR]fes 165 The rich dark-red colouring of the shafts below the gilded capitals of the pillars in the chapel is of fine effect. The Byzantine style of colouring of other columns in the church strikes one as less happy. Bare stone would be more in keeping with the pure lines of those tall pillars. Fragments of fine stained glass, saved from the destruction of Revolutionary days, make up the windows of the Chapel Ste. -Genevieve. Of the more ancient statues and pictures the most remarkable are the marble statue of Notre-Dame de Consolation, formerly known as Notre-Dame la Blanche, given to the Abbaye S.-Denys in the year 1340 by Jeanne d'Evreux ; the tomb of Casimir King bf Poland in the Chapel S. -Francois Xavier; the tomb of William Douglas in the Chapel S. -Joseph ; that of James Douglas, his son, in the Chapel S.- Michel ; the statues La Piete et la Fidelite on the tomb of Olivier et Louis de Castelan in the Chapel Ste. -Marguerite ; the plaster group of the Virgin at the Calvary in the Chapelle de la Compassion. The ashes of the poet Boileau are in an urn in the Chapel of SS. Pierre et Paul. But the glory of the church in the way of decora- tion is modern work — the fresco-painting of Hippolyte Flandrin. Those beautiful frescoes cover the walls on every side. Those of the Chapel of the Sacre-Coeur are the most remarkable, and the stained glass there, above the frescoes, were exe- cuted from designs of the great painter. 166 STORY OF PARIS CHURCHES A monument with the bust of Flandrin is on the wall in the north aisle. The fine pulpit is modern (1828). In former days the church had three bell-towers ; two were pulled down in the early years of the nine- teenth century to make room for the widening of surrounding streets. SECTION « THE FOURTEENTH S.-SULPICE S.-JOSEPH-DES-CARMES NOTRE-DAME-DES-CHAMPS SAINTE-CLOTILDE S.-PIERRE DU GROS CAILLOU S.-Sulpice. S.-SULPICE In ancient documents the Church of S.-Sulpice is referred to as the parish church of the Faubourg S. Germain. Associated with S.-Sulpice in early days was a church dedicated to S. Pierre, standing, it is believed, on the spot now occupied by the Ecole de Medecine. The long, narrow, well-known rue des Saints-Peres, leading from the vicinity of S.-Sulpice to the banks of the Seine, was in' those days and for long after, the rue Saint-Pierre, the principal street of the parish, and the 29th June, S. Peter's day, is kept at the church as well as the fete-day of S. Sulpice as a patronal festival. The original edifice was restored or entirely re- built in the thirteenth and fourteenth centuries, but a much larger church was soon needed for the extensive territory comprised within the parish boundary — a territory divided later into four distinct parishes beyond that of S.-Sulpice itself. A new church was planned therefore, and its first stone laid by Anne d'Autriche in the year .1646. It was not finished till a century later. Famous architects, seven in number, succeeded one another in the building of the church dur- ing those hundred years, but the work made little progress, and was often entirely suspended. The generosity of a vicar, the Abbe Langqet de 170 STORY OF PARIS CHURCHES Gergy, brought about its tardy completion in 1733, still without the grand portal, and the church was then dedicated to a celebrated bishop of Bourges of the sixth century, Sulpice le dehonnairei The grand portal was added several years later, the work of Servandoni. His towers, however, were not approved. Chalgrin was deputed to reconstruct them. He rebuilt that to the left ; the other re- mained as Servandoni had made it. Both towers are slightly higher than the towers of Notre-Dame— one measuring 73 metres, the other 68. The general style of the church is Renaissance. A distinctive feature of the fagade is the loggia formed by Ionic columns. The lower columns are Doric, _ those within the church Corinthian. The walls of the church within are covered with frescoes and paintings by celebrated artists. Those of the Lady Chapel are by Van Loo (1766). The Assomption of the dome is by Lemoyne (1731). Others in the numerous chapels are by the great masters of modern times, those of Delacroix in the Chapelle des Saints-Anges the most remarkable. Statues and bas-reliefs of great beauty are numerous. The Chapel of Our Lady has a wonderful statue of the Virgin and Child by Pigalle, lighted from above, with striking effect. The high altar is unusually large. The shells for holy water were given to Francois I by the Republic of Venice. The pulpit, with its carved figures, was a gift of Richelieu. The loft and casing of the grand organ were designed by Chalgrin. The organ in the S,-SULPICE 171 Chapel Notre-Dame des Etudiants belonged to Marie-Antoinette and was played by Gluck and by Mozart. S.-Sulpice is noted for its grand organ and for the beauty of its musical services. The woodwork of the Chapel of the Sacre-Coeur is very fine (Barthelemy, 1784). The meridion of Paris passes straight across the church. The sun entering a window in the south transept exactly at mid-day, and shining in a direct line upon the pavement, strikes upon the copper plate of an obelisque erected on the opposite side by Sully and Le Monnier in 1743. At the Revolution the church was shamefully desecrated. A fete of Reason and sacrilegious ser- vices of all sorts were held within its walls, and a great banquet was given there in honour of Napoleon. Opposite the church is the vast building erected and used until the Separation Act as a seminary for priests — the mother-house of various branch foun- dations. A section of the seminary was set apart for Scottish student-priests. After 1906 the build- ing was destined to replace the Luxembourg Picture Gallery, and was undergoing transformation for this purpose at the outbreak of war. It has been used since as a house of refuge for Belgian families and orphan children. ' Each parish in Paris has its own special works of charity and its particular religious societies and guilds. S.-Sulpice has amoijg other special objects of united prayer that of the conversion of England ! 172 STORY OF PARIS CHURCHES The Archiconfrerie de Notre -Dame de Compassion was founded to this end by Pope Leon XIII in 1897. Members of the Archiconfraternity meet on the second Sunday of each month and prayers for the samie cause are said on patronal festivals. S.-JOSEPH-DES-CARMES The chief point of interest in the Church S.-Joseph- des-Carmes is its crypt. There the bones of some 120 priests, massacred on the 2nd September, 1792, are reverently preserved, and the names of the slaughtered priests recorded on marble slabs. The statue of the Blessed Virgin, once in the chapel gar- den, at the foot of which many of the priests were slain, is there. There, too, we see the cross on which Lacordaire voluntarily hung for three hours, the door of the cell where Mgr, Darboy was shut up at Mazas, and the tomb of Ozanam, the founder of the Conferences de S. Vincent de Paul. The church itself is not remarkable save as being the first edifice in Paris built with a dome. The style is French Renaissance, Its first stone was laid by Marie de Medicis in 1613. The adjacent con- vent of the Carmelite monks, who built it, has been for long a Catholic college. The church suffered great damage during the years of Revolution and was used at one time as a public dancing saloon. The Carmelites bought it back as soon as those stormy days were over, but some years later ceded it to the Dominicans. It is now attached to the adjacent college, whose pro- fessors are priests and officiate at its services. The church has fine frescoes, bas-reliefs and pictures. 174 STORY OF PARIS CHURCHES The frescoes of the ceiling of the Chapel S.- Camille, those over the door of the sacristy and the painted panels of the Chapel Ste.-Anne are ancient. The paintings in the ceiling of the dome date from the seventeenth century (Bartholet Flamael). NOTRE-DAME-DES-CHAMPS It was in the Carmelite convent attached to the ancient Church Notre-Dame-des-Champs in the rue Denfert that Mademoiselle de ta Valliere took refuge and Madame de Montespan ended her days. That church of bygone times stood on the spot where tradition says S. Denys made his first stay on ap- proaching the city of Lutetia, the Paris of those days, having journeyed thither from Rome. The old church was destroyed at the Revolution. When in the nineteenth century a new parish church was planned for the district, to replace a temporary chapel in the rue de Rennes, it was decided it. should be dedicated to Notre-Dame-des-Champs, recalling thus to memory the church of ages past, when green fields spread where for many decades thickly-populated streets have resounded with the footsteps of busy workers in this heart of the artists' quarter of Paris. The church was finished in the year 1876. The style is composite Romanesque of good workmanship. The walls within are richly decorated with modern frescoes by Aubert. In the Lady Chapel there is a fine painting of Notre-Dame- des-Champs by the same artist. In the Sacristie des Manages there is an eighteenth century Holy Family (Verdier) and a picture attributed to Vin- cent representing the death of Thomas-a-Becket. There is some good stained glass — modern. SAINTE-CLOTILDE The Church of Ste.-Clotilde stands where stood once a Carmelite convent. The convent was sup- pressed at the Revolution, the building used as a granary. The chapel of another convent, the House of Mercy Ste.-Valere, served as the parish church of the district for some years after the Con- cordat. Then, in 1846, the first stone was laid of this new church planned by the architect Gau on the model of the grand old church of S.-Ouen at Rouen. It was finished ten years later by another well-known architect, Ballu. The style is fourteenth century Gothic — ^but with, in the words of French architects, innumerable fautes d'orthographe, i.e., spelling mistakes ! As well in perfection of design as in workmanship, it comes very far short of the glorious edifice of which it was intended to be a copy. It was declared a basilica by Pope Leo XIII on the fourteenth centenary of the baptism of Clovis. The church has beautiful bas-reliefs ; those on the high altar are by Auguste Barre. The scenes of the life of Ste. Clotilde near the chancel and those of the life of Ste. Valere near the Chapel Ste.-Valere are by Guillaume ; the Stations of the Cross are partly the work of Pradier (those on the Gospel side), the seven others by Duret — all nineteenth century artists. SAINTE-CLOTILDE 177 The church is rich in pictures and frescoes, aU modern, and there is much stained glass, which is, however, mostly of inferior value. The names of the parishioners of Ste.-Clotilde who perished in the fire at the "Bazar de la Charite " are inscribed on slabs in the Chapelle des Moris, M S. -PIERRE DU GROS CAILLOU ,S. -Pierre du Gros Caillou stands on the site of a chapel built about the year 1738 ancj dedicated to S. Pierre, to record the existence of an ancient chapel associated in long past days with S.-Sulpice. The upper part of the rue S.-Dominique, where it was erected, that old-world street with its fine man- sions, the Paris homes of so many of the ancient French noblesse, and the district all around, were at that time in the parish oi S.-Sulpice. An im- mense boundary stone, a gros caillou, separated the S.-Sulpice end of the street from the district of Crenelle, which was a dependency of the Abbey Sainte-Genevieve. The rue de Crenelle is still one of the most important streets of the quartier. The chapel was built to meet the needs of the rapidly increasing population due to the vicinity of the Invalides and the newly-erected Ecole Militaire and Military Hospital. Towards the end of the century a distinct parish was formed around it and a new church planned. Building was then set about under the direction of the architect Chalgrin. The Revolution broke out ; the unfinished church was sold and razed to the ground. It was rebuilt in the third decade of the nineteenth century in the form of a Roman basilica, the present edifice, by S.-PIERRE DU GROS CAILLOU 179 the architect Godde, and considerably enlarged in the twentieth century. It is not a beautiful structure. Four massive Doric columrls with figures in terra cotta, form the porch. Except the Ermite en priere (1747) in the Chapel of the Sacre-Coeur formerly at S.-Sulpice, the pic- tures and statues are all modern, none especially remarkable. In the Chapelle de la Compassion a memorial tablet records the names of the parishioners, so numerous, who perished in the fire at the Bazar de la Charite (see p. 205). SECTION THE FIFTEENTH S.-THOMAS d'AQUIN S.-FRANCOIS-XAVIER S.-LOUIS-DES-INVALIDES AND L'EGLISE DU d6mE SAINTE-MARIE-MADELEINE LA CHAPELLE EXPIATOIRE S.