Part 19

The =minor art-objects= of the Louvre, though of immense value and interest in themselves, may be largely examined by those who have the time in the light of their previous work at Cluny. The collection of =drawings=, one of the finest in Europe, is mostly interesting to artists. That of =smaller Mediæval and Renaissance Objects= contains works closely similar to those at Cluny, including admirable =ivory-carvings=, fine =pottery= (the best of which is that by =Palissy=, and the =Henri II ware=), together with Oriental faïence, bronzes, etc. The =Greek Vases=, again, of which this Museum contains a magnificent collection, are mainly interesting to Hellenic specialists. For the casual visitor, it will suffice to examine one or two of them. The =Etruscan Antiquities= give a good idea of the civilisation of this ancient race, from which, both in earlier and later times, almost all the art, poetry, and science of Italy has proceeded. Though entirely based upon Greek models, the Etruscan productions betray high artistic faculty and great receptive powers of intellect. Among the =minor Greek works=, none are more interesting than the beautiful little terra-cotta =figures= from =Tanagra= in Bœotia, which cast an unexpected light on one side of Greek art and culture. Examine them as supplementing the collection of antique sculpture. These =figurines=, as they are called, were produced in immense quantities, chiefly in Bœotia, both for household decoration and to be buried with the dead. They were first moulded or cast in clay, but they were afterwards finished by hand, with the addition of just such accessories or modifications as we have seen to obtain in the case of the statues in the antique gallery. Finally they were gracefully and tastefully coloured. Nothing better indicates the universality of high art-feeling among the ancient Greeks than the extraordinary variety, fancy, and beauty of these cheap objects of every-day decoration; while the unexpected novelty given by the slightest additions or alterations in what (being moulded) is essentially the same figure throws a flood of light upon the methods of plastic art in higher departments. Look out for these exquisite little figures as you pass through the (inner) rooms on the South Side of the old Cour du Louvre, on the First Floor. Most of them will be found in Room L of Baedeker’s plan. Almost every visitor is equally surprised and charmed by their extremely modern tone of feeling. They are alive and human. In particular, the =playfulness= of Greek art is here admirably exemplified. Many of them have touches of the most graceful humour.

Here, again, do not suppose that because I do not specify, these minor works of art are of little importance. If you have time, examine them all: but you must do so by individual care and study.

The neighbouring =Salle des Bijoux= contains beautiful antique jewellery; do not miss the very graceful gold =tiara= presented to the Scythian King Saitaphernes by the Greek city of Olbia in the Crimea—a lovely work of the 3rd century B.C. Its authenticity has been disputed, but not its beauty.

The =Galerie d’Apollon= contains, among many objects of considerable interest, the Reliquary which encloses the Arm of Charlemagne—who, having been canonized, was duly entitled to such an honour. The Reliquary of St. Henry, and the Chasse of St. Louis are also well worthy of inspection. Notice, too, the Hand of Justice, used at the coronation of the French Kings. But all these objects can only be properly studied, by those who wish to investigate them, with the aid of the official catalogue. I shall recur at greater length to a few of them after our return from St. Denis.

When you have learnt Paris well, go often to and fro between these rooms of the Louvre, the Mediæval and Renaissance Sculpture, the halls at Cluny (particularly Room VI, with its French architectural work), and the older churches, such as St. Germain-des-Prés, Notre-Dame, St. Denis, etc. Thus only can you build up and consolidate your conceptions.

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A special small collection, to which part of a day may well be devoted, is the =Early Christian Sculpture=, to which I have already briefly alluded, in the first room to the R as you enter the Renaissance Galleries in the Cour du Louvre.

The centre of the hall is occupied by a good Early Christian =sarcophagus=, with a cover not its own, sufficiently described as to origin on the label. The front towards the window represents the True Vine, surrounding the “X P,” which form the first two letters of the name of Christ in Greek, inscribed in a solar circle, and with the Alpha and Omega on either side of it. This figure, repeated on various works in this room in slightly different shapes, is known as a =Labarum=. It forms, after Constantine (who adopted it as his emblem and that of the Christianized Empire), the most frequent symbol on early Christian monuments. Note modern reproductions on the frieze of this apartment. Its variations are numerous. At the ends, are other True Vines and a better Labarum, with a Star of Bethlehem. The back has the same devices repeated.