-THOMAS d'AQUIN The Church of S. -Thomas d'Aquin was originally a small chapel built early in the seventeenth century for a community of Dominican monks, and dedi- cated to the patron-saint of the Order S. Dominique. Towards the end of the same century the little chapel was enlarged. A century later the facade was added by one of the monks, a certain Frere Claude. The Revolution brofcfe out. Convents and mon- asteries were suppressed on every side, yet the Dominicans in this corner of the boulevard S. -Ger- main were left undisturbed until the autumn of 1793. Then their convent was seized and converted into a temple of Peace ! It was restored for worship after the Concordat as a parish church, dedicated to S. Thomas d'Aquin. The Chapel S. -Louis behind the high altar is the ancient convent choir. The church is in the form of a Greek cross, its facade of the style known as Jesuit, with Doric and Ionian columns. The doors are rich in bas-reliefs ; those of the central door date from the .eighteenth century. Within the church the abundance of mouldings,* the sculptured frieze round the nave and the general 184 STORY OF PARIS CHURCHES tone of the decorations mark the Renaissance style at the period of its decline. Many of the pictures are the work of the old monks, of Frere Claude in particular, dating, there- fore, from the eighteenth century. The paintings on the ceiling of the Chapel S. -Louis are by Le Moyne (1724). Other paintings are nineteenth century work. The picture by Picot (1819), "The Death of Ananias and Saphira," was at one time in the ancient Church S.-Severin, then at S.-Sulpice. In the chancel there are fine paintings by Abel de Pujol. In the baptistry Chapel is a noteworthy pic- ture by Roehn (1824), " The Return of the Prodigal Son." The Pieta in the marriage sacristy dates from the seventeenth century. The bronze lustres from the time of Louis XV. The pulpit and the organ case are eighteenth cen- tury work. S.-FRANCOIS-XAVIER A MODERN church (1874), built from the plans of two architects. The first, Lusson, died while build- ing was in progress ; his successor, Uchard, con- tinued the work begun in Romanesque style by adding touches of Renaissance. The towers are forty metres high. The church within is remark- ably handsome and bright. Beautiful mosaics pave the chancel, and the fine Communion rail is of white Sienna marble. Most of the decorations are the work of artists of the second half of the nineteenth century. The paintings on the ceiling are of a high order and there are several good statues. S.-Frangois-Xavier is often referred to as the Church of the Missions Etrangeres, because the parish, formerly included in the immense parish of S.-Sulpice, had at first as its church the chapel of the Mission Seminary. S.-LOUIS-DES-INVALIDES AND L'EGLISE DU d6me L' Hotel des Invalides, the Paris home for disabled soldiers, was founded by Louis XIV in the year 1670. Its chapel, S. -Louis, was enlarged five years later by the addition of I'Eglise du Dome- that gilded dome which stands out conspicuous among the towers and domes and humbler roofs of the city. The Chapel S. -Louis was for the Invalides, l*Eglise-du-D6me for the King whenever he passed that way. Lazariste priests officiated, and the chapel served as the parish church for the staflE of the institution and persons connected therewith, until the Revolution. It was closed entirely in the year of the Terror, grandly restored in the nine- teenth century. Flags captured from the enemy in many battles hang from the walls of the chapel, and the pillars of the nave bear inscriptions commemorating great soldiers — marshals and generals of France. A pathetic point of interest is an old copy of the " Imitation of Jesus Christ " attached to a pillar near the door : it was found at the battle of Grave- lotte (1870) on the body of a dead soldier, open at the chapter, " Le desir du del." The woodwork of the organ is very fine (seven- teenth century), and the white marble pulpit with Les Invalides : La Chapelle S. -Louis. X. Photo. Paris. S.-LOUIS-DES-INVALIDES 187 copper bas-reliefs is a striking work of art. The pictures are modern (nineteenth century). A grand piece of stained glass in a framework of gilded bronze, at the head of the choir, marks the point of separation between the Chapel S. -Louis and I'Eglise du Dome. The Dome Church, its facade decorated with Doric and Ionian columns, is in the form of a Greek cross. Between the two arms of the cross, beneath the grand sculptured and frescoed roof of the dome, is the splendid tomb of Napoleon — an open crypt of. red granite from the Vosgqs, with white marble staircase, the mausoleums of the Generals Duroc and Bertrand on either side, twelve colossal figures, the twelve Apostles, " keeping guard " over the figure of the Emperor in his coffin. Above is S. Louis offering his sword to Jesus Christ. Other splendid tombs are there. Turenne and Vauban lie beneath monuments in the transepts; Jerome Napoleon and Joseph Napoleon in chapels in the nave. The greater number of the statues, bas-reliefs and pictures date from the seventeenth and eighteenth centuries ; others are by the great masters of the nineteenth century. SAINTE-MARIE-MADELEINE The Madeleine, as this well-known church is com- monly called, stands on the site of an ancient Bene- dictine convent. The rue Ville-l'Eveque, in the vicinity of the church, records the name by which the district was known in the timq of Philippe- Auguste when the bishop of Paris had a country villa there. The Confrerie de Ste. Marie-Madeleine had charge of the services at the convent chapel, and when, at the end of the fifteenth century the chapel was rebuilt, Sainte Marie-Madeleine was named its patron-saint. In the seventeenth century the chapel became a parish church and was again rebuilt. This third church proved too small and was in its turn pulled down. A new building was begun in the year 1764. It was unfinished at the outbreak of the Revolution. The convent kitchen garden had been made into a graveyard. The victims of the fireworks at the wedding of Louis XVI and Marie-Antoinette had been buried there. Those unfortunate sightseers were now joined in death by the King himself, the Queen, the Swiss Guards who died defending the Tuileries, Charlotte Corday, and many more among the most distinguished victims of the Revolution. Their tombs may be seen to-day in the grounds of SAINTE-MARIE-MADELEINE 189 the Chapelle Expiatoire {see p. 191), for in the year 1794 the cemetery was put up for sale and bought by a Royalist who made the graves of those 'who lay there his special care. The aim of the architect who undertook the re- construction of the church in 1764 was to achieve an imitation of the Pantheon at Rome. His un- finished erection did not suffer great damage during the days of Revolution, and as soon as Bonaparte was in power the Emperor decided it should be completed as a temple of military glory to be dedi- cated to the Grande Armee. Pignon, Napoleon's architect, set to work on the plan of the celebrated Maison-Carree at Nismes. The Emperor's glory faded ; his temple was left unfinished. The building was restored to the eccle- siastical authorities, and in 1828 its construction as a church was once more set going. It was not en- tirely finished until 1842, and was opened for public worship a year later. The Madeleine is built on the model of a Greek temple. It is 108 metres in length, 43 metres broad, with Corinthian columns forming a splendid colon- nade on every side. The facade has fine bas-reliefs. Those covering the great bronze doors, the largest church doors known, are of remarkable beauty, the work of Triqueti (1838). Specimens of every kind of marblei found throughout France have been used in the grand interior, and the decoration through- out is rich and gorgeous. Paintings and statues are all modern, the work of the greatest masters of the 190 STORY OF PARIS CHURCHES first half of the nineteenth century. In the abside, behind the high altar, are twelve figures of angels and saints between twelve Ionic columns, marvel- lous mosaics, a grand fresco by Ziegler. In this wonderful painting, called " I'Histoire de la France Chretienne," we see in the centre Pope Pius VII and Napoleon in the act of making the Concordat, surrounded by King Clovis, Charlemagne, S. Louis, Jeanne d'Arc, Henri IV, Sully, Louis XIII, etc. Above them, Jesus is shown blessing France from the sky, with by His side the Virgin Mary and Sainte Madeleine praying for France. The fine piece of sculpture over the high altar, the Ravissement de Madeleine, is by Marochetti, that in the baptistry by Rude. Th^e church was a scene of terror during the Com- mune (1871). The Abbe Dequerry was killed there by the Communards, and many of the insurgents were slain before the high altar. LA CHAPELLE EXPIATOIRE The Royalist who bought the tragic cemetery of the Madeleine took the greatest possible care of the burial-ground where lay the bodies of his King and Queen and of so many other victims of the Revolu- tion. Then, in 1815, the remains of Louis and Marie-Antoinette were taken up and carried to the official burial-place of French monarchs, S.-Denys, Upon the site of the old cemetery was built by command of Louis XVIII the Chapelle Expiatoire. It was finished in 1826. The altar in the crypt marks the spot where some fragments of the royal remains had been found. Within the chapel a monument by Bosio shows Louis XVI ascending to heaven, supported by an angel, and records the words said to him at his execution by the Abbe Edgeworth : " Fils de Saint Louis, montez au del." On the pedestal the King's Will, made December 25th, 1792, is engraved in gold letters. A second monument by Cortot shows Marie-Antoinette sup- ported by Religion personified as a woman with the features of Madame Elisabeth, the King's sister, and on black marble below, the letter written to her by the Queen, October 6th, 1793. The subject of the bas-relief over the door of the chapel is the trans- ferring of the royal remains to S.-Denys. 192 STORY OF PARIS CHURCHES In the chapel garden memorial stones record the death of the Suisses, who defended the Tuileries/' and others who perished during the Revolution. SECTION THE SIXTEENTH THE BRITISH EMBASSY CHURCH^ S.-AUGUSTIN S.-PHILIPPE-DU-ROULE HOLY TRINITY (AMERICAN EPISCOPAL) S.-JOSEPH THE RUSSIAN CHURCH CHAPELLE DU BAZAR DE LA CHARIT^ THE BRITISH EMBASSY CHURCH The Chapel Marboeuf, built to replace the salon at the British Embassy, which for so long had done duty as a chapel on Sunday, after, perhaps, serving as a ballroom on Saturday, was inconveniently far from the Embassy and was besides inconveniently small for the large British colony composed for the most part of members of the Church of England. In the middle of the nineteenth century, there- fore, Bishop Luscombe, who had been consecrated for continental work, as bishop of that immense dependency of the London diocese, Northern and Central Europe, built a chapel in the rue d'Agues- seau. It has remained ever since the official chapel of the British Embassy hard by. All ceremonies of an official character take place there. There the Sovereign and his suite, or other illustrious official visitors, fail not to appear if a Sunday morning occurs during the time of their visit to the French capital. There in the year 1903 King Edward occu- pied a special seat provided for him in front of the reading desk, while the people of Paris, French and British, the French in great force, gathered within and without the church doors to see the King they loved. After the King's death, six years later, the President of the French Republic and representa- tives of all the public bodies of the city, gathered at 196 STORY OF PARIS CHURCHES the British Embassy Church for a Memorial Service while the funeral was taking place in England. The church has remained, nevertheless, so markedly the remplagant of the Embassy Salon that it has never been dedicated, has no patron-saint — a very regrettable fact. The edifice is entirely without architectural inte- rest. On the walls within are numerous slabs put up in memory of British subjects who died in Paris, and one or two good stained-glass memorial win- dows. It is a centre of earnest work among the British colony and of active " parochial " organisa- tions. S.-AUGUSTIN This handsome modern edifice is the work of the well-known architect Baltard. The style is Italian Renaissance, extremely ornate, with touches ' of Byzantine. The dome, 80 metres high, is seen from far. The facade, with an arched porch of an earlier style, has a wealth of statuary. The interior, rich in every detail, forms a harmonious whole of ele- ments in varying styles. The high altar, raised above a crypt, with columns of green marble and fine mosaics, is beneath a ciborium of wrought iron and bronze, 10 metres high. The stained glass, the paintings, frescoes, statues and statuettes, are the work of the best artists of the middle of the nine- teenth century. 197 S.-PHlLlPPE-DU-ROULE In the Vill^-du-Roule, at that time and for long afterwards, a rural suburb of the city of Paris, the Goldsmiths' Company built a chapel for their sick in the year 1217. The hospice became the centre of a gradually increasing population. Five hundred years after its foundation the district was organised as a parish, with the hospice chapel, enlarged and dedicated to S. Philippe and S. Jacques, as the parish church. Sixty years later the ancient walls began to crumble. The present church was then designed by the architect Chalgrin and built between the years 1769-1784. The Lady Chapel was added in 1845, the Catechists' Chapel in 1853. The church is in the style of a Roman basilica — but with arched roof. The porch is formed by four Doric columns. There is good stained glass by Maignen. The pictures, statues and frescoes are all modern (nine- teenth century), except "The Communion de S. Franfois d'Assise," and the "Circumcision" (seventeenth century). The ancient rural Villa du Roule has for more than a century past been the Faubourg Saint- Honore, with its fine mansions and smart shops and the numerous modern streets leading into it. Its church, therefore, is the centre of one of the most wealthy parishes of the city. 198 HOLY TRINITY (AMERICAN EPISCOPAL) This handsome edifice, commonly known as the American Church, is infcontestably quite one of the finest modern churches in Paris or elsewhere. On entering the outermost doorway we feel as if we had suddenly come upon one of the Abbeys of ancient times, newly erected ; we pass through cloistered passages, find a sheltered courtyard, a clergy house, a choir-school, a library, a large vestry, all in the same style as the church, and on every side beauti- ful carved oak furnishings. The church was built between the years 1885- 1888, under the direction of Dr. Morgan,, for forty years American chaplain in Paris, a brother of the world-known Pierpont Morgan. Dr. Morgan put into the work the ardour, the enthusiasm, the love for things beautiful of a S. Eloi, a Suger, a Sully. He set out on the principle that nothing that was not as perfect as it pould be pro- cured or made was to go to the construction or adorning of his church. Peterborough Cathedral had just been restored under the direction of the architect G. S. Street, R.A. Mr. Street was engaged to design Holy Trinity, Paris, and the work of building was given into the hands of the Peterborough firm who had proved their efficiency in the restoration of the 200 STORY OF PARIS CHURCHES grand Cathedral of their own old city. Tw^ hun- dred workmen came over from England engaged on special conditions, namely : adequate pay for ex- cellent work ; no Sunday labour ; perfect decorum in behaviour while at work ; no swearing. Frequent services for men were held while the church was in the course of construction. The architect had rea- son to be proud of the completed work; it was universally acknowledged as his masterpiece. The style is early English, i.e., Gothic as it was first modified in England, the effects of light and shade procured by deep or less deep mouldings. The church was nearing completion when a pillar cracked. Every pillar was forthwith carefully cut away one by one and replaced by the superb col- umns of Ancy-le-franc marble now seen. Like the Abbeys of old, the church has very beau- tiful stained glass. The artist Beckwith achieved for it a unique series of marvellous windows illustrating the Te Deum, beginning with the west window and going along the north aisle. The choir-screen is of English wrought-iron of delicate lace-like workmanship. The splendid reredos on the altar is Florentine — of the style known as " Gesso," lately revived in England. Holy Trinity has also a " Treasure " — not relics, as the term is usually applied and understood, but ancient alabasters and beautiful old lace, used on special occasions in the sacred ministrations. One misses on the fine stone walls within the church the lavish decorations to which we are accus- HOLY TRINITY 201 tomed in the French churches, which make, so to speak, the human touch, gjye a glow of warmth. Some such decorations may perhaps one day be added. S.-JOSEPH When some fifty years ago this little English chapel was built by the Passionist Fathers, the site chosen lay in a district on the outskirts of the city, of rural appearance, with here and there a rich mansion, here and there a village-like habitation ; the twelve fine avenues branching from la Place de I'Etoile, surrounding I'Arc de Triomphe, were not at that time the busy, populous thoroughfares we know to-day. The chapel was barely finished on the out- break of the Franco-Prussian war. Soon the Prus- sian cannons were directed upon Paris ; a ball, des- tined no doubt for the church, pierced the adjoinin| presbytere. It passed right through the well-built walls from end to end, but left the chapel unhurt. Of severe and simple aspect from without, the church within is beautiful. The style is Romano- Byzantine, with fine arches and pillars, the roof forming a dome, the walls richly painted, the mould- ings gilded, good statues and decorations. The Passionist Fathers were dispersed after the Separation Act in 1906, but the work of the church goes on actively among English-speaking Roman Catholics of the French capital. 202 THE RUSSIAN CHURCH During more than a hundred years, from 1738 to 1861, a room at the~ Russian Embassy served as a chapel for the Russian services in Paris. In 1859 the Emperor Alexander II made a donation of 50,000 roubles for the erection of a church, and the handsome edifice in the rue Daru was planned by the Russian architect, Kouzmine, of the Beaux- Arts, Petrograd. It was built in the course of the two succeeding years, and in 1861 solemnly conse- crated by a bishop who came to Paris from Russia expressly. It has a double dedication : to the Holy Trinity and to S. Alexander. The style is Byzantine-Moscovite, with bulb-like, pinnacled domes, a gilded ball and a cross at each apex. A figure of the Saviour in the act of blessing, in deep rich colours on a golden background, sur- mounts the grand portal. The interior is very beautiful. The cupola of the circular chapel is supported by dark red marble pillars with gilded capitals. The walls are covered with exquisite frescoes, in rich tones, with sober oriental gilding. The iconostase, that distinguishing feature of the Eastern Church, is remarkably fine. The paintings, the work of a great Russian artist, are all on a distinct plan. Those round the dome show the prophets who foretold the coming of 204 STORY OF PARIS CHURCHES Christ and illustrate some of their prophecies; Those in the transepts and round the apse record incidents in His life — the five latter paintings show the incidents symbolised by the five great Acts of the Russian Liturgy. I. The grotto at Bethlehem and the birth of Christ, typified by the small altar and the prepara- tion of the sacred elements thereon, II. The preaching of the Sermon on the Mount, typified by the entrance of the priests in procession, the deacon carrying the Gospel — the ceremony of the lesser introit. III. The triumphal entrance of our Saviour into Jerusalem, typified by the procession of priests bearing the sacred vessels containing the unconse- crated elements from the small altar. IV. The sacrifice of our Lord on Calvary, as per- petuated by the celebration of the Mass. V. The Last Supper, typical of the renewal of the sacrifice by the Communion of the faithful. The general furnishings of the church are of most perfect material and workmanship, rich and beau- tiful. There are neither stalls nor benches. The floor is carpeted, and the worshippers either stand or kneel throughout the whole of each service. The church is famed for its fine choir and the beauty of its musical services. CHAPELLE DU BAZAR DE LA CHARIT^ One of the most superb monuments Un Paris — too sumptuous for perfection — is the chapel built during the closing year of the nineteenth cen- tury in memory of the victims of the disastrous fire at the Bazar de la Charite in May, 1897. It stands on the spot where eighty or more women and young girls and some few men, chiefly of the French noblesse, perished so tragically on the open- ing day of the great sale of work organised to pro- vide funds for the charitable institutions of Paris. The chapel was built 0*0 the initiative of Mgr. Richard, Archbishop of Paris, for continual in- tercessory prayer — a Chapelle Expiatoire. The style is Italian Renaissance with a handsome dome, and Ionic pillars without and within. It is richly decorated with gilding and costly marble. The altar is surmounted by an immense statue in gilded copper : La Vierge des Sept Douleurs. The fresco of the cupola by Albert Maignan shows Christ receiving in glory the victims of the fire. Many of the figures are portraits. Monu- ments to the memory of some of the most distin- guished among those who perished there, and black marble slabs bearing the names of all, line the walls of a cloister-like encircling gallery. 205 SECTION THE SEVENTEENTH NOTRE-DAME-DE-LORETTE LA SAINTE-TRINITE S.-LOUIS D'ANTIN S.-EUGENE S.-VINCENT DE PAUL S.-LAURENT S.-MARTIN NOTRE-DAME-DE-LORETTE In the early years of the seventeenth century the inhabitants of what was in those days a rural district on the slopes of Montmartre, begged that a church might be erected within easy reach of their dwel- lings. A small chapel was consequently built on a spot now occupied by a private house in the busy rue Lamartine, on the banks of a brook which flowed from the heights of Menilmontant to the Seine, and dedicated to Notre-Dame-de-Lorette. Lorette is the name of the Italian township whither, according to^the ancient legend, the house of the Blessed Virgin at Nazareth was miraculously ' carried by angels in the thirteenth century. La Santa Casa — the holy hpuse — as it is called in Italy, is represented at Lorette by a handsome basilica. ,, At the time of the Revolution the chapel was closed, sold, pulled down. Ten years later, at the Concordat, the district was again a parish with as its»church a tiny cemetery chapel in the Faubourg Montmartre, now rue du Faubourg Montmartre. * There was no street there then. Thus the living worshipped among the dead, were baptisdd, con- firmed, married in a mortuary chapel. Then, in the year 1823, the Archbishop of Paris laid the foundation stone of the present church. o 210 STORY OF PARIS CHURCHES It was finished thirteen years later on the plans of the architect Lebas. The exterior is in the form of a Greek temple, its portico supported by four Corinthian columns. On the tympan above,i inscribed in gold letters, are the words : Beatae Mariae Virgin! Lauretanae. Below is a huge bas-relief by Nanteuil : " Vhommage des dmes a la Vierge." Above the frontal are three large statues : Faith, by Foyatier ; Hope, by Le- maire ; Charity, by Laitie. It is not a beautiful church viewed from without ; the exterior strikes one as cold and hard. Such a building needed a different setting — ^the light and shade of , a tree-sheltered Square. Closely sur- rounded as it is by busy streets and shops and busi- ness houses, the church, as seen by passers-by, is not impressive. Once within its doors the effect is very different — strikingly restful. The interior is in the pure style of a Roman basilica. It is said Lebas tried to copy " in little " the Church of Santa Maria Magiore at Rome. The simple, majestic Ionic columns, the high panelled richly-painted roof, the fresco-covered walls, are all very fine. The raised choir and the high altar, of beautiful marble with granite columns, wrought iron reredos, bronze tabernacle, are beautiful. The four corner chapels, of Baptism, of Com- munion, of Marriage, of Death, are richly deco- rated with characteristic and finely-executed mural paintings. LA SAINTE-TRINITE A HANDSOME edifice of essentially modern aspect in Renaissance style, the work of the architect Ballu. The richly decorated facade gives upon a garden- square decorated by statues. The interior is very handsome, rich in paintings, frescoes and statues by the greatest masters of the second half of the nineteenth century. The Choir and Lady Chapel are raised high above the level of the nave. In the Lady Chapel there is fine stained glass by the nineteenth cefttury artist Oudinot. 211 S.