Wall nearest the entrance, several =inscriptions=, among which notice the frequency of the Labarum, with the two birds pecking at it,—a common Early Christian Symbol. Below them, good early =sarcophagus=. On its end, remote from window, Daniel in the Lions’ Den, a traditional representation, of which an extremely rude barbaric degradation may be noticed, high up, near the door which leads into the Della Robbia room, adjacent. In Early Christian art certain subjects from the Old and New Testaments became conventionalised, and were repeated on numerous works; of which this scene of Daniel is an example. Observe here that Old Testament subjects are frequent; while Madonnas are rare, and saints almost unknown. Further on, on the ground, sarcophagus representing =Christ with the Twelve Apostles=. The treatment here, in spite of slight Oriental tendencies (compare the Mithra reliefs) is on the whole purely classical. Now, the great interest in this room is to watch the way in which classical styles and figures passed slowly from pagan types into Christian, and again from the debased classical types of the later Empire into those of Romanesque or Gothic barbarity. As an example of this surviving pagan element, see, on the wall to the R of this sarcophagus, =Elijah taken up to Heaven= in a chariot of fire, and leaving his mantle to Elisha. Here, the Jordan is represented, in truly pagan style, by a river-god reclining on an urn and holding water-weeds. Such river-gods were the conventional classical way of representing a river (see the Tiber here, and the Nile of the Vatican, reproduced in the Vestibule): and Christian artists at first so represented the Jordan, as in the Baptism of Christ (in mosaic) in the Baptistery of the Orthodox at Ravenna.

Above the sarcophagus of Christ and the Twelve Apostles is an extremely beautiful =altar-front= from the abbey of St. Denis (read label) with a cross and palm trees, the True Vine interlacing it, and the characteristic wave-pattern, which you may note on many other works in this room. This is the most beautiful piece of early Romanesque or intermediate Christian carving in this collection.

In the centre of the Elijah wall, below, a sarcophagus with a very Oriental figure of the =Good Shepherd=—a frequent early Christian device. Compare this figure with the plaster cast of a similar statue from Rome, near the Della Robbia doorway. Compare the marked Orientalism of face, form, and foot-gear, with the Mithra reliefs. Above it, Scenes from the Life of Christ:—Blessing the Children, Christ and Peter, the Woman of Samaria, etc.; treatment quite classical. Still higher, sarcophagus-front of Christ and the Twelve Apostles; workmanship becoming decadent; architecture, classical in the centre, passing at the sides into early Romanesque or Constantinian and Diocletianesque, as in some of the other examples in this room. L of it, Abraham’s Sacrifice of Isaac, with rather late architecture.

All the other objects in this room should be carefully examined, and their place of origin noted. The symbols and the frequent Oriental tinge should also be observed. Likewise, the absence of several ideas and symbols which come in later. Note that there are no crucifixions, sufferings, or martyrdoms; the tone is joyous. Many of the minor objects have their own value. Thus, the fish, by the entrance door, is a common Early Christian symbol, because the Greek word ΙΧΘΥΣ [Greek: ICHTHYS] formed the initials of the sentence, “Jesus Christ, Son of God, the Saviour”; and its sacred significance is here still further emphasised by the superimposed cross—a symbol, however, which does _not_ belong to the very earliest ages of Christendom. So, on the opposite wall of the window, notice the little Daniel in the Den of Lions, and the youthful beardless Christ with a halo. The longer you study these interesting remains, the more will you see in them.

Those who have had their interest aroused in Early Christian art from the examination of this room will find the subject best pursued at Rome (Catacombs and Lateran) and Ravenna, where we can trace the long decline from classical freedom to Byzantine stiffness and Gothic barbarism, as well as the slow upward movement from the depths of the early Romanesque style to the precursors of the Renaissance. For the chronological pursuit of this enticing subject the best order of visiting is Rome, Ravenna, Bologna, Pisa, Siena, Florence. For a list of the extensive literature of the subject, see Dean Farrar’s _Christ in Art_.

IV THE NORTH BANK (RIVE DROITE)

[PARIS, =north of the river=,—which is for most purposes the practical Paris of business and pleasure (and of the ordinary tourist) at the present day—has grown by slow degrees from small beginnings. The various rings of its growth are roughly marked on the Map of Historical Paris. The wall of =Philippe Auguste= started from near the easternmost end of the existing Louvre, and, after bending inland so as just to enclose the Halles Centrales, reached the river again near the upper end of the Île St. Louis. It thus encircled the district immediately opposite the primitive islands: and this innermost region, the Core of the Right Bank, still contains most of the older buildings and places of interest N. of the river. =Étienne Marcel’s= walls took a slightly wider sweep, as shown on the Map; and by the time of =Louis XIII=. the town had reached the limit of the =Great Boulevards=, which, with their southern prolongation, still enclose almost everything of historical or artistic interest in modern Paris. The fact that the kings had all their palaces in this northern district was partly a cause, partly perhaps an effect, of its rapid predominance. The town was now spreading mainly northward.