-LOUIS D'ANTIN This church, looking as if it formed part of the lycee by its side, was built as the chapel of a com- munity of Capuchin monks established there in the year 1782. Less than ten years later the monks were cast adrift by the Revolution. Their convent was made first into a hospice, then turned to account as a public school — the lycee Bonaparte. Bona- parte fell, and it became the lycee Bourbon, then lycee Fontanes, finally it settled down as the lycee, Condorcet, its present designation. The chapel was restored for worship after the Concordat and be- came a parish church dedicated to S. Louis. A catechists' chapel and a marriage sacristy have since been added. It is a very simple structure without architectural interest. The walls within are richly decorated with paintings. One or two of the pic- tures date from the seventeenth and eighteenth centuries; the rest are modern. 212 S. -EUGENE S. Eugene was an early Christian martyr of the dio- cese of Paris. When in the first years of the Second Empire a church was built on the spot where once had stood the Garde-Meuble des Menus Plaisirs, Napoleon III asked that it should be dedicated to the Paris martyr in souvenir of his marriage., The church is a somewhat flimsy construction of wood and cast-iron, built, however, after a florid Gothic design, and with an abundance of modern stained glass — of little value. The carved wood Gothic pulpit (Roland, 1855) and the altar and statue in the Chapel S. -Joseph are very fine. 213 S. -VINCENT DE PAUL On the high ground of northern Paris where this handsome modern church stands conspicuous, there was in past days a sheltered hermitage where the priest-philanthropist S. Vincent de Paul, climbing the hill from his mission-house lower down, used often to go for quiet prayer. The mission-house was an ancient leper hospital dating from the twelfth century, built on lands forming part of the domaine of the Abbey S.-Laurent. There were no longer lepers in Paris when in the seventeenth century S. Vincent de Paul was organising his great works of charity, and the roomy hospital was given over to the priest for his mission-house. Hence the name Lazarists, applied to the monks and clergy who worked and ministered there and in the various oeuvres oi which it was the centre. The Revolu- tion upset these works of charity. The ancient Lazare-house was taken possession of by the State ; part of it was used as a prison, as it is still : the Paris Women's Prison. After the Concordat the district was formed into a parish with as its parish church a small temporary chapel called S.-Lazare. Then, in the year 1824, on the site of the old hermitage, the foundation-stone was laid of the fine new church that was to be dedicated to the holy priest who had so often knelt in prayer upon the spot. S. -VINCENT DE PAUL 215 Building went on slowly; the church was not finished until 1844. The style is that of a Roman basilica, with a Greek porch, formed by twelve Ionic pillars and reached by sixty broad steps. The handsome bronze central door has a statue of our Saviour and fine bas-reliefs, and above the porch a bas-relief re- presents the " Glorification of S. Vincent de Paul " / — " Le pere des pauvres "^with on either side the statues of S. Peter and S. Paul, and on the sur- mounting balustrade st'atues of the four evangelists. Within the church the most striking feature is the magnificent work of Flandrin — his glorious frescoes seem to illuminate the walls. The frieze is the great painter's masterpiece ; it runs all round the nave, occupying a space of 267 metres. The church contains no ancient works of art, but the numerous modern decorations are for the most part the work of the greatest masters of recent time's. The frieze of the sanctuary is by Picot (1842) ; The Calvary on the high altar by the great sculptor Rude ; the bas-reliefs in gilded wood by Bosio (1842). The marble group on the altar in the Lady Chapel, by Carrier- Belleuse, gained for its sculptor the medaille d'honneur in 1867. The stained glass is by Marechal. The chancel and the sanctuary are surrounded by fine carved wood-work with bas-reliefs. S.-LAURENT On the high gi^ound where this church now stands there was in early Christian times an Abbey S. -Laurent. The Abbey was attacked by the Nor- man invaders and utterly destroyed. After this destruction no record nor trace is found of church or chapel in the district until the twelfth century. A Chapel S. -Laurent was built there early in that century as a dependency of the Priory S.-Martin- des-Champs. It soon became the centre of a parish. Meanwhile the site of the destroyed Abbey was utilised as a market-place. The " Marche S.-Lau- rent " was an important one and flourished for several hundred years. In the early part of the fifteenth century Jacques de Chatellier, Bishop of Paris, built the present church. It was enlarged in the sixteenth century, restored and again succes- sively enlarged in the seventeenth, the eighteenth and nineteenth centuries. The existing facade and the spire date from 1862, florid work of second rate execution. The Square S. -Laurent was once the presbytery garden. The church is closely associated with the memory of S. Vincent de Paul, whose House of Mercy, S.- Lazare, now the Paris prison for women, stood opposite. It is associated also with a historical per- S. -LAURENT 217 sona^e of less pious memory. There, in the year 1768, Guillaume du Barry married Jeanne Vauber- nier, a laundress's pretty daughter, thus enabling her to enter the Court of Louis XV as Madame du Barry. Except in what remains of the first fifteenth cen- tury edifice, which was early Gothic, S. -Laurent is an example of third period Gothic style — flamboy- ant. On entering the church one is struck by the beauty of the Cles de Voute, i.e., the pendentives, a distinctive feature, descending in some instances a metre and a half below the vaulting of the roof, with sculptured, bas-reliefs of rertiarkable workman- ship. The bas-reliefs of the Chapel S. -Laurent are of the same period. The beautiful woodwork of this chapel and of the Chapel Ste. -Genevieve date from the eighteenth century. The Chapel S. -Vin- cent de Paul has a wonderfully carved confessional, and in the vestibule leading to the sacristy- there is an armoire of heavy mahogany, once the jewel- chest of Marie- Antoinette. Its lock was the work of that most unfortunate of locksmiths, Louis XVL The organ case is very fine. The Gothic pulpit is modern. The pictures are almost all modern, unremark- able. The S. Sebastian in the Chapel S.-Vincent de Paul is old — seventeenth century. Beneath the arch, near the statue of S. Pierre, we read inscrip- tions relating to the history of the parish. At the Revolution the church was used as a temple of Hymen and of Fidelity. The rue de la Fidelite 218 STORY OF PARIS CHURCHES still exists in its vicinity. After the Franco-Prus- sian war, S.-Laurent was attacked by the Federes and havoc wrought at the tomb of the famous San- terre of Revolution days. S. -MARTIN A VERY simple building erected in the year 1854-56, and dedicated to S. Martin to perpetuate the memory of the disaffected chapel of the ancient priory S.-Martin-des-Champs {see p. 87). The style is in its outlines Romano-Byzantine, but with little decoration. Within, the church is rich in excellent woodwork and in paintings, modern for the most part, all referring to the patron-saint. The last of the series, painted by Ville (1889-1896), shows S. Ambrose, who, officiating at the altar, sees the soul of S. Martin take flight to heaven. In the sacristy, on the north side of the altar, is a fine painting by Pujol (1819), " Les funerailles de la Sainte Vierge." 219 SECTION THE EIGHTEENTH STE.-MARGUERITE S.-AMBROISE S.-JOSEPH L'EGLISE FLAMANDE S.-ANTOINE PICPUS S.-ELOI STE.-MARIE NOTRE-DAME DE LA NATIVITE L'IMMACULEE-CONCEPTION NOTRE-DAME DE LA GARE S. -MARCEL S.-ANNE DE LA MAISON BLANCHE S.-PIERRE DE MONTROUGE STE. -MARGUERITE Ste.-Marguerite was built in the year 1624 as a chapel of ease for the parish church S.-Paul (see p. 114). A century later it was enlarged and became itself a parish church. The district beyond its immediate vicinity was a rural one in those days, and the parish Ste.-Marguerite extended northward to the windmills on the heights of Menilmontant, southward to the grassy lands of Bercy, on the banks of the Seine. Its graveyard was within easy reach of the Bastille and the Temple. The victims of the Revolution executed on the Place de la Bastille, on the 14th of June, 1794, were buried there, and there on June 8th, 1795, were laid the remains of the boy from the Temple-prison, the son, as it was believed, of the guillotined King. One corner of the ancient cemetery still remains, with here and there an undisturbed tomb, and in a secluded spot close up against the wall of the church, a diminutive cross and a small stone marked with the name Louis XVII. But at the end of last century that grave was opened, and the bones found there were de- clared on examination to be the bones of a boy some years older than the royal child said to have died at the age of ten. Whether or no the skeleton was that of the boy who was for the Revolutionists simply Louis Capet, for the Royalists Louis XVII, will- 224 STORY OF PARIS CHURCHES probably never be certainly known, but the two chief " substitution " parties, the " evasionists," who believe that the son of Louis XVI had been smuggled out of prison but lost sight for history, and the Naundorffsists, who support the claims of the family declaring themselves direct descendants of the escaped prince, were greatly strengthened after the opening of that grave. The church is unremarkable from an architec- tural standpoint as regards its structure, but its first vicar, the Abbe Goy, was a talented sculptor, known chiefly for his statues at Versailles, and he left on the outer walls of his church two very fine bas- reliefs : the Virgin and Child on the wall of the Lady Chapel, the Disciples at Emmaiis on the ceme- tery side of the Chapel Ste. -Marguerite. Within the church thei;e' are many interesting statues and paintings dating from the sixteenth, seventeenth and eighteenth centuries : The Christ descendu de la Croix, a painting on wood (Salviati, sixteenth cen- tury), was formerly at the convent of the Celestins. The " Christ " against the wall in the abside is by the great sculptor Giradon, and is a fragment found at the destroyed Church S. -Landry on the tomb of the sculptor's wife. The large and lofty Chapelle des Morts, built in 1764 on the graveyard, is painted throughout in very remarkable grisailles, the work of Brunetti. These fine paintings, as well as the bas-reliefs by Goy, are jgreatly in need of restoration. The church stands in the heart of the Paris slums; the STE. -MARGUERITE 225 parish is perhaps quite the poorest in the city, yet one hopes means for preserving its works of art may be forthcoming. S.-AMBROISE This handsome modern church stands on the site of the ancient convent chapel of the Annonciades du Saint-Esprit, an Order founded by Jeanne de Valois, the daughter of Louis XI. The street now known as rue S. Ambroise was until recent times the rue des Annonciades. The nuns did not prosper. They are said to have been too lavish in their charities ; they were pro- bably unbusiness-like in their financial arrange- ments. Faced with ruin, they sold all their pro- perty in the year 1781. The chapel was bought in and hired to two priests who celebrated regular services there. Soon afterwards the district was organised as a parish with the chapel as the parish church, dedicated to S. Ambroise. Under the Terror it was closed and sold, but definitely restored as a parish church at the Concordat. It was en- larged a few years later, then replaced by the pre- sent handsome building, the work of the architect Ballu. The style is twelfth century Romanesque of excellent workmanship. The portal, with its sta- tues, its paintings on lave emaillee, and the two towers surmounted by spires, form an imposing facade. Within, the vaulted round-arched roof of the nave and aisles, unusually high, the plain pillars headed S.-AMBROISE 227 by intricately ornamented capitals, no two alike, give a fine effect. There is good stained glass by Marechal ; the three rose-windows are especially fine, and there are several good pictures and statues (nineteenth century). S. -JOSEPH This handsome church looks black with age. It is, on the contrary, quite a modern building, the work of the architect Ballu (1874). Its stones, from the quarries around Paris, turn black and crumble under the influence of wind and weather. The style is twelfth century Romanesque of extremely good workmanship. The pillars of the nave are of black Belgian stone. The church has numerous ancient works of art, collected and given by a former vicar, M. I'Abbe Sibon. In the Chapel of the Font there are seven- teenth century paintings on copper and several fifteenth and sixteenth century statues of wood ; in the Chapelle S. -Joseph three remarkable seven- teenth century paintings ; on the pillars bas-reliefs in bronze (sixteenth century), etc., etc. There are several interesting modern paintings on lave emaillee. The church was attacked and pillaged by the Anarchists in 1899. 228 L'EGLISE FLAMANDE The Paris Belgian Church, under the patronage of " L'CEuvre de la Sainte Famille," was founded, its first stone laid, in the year 1869. The war of 1870 interrupted its construction. It was finished a few years later, and is a centre of religious activity among the population of the Belgian quarter, where it stands. It is a well-built edifice of Gothic style in its simplest form, with, in the interior, interesting Flemish decorations, all modern. It is under the -ecclesiastical jurisdiction of the Bishop of Gand. 229 S.-ANTOINE The present new church was built early in this twentieth century, near the site of the ancient Abbaye Royale de S. Antoine. It is of Romanesque- Byzantine style, very bright and roomy, with fairly good mural paintings, but of no architectural in- terest. The ancient Abbey was a notable one. It counted among its nuns and its Abbesses women of the noblest families of France. And when a mon- arch died at Vincennes, in the castle of which the fortress still stands, the Abbey Chapel served as a resting-place in the transport of the body, to S.- Denys. It is said the crown of thorns was laid there on the way to the Sainte-Chapelle. The Abbey was suppressed in 1790, but a church was built im- mediately afterwards on what is now the square in front of the hopital S.-Antoine. It was not allowed to stand. It was sold, then razed to the ground. After the Concordat the parish was reconstituted but was without a church. The hospice of the Quinze-Vingts, the Institution for the Blind, had been transferred thither from the Carrousel a few years previously — 1778. It was decided, therefore, that the hospice chapel should serve as the parish church of the district. But it was far too small. Then by the efforts of one of its vicars, formerly at the Madeleine, the new church was built a few years ago. 230 PICPUS There is no church here, only a convent with its chapel, and a cemetery, a tragically historical ceme- tery, away at the south-east end of the city, near what is now la Place de la Nation, once la Place du Trone, then for a time la Place du Trone Ren- verse. The Place was one of the many sites where the guillotine did its ghastly work. Out beyond the Place, without the city boundary, was the fosse, the hastily dug pit into which the victims, carted away from the scene of execution, were rudely cast. After one grim day's work some 1,300 decapitated bodies were thrown into that fosse, which was then covered up, its site unknown, undiscovered by sur- viving relatives. One day, a few years after Robespierre's death, a ,poor workwoman sought out some of those rela- tives and said she could lead them to the tragic pit. Her brother, she told them, was among the guillotines lying there", for their father had beep in the service of the Comte de Brissac, and the sister had seen her brother die, had followed on foot, keeping in the shade, unnoticed, when the bodies were carted away, had seen them thrown into the pit that was their grave, had marked the spot. That spot and land surrounding it were bought. 232 STORY OF PARIS CHURCHES the pit walled in, grassed over, and a tall, plain iron cross set up there. It was called le champ des martyrs. The ground adjoining was made into a cemetery, and there in that remote quarter of Paris, scions of the noblesse of France, men and women bearing the most illustrious names, were laid in death, are still from time to time laid there, in the vicinity of those near and dear to them whose tomb is the grass-covered fosse. In one corner is the tomb of Lafayette, marked by the Flag of the United States. The cemetery was put under the care of the nuns of an adjoining convent, les Dames du Sacre- Coeur de Jesus et de Marie, et de V Adoration Per- petuelle. In the chapel is a statuette of Notre-Dame de la Paix, dating from the seventeenth century, origi- nally in the Capucine convent of the rue S.- Honore. The names of the guillotines in the pit are en- graved on marble slabs put up within the chapel walls. S.-ELOI A MODERN erection of no architectural beauty on the site of the palace of that famous seventh-cen- tury statesman and worker in metals, that lover of things beautiful, to whom is due the Basilica of S.- Denys, S. Eloi. The church was finished in the year 1857 and consecrated by Mgr. Sibour, Arch- bishop of Paris, two days before he fell by the knife of the assassin within the walls of S.-Etienne- du-Mont. The tower was struck by lightning in 1874, and rebuilt a year or two later. The most precious possession of the church are its relics — the bones of its patron-saint and those of S. Ouen and of Ste. Aure. Services in Italian are held there at stated inter- vals. 233 STE.-MARIE This old edifice, now in the hands of the Protest- ants, is extremely interesting. It was originally the chapel of the ancient hotel de Cosse. In the seven- teenth century it was taken over by the Baronne de Chantal as a chapel for the convent founded for " Les Filles de la Visitation," and was known as Notre-Dame-des-Anges. S. Vincent de Paul often ministered there, and was confessor of the convent. Several noted persons were buried in the chapel — the statesman Fouquet and two of his nearest rela- tions, his father and his son, Baronne de Chantal, Madame de Sevigne. The convent was suppressed at the Revolution, the chapel used as a club. On the side-door may still be seen sculptured in the stone a Phrygian cap and the words: "Lois et Actes d' Autorite pub- lique." It was given to the Protestants in 1802. The chapel has a dome supported by four arche? between Corinthian pillars with cornices. 234 NOTRE-DAME DE LA NATIVITE This little church in the southern district of Paris, known as Bercy, is the smallest church of the city. It measures 39 metres only in length, 18 in breadth. Built in 1824, it was a village church until in 1860 Bercy, like other districts of the Paris banUeue, was comprised within the city boundary. The church was destroyed by fire in 1871, but rebuilt two years later on the same site with the same stones. Several of the pictures were formerly in other, older churches of the city. They date chiefly from the first years of the nineteenth century. One more ancient. The Annunciation (Halle, 1659), was for- merly in the older church of S.-Ambroise. The picture " Les Saintes Femmes au tombeau " is the one single religious picture painted by the very secular artist Biard, 235 L'IMMACULEE-CONCEPTION A MODERN church, one of the most recently erected, in Romanesque style, well situated in the vicinity of the Place de la Nation, not far from the cemetery Picpus. It is very simple, well built, but with no points of architectural interest. The banc d'ceuvre of carved wood is very fine. 236 NOTRE-DAME DE LA GARE Situated in the centre of the Place Jeanne d'Arc, midway up the rue Jeanne d'Arc, Notre-Dame de la Gare is more generally known as I'Eglise Jeanne d'Arc. It is a modern structure (1855) in twelfth century Romanesque style, severe and simple, of good workmanship, very bright within, but with few paintings or statues. The Stations of the Cross, in bas-relief, are, however, remarkably fine. 237 S.-MARCEL A SMALL church of modest appearance without, carefully kept and full of brightness within. It was built in the middle of the nineteenth century to replace the two ancient churches of S. -Martin and S.-Hippolyte swept away during the Revolution, and was dedicated to S. Marcel in memory of an illustrious fifth century bishop of Paris buried in another ancient church destroyed at the Revolu- tion — I'eglise S. -Clement— which had stood from early Christian times near the spot. It is built of wood and plaster and was intended only as a tem- porary erection, but is of thirteenth century style. The chief points of interest within the little church are the " glory " of the Virgin in the Lady Chapel, remarkable in sculpture and colouring; the statue of S. Jean Baptiste in the Baptistry Chapel, dating from the seventeenth century; the painting by Gourlier, " The Baptism of Christ," that of S. Jerome by a modern artist, Popelin- Ducarre (1859). 238 STE.-ANNE DE LA MAISON BLANCHE Although, besides the ancient rue Ste.-Anne leading from the vicinity of the Palais Royal to the neighbourhood of the Bourse, there were in Paris five other streets and an important hospital bearing the name Ste. Anne, there was until recent years no church in the capital of France, dedicated to the mother of the Blessed Virgin, the patron saint of Brittany. When, therefore, in the year 1894 the first stone was laid of a fine new church to replace the little chapel S. -Marcel, in the district of la Meiison-Blanche, it was decided it should be dedi- cated to Ste. Anne. It is a fine structure of Romanesque style, with touches of Byzantine, in the form of a Latin cross, built of very white stone, in perfect harmony therefore with the name of the district in the vicinity of the hospital founded in long past days by Marguerite de Provence, the wife of S. Louis. The high altar, beneath a canopy, is so arranged as to be clearly visible from every part of the vast nave. 239 S. -PIERRE DE MONTROUGE MONTROUGE — Redmount — a plain on slightly elevated ground to the south of the city of Paris, was a parish, regularly organised, in the fourteenth century. Red sandstone was at one time found beneath its soil. There was also among the ancient landowners of the district a certain Guy de Rouge. It is not known whether the sandstone or the squire gave the name to the territory. Population in- creased and the plain was divided into le Grand and le Petit Montrouge. Le Petit Montrouge was incorporated with the City of Paris in 1860 and its fine large church built a year or two later. The style is Romano-Byzantine. The roof is un- vaulted, its rafters bare. The paintings and statues are all modern ; the most noticeable is the marble group in the Lady Chapel : Notre-Dame de Bon Secours. 240 SECTION THE NINETEENTH NOTRE-DAME-DU-TRAVAIL S.-LAMBERT DE VAUGIRARD S.-JEAN BAPTISTE DE LA SALLE S.-JEAN-BAPTISTE DE CRENELLE S.-PIERRE DE CHAILLOT S.-HONORE d'EYLAU S.-STEPHANOS (GREEK CHURCH) S.-GEORGES (ANGLICAN) NOTRE-DAME DE GRACE DE PASSY NOTRE-DAME d'AUTEUIL STE.-MARIE DES BATIGNOLLES S.-FRANCOIS DE SALES Q NOTRE-DAME-DU-TRAVAIL "Our Lady of Work"— a beautiful and singu- larly apt designation. Des travailleurs, i.e., Workers, working men and women, surround the church on every side, make up the bulk of the .population of the whole parish in this southern district of Paris. It is a building of Romanesque style in its simplest form, with a touch of Byzantine in the decorations, a roof with visible iron rafters. The statue of Notre-Dame on the high altar was given by sixty of the principal representatives of work and trade. On the doors, in these war-years, are affixed the striking words : Le pessimisme est pour le civil ce que la desertion est pour le soldat. Outside the church, in a courtyard entered through a door near the sacristy, we see a great iron bell in an open-work wooden belfry. It is la cloche de Sebastopol, given to" the parish in past days by Napoleon III. 243 S.-LAMBERT DE VAUGIRARD The extensive district known for centuries past as Vaugirard was in earlier times the Val Boistron, i.e., the valley of pastures, and formed part of the domaine of the Abbey S.-Germain-des-Pres. Amid those salubrious green pastures dwellings for sick monks of the Abbey and a chapel were built by the Abbe Gerard de Moret, towards the middle of the thirteenth century. The district was called thenceforward Val Gerard, subsequently corrupted to Vaugirard. The chapel soon became a parish church, dedicated to the Blessed Virgin. In the fifteenth century relics of S. Lambert were brought to the church. It was called in consequence Notre- Dame de S. Lambert, finally simply S. -Lambert. Here, in that southern outskirt of the city, M. Olier organised the famous Compagnie de S. Sul- pice, an Order of secular priests, in the seventeenth century, and S. Jean Baptiste de la Salle set up his first school {see p. 246). The population of the district steadily increased • in course of time a larger church was needed. The ancient chapel was therefore pulled down towards the middle of the nineteenth century. Beneath its fallen walls, among the debris, an ancient statue of Notre-Dame du Pardon, which had disappeared in the time of the Terror, was found broken but not S.-LAMBERT DE VAUGIRARD 245 utterly disfigured. A new church was then built, the existing one, and the recovered statue set up over the altar in the Lady-Chapel. The church is of Romanesque style in the form of a Latin cross. The picture, " La Resurrection," in the Chapel S. -Joseph, dates from the seventeenth century, the " Salutation Angelique," in the Chapel of the Sacre-Coeur from the eighteenth century. Other pictures and statues are modern. During the Revolution the name of the district was changed for the time being from Vaugirard to Jean-Jacques Rousseau. S.-JEAN BAPTISTE DE LA SALLE A RECENTLY-ERECTED church (1911). The great door is reached by a double staircase of white stone with a stone balustrade, recalling, to a certain ex- tent — a very modest extent — the celebrated horse^ shoe staircase of the palace at Fontainbleau. A statue of its patron-saint, with on each side a school- boy, surmounts the porch, for S. Jean Baptiste de la Salle was the founder of the first Ecole £hre- tienne in Paris. That was in the year 1688. The Freres of the educational confraternity he organ- ised were in succeeding years the chief instructors of youth in the ecoles libres of the city. A series of stained glass windows given by different religious bodies, the last of the series by descendants of the patron-saint, record the chief religious incidents of his life, beginning with his baptism, about the year 1651. The edifice is without architectural interest, but the interior is very bright and has numerous deco- rations of a humble order, making a touching effect, and giving the impression of a church much fre- quented and beloved by its parishioners, even to the very poorest. The carved wood pulpit is rather fine. 246 S.-JEAN-BAPTISTE DE CRENELLE The district of Crenelle, in past ages a garenne, i.e., a great rabbit-warren, was part of the domaine of the Abbey Sainte-Cenevieve. In later times it was included in the parish of S.-Pierre-du-Cros Caillou {see p. 178). The foundation-stone of the present church was laid in the year 1827 by the Duchess d'Angouleme, the daughter of Louis XVI. It is of simple structure, the exterior unremarkable save for the curious form of the belfry-tower. Within, the church is in the style of a basilica, with a flat ceiling. The point of greatest interest is the high altar, built of fragments of the marble altar erected at Notre-Dame by Louis XIV, when carry- ing out the conditions of the voeu of Louis XIII. The " Sainte Madeleine," beneath the second arch, is ancient ; the rest of the paintings, except the Resurrection of Jesus Chrisf (eighteenth century), are modern (nineteenth century). 247 S.-PIERRE DE CHAILLOT Until united to Paris, in the year 1785, Chaillot was a hamlet without the city bounds — a historic spot, for from the heights of Chaillot Henri IV directed' the siege of Paris in 1591. It was a tree- studded, picturesque district which in long-past days had formed part of the Forest of Rouvray. The Bois de Boulogne is the last remnant of that ancient forest. The word "chaillot" is the Keltic for broken- down trees. The name of the village was, perhaps, however, a corruption rather of the Latin word calcium, like the French caillou, i.e., a stone, a pebble, and had reference to the stony nature of the soil. A chapel existed on the site of the present church from the close of the eleventh century. It was rebuilt as a parish church at the end of the seven- teenth century. In 1651, Henriette of England, the widow of Charles I, founded near the church a monastery of the Visitation, and at the Queen's death the funeral sermon was preached there by Bossuet (1669). In 1671 Mademoiselle de la Valliere fled to the monastery, but was soon in- duced by King Louis XIV to quit its shelter. The church was restored in the eighteenth cen- tury. The carved wood pulpit dates from that S.-PIERRE DE CHAILLOT 249 period. What remains of the ancient fabrieT— chiefly the apse — is of Gothic style ; the more modern parts are Romanesque. The church possesses a big bell of pre-Revolu- tion days : Louis XVI and Marie-Antoinette were its sponsors. Closed at the Revolution and sold, S. -Pierre was restored for public worship in 1803. It was enlarged in 1887, and a new chapel has been added recently. The pictures and statues are all modern (nineteenth century). The Flight into Egypt by Vignaud (1824) is the best there. S.-HONORE d'EYLAU The district in the vicinity of the Avenue du Bois de Boulogne, known as la Plaine, became a distittct parish when, in 1860, Passy, to which it had hitherto belonged, was incorporated with the City of Paris. Its little Chapel of Ease, built ten years previously, then became a parish church, dedicated to S. Honore. It has remained to the present day a small, chapel-like church, without architectural interest, but at the end of the nineteenth century a dependent chapel was built, of remarkable con- struction known as Notre-Dame de la Cite parois- siale. It is situated at a little distance from the church (Avenue Malakof), and is very spacious,, with a crypt extending beneath the whole of the building, decorated with a beautifully sculptured Chemin de la Croix. The style of the chapel is a mingling of Romanesque and Gothic, highly orna- mental, with rich colouring of somewhat Byzantine effect. It has splendid mosaics and lavish decora- tions. It is a centre of parochial organisations, truly a " cite paroissiale." 250 S.-Stephanos. The Iconostase (Greek Church). S. -STEPHANOS (GREEK CHURCH) The Greek church, S. -Stephanos, is built in the style Romano- Byzantine, of simple exterior, a Greek cross in wrought iron surmounting the slated dome. Within, the church is very lofty and marked by a chaste beauty. The iconostase is of white marble, with exquisite paintings. Pillars of shaded red marble support the hemicycles ; the white stone pulpit rests on slighter pillars of green marble. Beautiful frescoes decorate the walls— all in tones of dull red, blue and subdued gold, giving a restful, devotional effect. 251 S. -GEORGES (ANGLICAN) Until the end of the first quarter of the nineteenth century a salon at the British Embassy served, each Sunday and on rare special occasions, as the Angli- can Church in Paris {see p. 195). In the year 1825 the chaplain, the Rev. Lewis Way, making energetic efforts, obtained due authorisation from the French King — France was a monarchy then — ^bought a property in the rue Mar^ bcBuf, and established there the first Church of England chapel in the city. Building was going on all around in that rapidly growing quarter of Paris, a rich quarter with rural surroundings in those days, and the edifice serving as a church was interfered with and had to be given up. Another site was soon bought in the same district, a church built and opened in the year 1844 in the Avenue Marbceuf. It was commonly spoken of as "the Marbceuf Chapel," presently as the "Old Marboeuf Chapel," sometimes merely as "the Marboeuf." And there during those disturbed years of French history, during the political upheavals of the times of Charles X and Louis- Philippe, and in the dire days of 1870, the English Church services were held throughout with unfail- ing regularity, Sunday by Sunday. When other British places of worship were closed the Chapel S.-Georges (Anglican). S. -GEORGES (ANGLICAN) 253 Marboeuf remained open, its services uninterrupted. Through the war-year, 1870, the chaplain from Ver- sailles came regularly to Paris to officiate. Thirteen years after the establishment of the French Republic, the Marboeuf Chapel was in its turn interfered with by street improvements. The Ville de Paris gave a handsome indemnification and another site was purchased, the site of the present beautiful church in the rue Auguste Vacquerie, known then as the rue des Bassins. An iron church was first erected which did service until, in the year 1885, Sir Richard Wallace gave the means to build a handsome lasting edifice. The British Ambassador, Lord Lyons, laid the foundation-stone of the new church in 1887. It was built speedily, finished in 1888, consecrated in 1889, and ever since the church has been continually added to and beautified, more especially during the past ten years. The style is Romano-Byzantine. The decorations throughout are beautiful. The high altar, of white marble and the reredos, and the exquisite mosaic of the Annunciation in the Lady Chapel, were put up as a memorial to the first chaplain, the Rev. George Washington, who ministered at the church for eighteen years. The apse is lined with fine mosaics and coloured marble. Sanctuary lamps, given " in memoriam," are always burning. The stained glass is remarkably good. The Rose windows east and west, each surmounting a series of round-arched single lights, and several windows in 254 STORY OF PARIS CHURCHES the aisles, all put up as memorials, are of beautiful design, with rich, harmonious colouring of most restful effect. The church furniture, vestments, banners, etc., all are beautiful. And now a war-shrine, where a lamp is always burning, where flowers are always freshly laid beneath the image of the crucified Saviour, serving in these days as a place of special intercessory prayer, will record for future genera- tions the names of the S. -Georges' men who fell on the field of honour. The church is carefully kept and always open. It stands pre-eminent among the Anglican chaplain- cies on the continent, and in this city of beautiful churches, ancient and modern, the Anglican Church of England's patron-saint holds no un- worthy place. NOTRE-DAME DE GRACE DE PASSY Passy, in ancient days perhaps a hamlet surround- ing a fish-pond (old French, Passiere), and the ad- joining district, Auteuil, formed a single parish until towards the end of the seventeenth century. A chapel was built on the site of the present church in 1667 by Madame de Chanu. Passy was separated from Auteuil a few years later and the chapel given into the care of the Barnabite monks. Their priests officiated there until the Revolution. After the Terror the chapel was re-opened. Towards the middle of the nineteenth century it was enlarged, its length doubled. Until after 1860, when Passy was included within the Paris boundary, the parish extended beyond la Place Victor-Hugo, including what is now the parish S.-Honore d'Eylau. The bas-relief above the porch dates from the foundation of the church ; the statue of the Virgin from the eighteenth century. Within, the church is richly painted and deco- rated. The ceiling, unvaulted, is panelled and painted. The frescoes in the ceiling of the chancel are said to be the combined work of two distin- guished artists : the landscapes by Corot, the figures by Bouret. A fine frieze surroun4s the nave ; the deep brown and gold of the panels, warm and rich, is very effective. 256 STORY OF PARIS CHURCHES In the Chapel 4u Coeur Eucharistique de Jesus, in the abside, the picture by the Abbe Cousin (1898) — "The Consecration of the Parish of Passy "— gives the portrait of Mgr. Richard, the late greatly respected Archbishop of Paris. NOTRE-DAME d'AUTEUIL In bygone ages ancient Druids were wont maybe to erect their altars on the spot in the great Forest of Rouvray, later a clearing, where for centuries past has stood the Church of Auteuil. The clearing grew into a hamlet in the early days of Christianity ; in the twelfth century it was a village, with its parish church. The Bois de Boulogne, touching now its western boundary line, is the last remaining vestige of the extensive forest by which the village was then surrounded. The name Auteuil recalls, perhaps, the ancient Druid worship, by a philological connection with the Latin word altare, applied by the conquering Romans ; or the name may possibly be a corruptfon of altogilium, or aholum, referring to the land on higher ground than that along the banks of the river in the valley below. The twelfth century church stood there until near our own time. A stone slab and a small statue from within that ancient church, and the figure of a cock from its steeple, may be seen to-day in the presbytery garden. The Place 1' Auteuil was for- merly the graveyard surrounding the old church ; the memorial pillar in its centre marks the site of the tomb of the celebrated Chancellor d'Aguesseau, buried there in 1751. R 258 STORY OF PARIS CHURCHES At the Revolution the church was desecrated and devastated. It was used for a time as a club, then as a storing-house for corn, then as a saltpetre fac- tory. It was, however, restored for public worship bpfore the Concordat. The ancient structure was razed to the ground in 1877 and the present church built at once on the same site. It is of Romano-Byzantine style in the form of a Latin Cross. The tower is the exact copy of the ancient tower ; it is sometimes referred to as representing a beehive, but is in reality in the shape of a pontifical tiara. The decorations are all modern and unremarkable, except the bas-relief on the monument in the crypt by De Bay, dating from 1819, taken from the ancient church, and a fine Mater Dolorosa by the great sculptor Carpeaux, (1870). STE.-MARIE DES BATIGNOLLES Old books having reference to the country around Paris make mention of a hamlet existing in the fifteenth century on high ground in the borough of Clichy, known as BatioUes, i.e., petites^ bastides, — small country houses. The district remained a sparsely populated outskirt of the city until the early years of the nineteenth century. It was on the high ground of les Batignolles that Marechal Moncey made his famous resistance in face of the armies of the Allies in the year 1814. The present church was built in 1829 as a Chapel of Ease for Clichy. Soon a distinct parish was formed, the chapel enlarged. While digging to lay the foundation of the aisles, workmen found a small bronze statue of the Blessed Virgin. The church was therefore dedicated to Ste. Marie. It is of very simple structure — four Doric columns form a porch. In the choir is an Assomption in plaster, with an illuminated " Glory." The statue of Christ on the Cross dates from the sixteenth century. The rest of the statues and pictures are all modern, none re- markable. 259 S. -FRANCOIS DE SALES • This modern church built as a Chapel of Ease for the churches of les BatignoUes, became the centre of a distinct parish in 1877, and was dedicated to S. Frangois de Sales, the patron-saint of Mgr. Richard, lately come to Paris, soon to be Archbishop. It has. recently been enlarged by the addition of a chapel in the rue Ampere. The church is of Romanesque style, the very simple fagade and tower good but without special architectural interest. The high altar is very fine. Paintings, bas-reliefs, statues and stained glass, all modern, have, for the most part, reference to the life of S. Frangois de Sales and Ste. Chantal. 260 SECTION THE TWENTIETH S.-FERDINAND DES TERNES S.-MICHEL' S.-BERNARD DE LA CHAPELLE S.-DENYS DE LA CHAPELLE NOTRE-DAME DE CLIGNANCOURT STE.-GENEVIEVE DES GRANDES-CARRIERES S.-JEAN L'EVANGELISTE S.-GEORGES S.-JACQUES ET S.-CHRTSTOPHE DE LA VILLETTE S.-JEAN-BAPTISTE DE BELLEVILLE NOTRE-DAME DE LA CROIX S.-GERMAIN DE CHARONNE S.-FERDINAND DES TERNES The name les Terms is a corruption of the old word I'esterne^the most distant. Here in long past days was the Villa royale I'esterne, the villa more distant from the city than another royal residence which was situated at Villiers. There was no church there in those days ; the royal residence had no doubt its private chapel. The district extends to the bound- ary line between Paris and Neuilly, and the church was built in memory of Ferdinand, duke of Orleans, son of Louis-Philippe, killed at Neuilly by the bolt- ing of the horses of his carriage in the year 1842. A mortuary chapel marks the spot where he died. The church was enlarged towards the end of the -nineteenth century, and is the centre of active reli- gious life among the dense population of Les femes, but the building is quite uninteresting from an architectural or historical standpoint. It pos- sesses, however, a fine altar of white Carara marble (Chapel of the Sacre-Coeur), and in the Lady- Chapel a well-executed statue of the Virgin. 263 S.-MICHEL A SMALL, recently erected church, in the populous district of les Batignolles, at the junction of the busy avenues of Clichy and S. Ouen, which formed in olden times the parish of Clichy, where S. Vincent de Paial was vicar. The church is quite without architectural or historic interest, but is a centre of active parochial work. 264 S.-BERNARD DE LA CHAPELLE This modern church of pure fifteenth century Gothic style, stands out conspicuous in the rather sordid and eminently work-a-day quarter of la Chapelle, the old high road between Lutece, the Paris of ancient days, and S.-Denys — the S.-Denis of to-day. The ancient Church S.-Denys de Ja Chapelle still stands, farther along the same road,ior ages past a densely populated street. The modern church was dedicated to S. Bernard in remem- brance of his passage through la Chapelle -with Pope Eugene III, travelling from Paris to S.-Denys, The spire i« slight and graceful, sixty metres high. One regrets only that all this finely designed Gothic work, beautiful as it is, is incontestably less thorough in its manual execution than the architectural work of past ages. Within the church, the pulpit is the most remarkable feature. • It is of open stone work and carved wood — its finely wrought balustrade only seven centimetres thick. There is a painting by Lebrun, "The Flagellation" (1690), formerly at S.-Nicolas du Chardonnet; a picture by Jeaurat .(1789), "S. Bernard and his Companions," for- merly at S.-Severin. The rest of the paintings and statues, etc., are all modern (nineteenth century). 265 S.-DENYS DE LA CHAPELLE This quaint and ancient church stands on the spot where Sainte Genevieve and her two companions halted for rest and refreshment on their way to visit the tomb of S. Denys. A little chapel was built there on the site of a primitive oratory soon after- wards, to commemorate the passage of the saintly nun. The district was from the first an important One, for it lay along the high road between Lutece and the heights of Montmartre, hallowed by the martyrdom of the Christian missionaries. Dwelling- houses were built in the vicinity of the chapel. The population grew, and in the thirteenth century the chapel Ste. -Genevieve was replaced by a church, the centre of an important parish. In 1358 the church was partially burnt down by the warring English. The chancel was left intact and still stands. There Jeanne d'Arc went to pray in the year 1429. When the long wars with England were over, the church was restored and re-dedi- cated-^this time to S. Denys. It was again partially destroyed during the religious wars of the sixteenth century, and again restored. The portal is rela- tively modern, eighteenth century. Fearful mas- sacres took place up against the facade of this old church in January, 1791. In 1861 the fine new church of S. -Bernard was S.-DENYS DE LA CHAPELLE 267 finished as the parish church of the district. La Chapelle possessed then one of the most ancient ' churches of the city and its most modern one. The little ancient church was used for several succeeding years as a catechist's chapel only, but, owing to rapid increase of the population, was restored for public worship before the close of the century and enlarged. The quaint tower and the Gothic vaulting of the chancel bear testimony to the antiquity of the struc- ture. The altar in the Chapel Ste.-Genevieye, formerly the high altar, is said to have been given to the church by Queen Marie Leckinska, the wife of Louis XV. The carved wood pulpit dates from the time of Louis XVL The old church keeps three patronal festivals — the fetes of Ste. Genevieve, of S. Denys, and of Jeanne d'Arc. NOTRE-DAME DE GLIGNANCOURT The district known as Clignancourt was in past ages farmland in the parish of Montmartre. In the year 1579 the property was purchased by Jacques Liger, treasurer of the Abbey S.-Denys, authorised to build there a chapel for his own household. His little chapel soon had a more extensive use : it served as a Chapel of Ease for S. -Pierre de Montmartre. At the Revolution it was razed to the ground, no trace left. Where it once stood is now the Place Marca- det. But the district grew densely populous. There was urgent need of a church. The existing edifice was built towards the middle of the nineteenth cen- tury. Meanwhile the whole of Montmartre had been included within the city bounds. The church is of Romanesque style in the form of a Latin Cross of unusual length — 93 metres long, 35 broad. There is a crypt with a Catechists' Chapel beneath the Lady-Chapel. The numerous decora- tions, paintings, etc., are all modern (nineteenth century). 268 STE.-GENEVIEVE DES GRANDES- CARRIERES This little church was built as a simple chapel for the inhabitants of the wide-stretching district of les Grandes-carneres=the great quarries, on the high ground to the north of Montmartre, some twenty- five years ago. Fifteen years later it became a parish church. It has no architectural interest. The parish and entire surrounding district is inhabited by artisans, small shopkeepers and humble em- ployees : their church has, alas ! little chance of being enriched. It possesses, however, two good pictures, modern : Ste. Genevieve (Bail), Les Pieuses Communiantes (Blanchard), given as votive offerings. 269 S.-JEAN L'EVANGELISTE This is the most recently-erected church in Paris and forms in every way a striking contrast to the older churches of the city. The chief necessity in the manner of its construction was that it should be extremely light, for its parishioners dwelt on the Butte Montmartre and the site of their church was necessarily on sloping ground. It stands half-way up the Butte, a little to the left of the rue des Martyrs. A crypt was first built, on a solid basis below ground, to serve as a chapel, forming thus a good founda- tion. The church itself was then built of brick and re-enforced concrete in a rather ornate, very light, Byzantine style. For two years past its chief curate has been a refugee from the invaded lands of Northern France. 270 S.-GEORGES This church, of recent erection and small dimen- sions, stands on a historic and tragic site. It covers the spot where from the thirteenth century to the year 1761 towered jin immense gallows, the largest on record, le gibet de Montfaucon, the gallows of the Prevote de Paris. Its platform was fourteen metres in length, ten metres wide, surrounded by sixteen stone pillars united by chains. Sixty per- sons could hang there at once ! Beneath it, as be- neath all public gallows in past ages, was a pit into which after a time the bodies of the pendus dropped. Several great lords of historic fame paid the forfeit of their lives for crimes real or imaginary, political or social, on the high ground where the church now stands. Built in the year 1873, the church was dedicated to S. Georges, in memory of Mgr. Darboy, Arch- bishop of Paris, who had been put to death by the Communards two years previously {see p. 21). The exterior, severe and simple, is of Romanesque style. A statue of S. Georges surmounts the porch. Within we see a mingling of styles — the vaulted nave round-arched, the arches between the nave and the aisles Gothic. All the pictures and statues are modern, except an ancient bas-relief over the sacristy door. 271 S.-JACQUES ET S.-CHRISTOPHE DE LA VILLETTE The extensive work-a-day quarter of Paris known as la Villette, largely occupied by coaly ards and the city slaughter-houses, was in olden days the site of a small villa^a villette, i.e., a series of dwellings — in the banlieue, where the busy monks of the Priory and Leper-house S.-Lazare were wont to go for rest and change of air. Population increased, and in the fifteenth century a church was built for the inhabi- tants of the district. It was razed to the ground during the Revolution, and replaced half a century later by the existing church, built on a neighbouring site. It is in the style of a basilica with a curious tower of several storeys at the back. The ceiling is flat, unvaulted. There is a fine marble pulpit, a frieze by Bremond (1844), many good frescoes decorate the walls, and in the Baptistry Chapel there is a fine Ecce Homo by Annibal Carrache. 272 S.-JEAN-BAPTISTE DE BELLEVILLE That east-end quarter of Paris known in modern times as Belleville was in long past ages a vine- covered hill-side called Savies, far out beyond the city boundary. The name Savies was changed to Poitronville ; then, about the middle of the sixteenth century, this rather awkward name was replaced by the euphonious one Belleville, which in those days no doubt truthfully described that country district on the outskirts of, Paris. A chapel was built there at the end of the sixteenth century ; it was replaced by a church some years later. In the nine- teenth century the existing handsome church was erected on the site of the old one. The style is thirteenth century Gothic. The two graceful spires are 58 metres high. Fine bas-reliefs decorate the facade, one representing the consecration of the church, by Mgr. Morlot. Pictures, statues, etc., all are modern. The Gothic pulpit is very handsome in design and workmanship. 273 NOTRE-DAME DE LA CROIX The densely-populated quarter in the east of Paris known as Menilmontant was in ancient times a picturesque wood beyond the city bounds, forming part of the estate of a certain Sire Maudam, The trees were felled, the territory became a niesnil, i.e., a domaine — cultivated land surrounding a dwelling-house — and went by the name Mesnil Maudam, corrupted to Mesnil Mautemps, finally Menilmontant, an especially apposite name for the hill-side district. Several religious congregations established themselves on the Mesnil, among them the monks of Sainte-Croix. They built an oratory and placed therein a statue of Notre-Dame de la Croix. The oratory was destroyed during the Re- volution, but the statue was saved and taken to the little church at Bagnolet. Some years later a chapel was built for the rapidly increasing population of the district, which was organised as a parish in 1847. Then, between the years 1863 and 1873, the present handsome church was erected. Thus in the midst of shabby, often sordid, streets and poor dwellings, in a quarter of the city unknown save by name to thousands of Parisians, stands one of the finest and best-built of the modern churches of Paris. The style is Roman- esque of the eleventh and twelfth centuries, the NOTRE-DAME DE LA CROIX 275 form that of a Latin Cross, with rose windows in each of the arms. The tower, surmounted by a cross — la sainte croix — rises to a height of 78 metres. Within, the iron rafters supporting the round arches of the roof, instead of being as usual covered and hidden, are bare and apparent. Except the Pieta, in the Chapel Notre-Dame de la Croix, for- merly in the primitive oratory, the paintings and statues are all modern. The pictures in the Chapel Notre-Dame du Purgatoire were previously at Notre-Dame — the Cathedral — and date from the early years of the nineteenth century. S.-GERMAIN DE CHARONNE This ancient church, classed as one of the historic monuments of Paris, under State protection there- fore in regard to its preservation, stands on the spot where Germain, Bishop of Auxerire, stopped to rest on his way to England in the year 429. Tradition tells of a miracle wrought by S. Germain at this halting-place ; in remembrance thereof an oratory was built there in the century following. In the eleventh century the oratory was replaced by a church. A blackened buttress, part of an outer wall of that eleventh century fabric, still stands. Rebuilding, went on again in the twelfth century. The base of the tower, some of the pillars, the lower end of the nave, date from that period. Restora- tion was undertaken in the fifteenth and sixteenth centuries. Then the whole surrounding country was disturbed by the wars of the Fronde. Fighting between the contending factions was active on the high ground of Charonne, and the abside of the church was totally destroyed. Its form is still clearly discernible on the grass-grown ground to the east of the chancel, bounded by an ancient wall still known as the Mur des Soeurs, the' Sister's wall, no doubt the wall once flanked by stalls for the nuns of a neighbouring convent. And in the wall built S. -Germain de Charonne. Levy jils et O'- Paris. S.-GERMAIN DE CHARONNE 277 to back up the truncated edifice are traces of tombs once within the church. The low Norman tower rises to the right of the fagade, which is on the Epistle side of the church instead of at its western extremity. Its old doorway is reached by mounting three series of broad steps. Within one finds pillars of varying styles dating from different periods, several with curious ancient capitals. The roof is in part round-arched, Roman- esque, in part Gothic, all on a small scale, for the church in its present form is of diminutive size. Ancient inscriptions, ancient coats of arms and records of gifts made to the church by grands seig- neurs of past ages are seen on the walls. In the Chapel S. -Nicolas there are fragments of ancient glass. Two of the pictures, S. Fiacre, in the Lady Chapel, S. Germain and Ste. Genevieve, on the wall beneath the tower, date from the seventeenth cen- tury; the rest are modern. On the rising ground behind the church lies the litde cemetery of Charonne, bounded at its farther end by one of the great Paris reservoirs, built over what was once the Fosse Commune, i.e., the paupers' burial-ground — the huriahditch of the dis- trict. And in the centre of the cemetery there is a large square space unmarked by stone or monument, but whereon the grass grows luxurious and green. Beneath those sods lie the bones of many thousand victims of the Revolution. Higher up, bordering what was once the fosse, is a huge vault elaborately railed in all round. On a pedestal surmounting the 278 STORY OF PARIS CHURCHES railing we see the figure of a man in Directoire cos- tume — it is the statue of Begue, Robespierre's private secretary. His Chief dead, the Revolution over, he whose hand had prepared for signature so many tragic documents, quitted Paris and betook himself to the peaceful country-side of Charonne. There, like other inhabitants of the extensive rural suburb of the city, he cultivated his plot of land, his field and jardin potager, and he set about preparing for departure from this earth by designing and superintending the workmanship of his own tomb. He made it characteristically realistic, a gruesome memorial of the grim events with which his life had been so closely associated. The iron railing sur- rounding the vault shows in little the form and shape of all the torturing instruments of the Revolution. The wheel that worked the guillotine, the wheel of the instruments of torture, the tenailles, all are there. The view of this interesting ancient church from the top of the cemetery is remarkably picturesque. Besides the churches, properly so called, there are throughout Paris in different quarters of the city many chapels, some beautiful, others without special interest in regard to architecture or decora- tion, but always conveniently -situated for people who may not live quite close to their parish church. The Chapelle du Tres-Saint-Sacrement, rue Cortambert, is a beautiful Gothic building of recent erection. The Chapel Corpus Christi, Avenue Friedland, built in 1875, has little architectural inte- rest, but is very profusely decorated. S.-Andre-des- Arts, rue Petrograd, is a spacious modern edifice of Romanesque- Byzantine style. S. -Charles, rue Le- gendre, a handsome structure in Romanesque style, at its transition stage. There are many more, Catholic and Protestant, assuring services within easy reach of every inhabitant in the city. The "Old Catholics" have a church, a very simple edifice, dedicated to S. Denys. And each foreign colony has its chapel or chapels in the capital of France. Finis. 279 VISITORS TOPOGRAPHICAL GUIDE. Church. S.-Denys Locality. Means of Access. Six miles north of Gare du Nord. Train Paris. from Place de la Trinite. Tram from Opera. I. Arrondissement. Palais Royal. La Sainte Chapelle S.-Germain I'Auxerrois L'Oratoire S.-Eustache , S.-Leu et S.-Gilles S.-Roch L'Assomption Notre-Dame des Victoires Notre-Dame de Bonne- Nouvelle. Boulevard du Palais - Rue du Louvre R. de Rivoli . R. du Tour . Boulevard S ebastopol R. S.-Honore R. S.-Honore et R. Cambon. n. Arr. Bourse. Place des Victoires . R. de la Lune {Rive droite.) Metro. Cite. Louvre. Louvre. Les Halles. Etienne-Marcel. Tuileries etPyramdies. Concorde et Madeleine. S.-Nicolas-des-Champs , Ste.-Elisabeth S.-Denis du Saint Sacre- ment. S.-Jean et S.-Franjois . in. Arr. Temple. Rue S.-Martin R. Reamur.- R. du Temple R. de Turrenne et R. S.-Claude. R. Chariot . Bourse. S.-Denis. Arts-et-Metiers. Temple. S.-Paul. S.-Paul. Notre-Dame S. -Louis en Pile S. -Merry S.-Gervais IV. Arr. Hotel de Ville. . He de la Cite . Cite. Rue S.-Louis S.-Paul. R. S.-Martin Chatelet. Place S.-Gervais H6tel-de-ViUe, R. de Brosse R. de l'H6tel-de- ViHe. 282 VISITORS TOPOGRAPHICAL GUIDE Church. Locality. Means of Access. Metro. Notre-Dame des Blancs- R. des Blancs- H6tel-de-Ville. Manteaux. Manteaux. S.-Paul et S.-Louis R. S.-Antoine S.-Paul. Eglise Evangelique des R. des Archives H6tel-de-Ville, Billettes. V. Arr. Pantheon. (^Rive gauche.) S.-Severin Rue S.-Severin S.-Michel. S.-Julien-le-Pauvre R. S.-Julien close to S.-Severin. S.-Michel. S.-Nicolas du Chardonnet R. S.-Victor S.-Michel. S . -Etienne- du-Mont . R. de la Montagne S t e . - Genevieve. Close to the Pan- theon and the Bib- lioth^que Ste.- Genevi^ve. S.-Michel. S.-Jacques-du-Haut-Pas. R. S.-Jacques and Notre-Dame des- R. I'Abbe de Champs (Nord- I'Epee, near the Sud). Southern extremity of the Luxem- bourg Gardens. Chapelle de la Sorbonne Place de la Sorbonne, Boulevard S.-Michel. S.-Michel Odeon. S.-Medard , . ' . R. Daubenton R. Monge. S.-Marcel. Val-de-Grace R. S.-Jacques Raspail. Vavin. VI. Arr. Vaugirard. S-Germain-des-Pres Boulevard S.-Germain S.-Germain-des-Pres. S.-Sulpice Place S.-Sulpice . S.-Sulpice. S.-Joseph des Carmes . Rue Vaugirard Notre-Dame-des-Champs Boulevard Montpar- Montparnasse and nasse. Notre-Dame des Champs. (Nord- Sud). VII . Arr. Palais Bourbon. Ste.-Clotilde Rue Las Cases Solferino (Nord-Sud). S.-PJerre du Gros Caillou R. S^Dominique . Tour de Maubeuge. S.-Franjois Xavier Boulevard des Invalides. Ecole Militaire. VISITORS TOPOGRAPHICAL GUIDE 283 Church. Locality. Means of Access. Metro. S.-Thomas d'Aquin . Place S.-Thomas Bac (Nord-Sud). d'Acquin, Boule- vard S. -Germain. S.-Louis-des-Invalides . Hotel-des-Invalides Invalides. VIII. Arr. Elysee. Rive droite. British Embassy Church La Madeleine Chapelle Expiatoire S.-Augustin . ' . S.-Philippe-du-Roule Eglise Russe . Chapelle du Saint Sacra- ment (Corpus Christi). Holy Trinity (American) S,-Joseph (English R.C.) Bazar de la Charite Rue d'Aguesseau Place de la Madeleine Boulevard Haussman R. des Mathurius Boulevard Males- herbes. R. du Faubourg S.-Honore. R. Daru, Avenue de Wagram. Avenue Friedland . Concorde ; Madeleine. Madeleine and Concorde , S.-Lazare. Gare S.-Lazare. , Marboeuf. Ternes ; Courcellej. Etoile. Avenue de I'Alma . Alma. Avenue Hoche . Etoile, R. Jean Goiijon Marboeuf. Trams \ la Place de I'Alma, IX. Opera. Rive droite. La Sainte Trinite , Place de la Trinitd. Gare S.-Lazare - Trinite (Nord-Sud) Notre-Dame-dc-Lorette Rue de Chateaudun N. D. d Lorette (Nord-Sud). S,-Louis d'Antin . , R. Caumartin . Caumartin; S.-Lazare. S.-Eug^ne , , , R. S,-C6cile , Poissonniire, S.-Vincent de Paul S.-Laurent , S.-Martin X. Arr. Entrep6t. Place Lafayette , Gare du Nord Poissonni^re. Boulevard de Stras- Gare de I'Est, bourg. Rue des Marais , Lancry. 284 VISITORS TOPOGRAPHICAL GUIDE Church. S. -Joseph S.-Ambroise . Ste.-Marguerite Eglise Flamande S.-Eloi L'Immaculee Conception Ste.-Marie . La Nativite (Notre-Dame de Bercy). S.-Antoine . Centeti^re de Picpus Locality. XI. Popincourt. Rue S.-Maur Boulevard Voltaire R. S.-Bernard R. de Charonne XII. Reuilly. Rue de ReuiUy R. du Rendez-vous R. S. Antoine Place Lachambaudie Avenue Ledru XIII. GobeUns. S.-Marcel . . . Boulevard de I'Hopital Notre-Dame de la Gare Rue Jeanne d'Arc . Ste.-Anne de la Maison R. de Tolbiac Blanche. Means of Accesi Metro. Parmentier; S.-Maur. Richard Lenoir. Reuilly; Bastille. Bagnolet Reuilly S.-Maude. Bastille. Charenton. Bastille. Gare de Lyon Nation. S.-Maude. Rive gauche. S.-Marcel. ' Nationale. Corvissyt. XIV. Arr. Observatoire. Notre-Dame-du-Travail S. -Pierre de Montrouge Vertingetorix Avenue d'Orleans XV. Arr. Vaugirard. S.-Lambert de Vaugirard Rue Gerbert S.-Jean Baptiste de Place Felix Faure Grenelle. S.-Jean-Baptiste de la Salle R. Dutot Edgar Ouimet. Al^sia. Vaugirard, Commerce. Pasteur. Rive droite. S.-Honore d'Eylau S. -Pierre de Chaillot S. -Stephanos . S. -Georges (Anglican) Notre-Damerde-GrSce XVI. Passy. Avenue Victor-Hugo Victor-Hugo Rue de Chaillot R. Georges-Bizet R. Auguste Vacquerie. R. de I'Atinoncia tion. Alma. Boissiere. Alma; Kleber; Etolle. Passy. VISITORS TOPOGRAPHICAL GUIDE 285 Church. Notre-Dame d'Auteuil . Chapplle Notre-Dame du Tres Saint Sacrement. Locality. Place d'Auteuil R. Cortembert Means of Access. Metro. Wilhem. Trocadero et Place Victor Hugo. XVII. Arr. Bati gnolles-Monceau. S.-Ferdinand des Ternes Rue S.-Ferdinand . Maillot. S.-Charles . . . R. Legendre . . Malesherbes. Ste.-Marie des Batignolles R. des BatignoUes Rome. S.-Michel . , . Avenue de S.-Ouen La Fourche. S.-Franfois de Sales . R. Ampere et Wagram. Ri Bremontier. XVIII. Arr. Montmartre. Sacre-Coeur . S.-Pierre de Montmartre et la Chapelle du Martyre. S.-Bernard . S.-Denys de la Chapelle Notre-Dame de Clignan- court. Ste.-Genevi4ve des Grandes-Carri^res. S.-Jean I'Evangeliste Rue de la Barre R. du Mont-Cenis Abbesses ; Anvers. Abbesses ; Anvers. Barbes-Chapelle. R. Affre R. de la Chapelle Place Ste.-Euphrasie Joffrin (Nord-Sud). R. Championnet Marcadet-Balagny Joffrin (Nord-Sud). XIX. Arr. Buttes-Chaumont. S.-Georges . . . Rue de Bolivar . Bolivar. S.-Jacques et S.-Christophe R. de Crimee . Crimee. de la Villette. S.-Jean-Baptiste-de- R. de Belleville . Place des Fetes. Belleville. XX. Arr. Menilmontant. Notre-Dame de la Croix Rue de Menilmontant Menilmontant. S.-Germain-de-Charonnc R. de Bagnolet . Bagnolet.