The increase of the royal power brought about by Richelieu, and the consequent stability and internal peace of the kingdom, combined with the complete change in methods of defence which culminated in Vauban, enabled Louis XIV to =pull down the walls= of Paris altogether, and to lay out the space covered by his predecessor’s fortifications in that series of broad curved avenues which still bears from this circumstance the name of Boulevards (“bulwarks” or ramparts). The original line so named, from the Bastille to the Madeleine, is ordinarily spoken of to this day simply as “the Boulevard.” All the others called by the same have borrowed the title, mostly at a very recent date, from this older girdle. Gradually, the =Faubourgs= which gathered beyond the line of the inner city, as well as beyond the artificial southern prolongation of the Boulevards by which Louis continued his circle, with true French thoroughness of system, on the southern bank, have entirely coalesced with the central town, and at last enormously outgrown it. Nevertheless, to the end, the Paris of Louis XIV continues to enclose almost all that is vital in the existing city. Especially is =Paris within the Great Boulevards= to this day the Paris of =business and finance=: it includes the Bourse, the Banque de France, the Bourse de Commerce, the chief markets, the Post Office, the Ministries of Finance, Marine, and Justice, the Hôtel de Ville, numerous Government Offices, the principal wholesale warehouses, financial firms, and agencies, and almost all the best shops, hotels, banks, and business houses.

Even the inner circle itself, again, _within_ the Boulevards, has been largely transformed by modern alterations, especially in that extensive reorganisation of the city inaugurated under Napoleon III by Baron Haussmann. In the brief itinerary which follows, and in which I have endeavoured to give the reader in two short walks or drives some general idea of the development of the Right Bank, with its chief points of interest, I shall indicate roughly the various ages of the great thoroughfares, and note with needful conciseness the causes which at various times led to their construction.]

A. THE CORE OF THE RIGHT BANK

Start from the =Place de la Concorde=, and walk eastward along the Rue de Rivoli, in the direction of the Louvre. (If you like, the top of an omnibus will suffice as far as the Hôtel de Ville.) The Place de la Concorde itself, though old in essence, is, in its present form, quite a modern creation, having been laid out in 1854 under the Second Empire, when it was decorated with the 8 seated stone figures, wearing mural crowns, and representing the chief cities of France (including Strasbourg). The Luxor obelisk (age of Rameses II) was erected in the Place, in its simpler form, by Louis Philippe, in 1836. The two handsome large buildings on the N side are still earlier in date, age of Louis XV: one of them is occupied by the Ministère de la Marine—that nearest the Tuileries.

Proceed along the =Rue de Rivoli=, driven through this part of Paris by Napoleon I. He was a Corsican, and admired his native Italian arcaded streets, which he transplanted to Paris in this thoroughfare, and in the Rues Castiglione, and des Pyramides, all of which commemorate his victories. The form, however, is ill-adapted to the North, being draughty and sunless: and Frenchmen have never cared for the Rue de Rivoli, which is the street of strangers and especially of Englishmen. The native Parisian has always preferred to sun himself on the Boulevards. To your R are the =Gardens of the Tuileries=, still much as they were laid out under Louis XIV by Le Nôtre, in the formal style which well accorded with that artificial epoch. They contrast markedly with the newer portion, further E, on the site of the Palace, laid out by the present Republic in something like the English manner.

L, as you proceed, lies the Rue Castiglione, another of Napoleon’s arcaded streets, leading up to the Place and Colonne Vendôme. R, a little further on, you come abreast of the Louvre, the first Pavillon being part of the connecting wing of the Tuileries. L, the Rue des Pyramides, again Napoleonic: and further L, opens up the =Place du Palais Royal=, with the façade of the Palace showing behind it. This part, marked Conseil d’Etat, is the original building (much restored and rebuilt): it was erected by Richelieu for his own occupation, and bore at first the name of Palais-Cardinal. Occupied after his death by the widow of Louis XIII, it took its present name: and was later the residence of the notorious Regent, Philippe d’Orléans, and of his scheming grandson, Philippe Égalité. The garden behind, with an arcade of shops, now half deserted and uninteresting, which also bears the name of Palais Royal (almost to the exclusion of the original building) was laid out and let in this curious way by the Regent, as a commercial speculation. As a relic of the past, it is worth ten minutes’ visit, some time in passing.

Continue along the Rue de Rivoli, eastward, till you reach the Rue du Louvre. So far, you have been passing through the Paris of Louis XIII, Louis XIV, and the Empire; but now you are abreast with the wall of Philippe Auguste, and enter =the Core of the Right Bank=. Old as this part is, however, by origin, few of its buildings are mediæval; almost everything has been re-made in the Renaissance period. To your R lies the site of the old _château_ of the Louvre, and opposite it, the mediæval Church of St. Germain l’Auxerrois, one of the few remaining, which thus announces your arrival in early Paris from the town of Napoleon and François I^{er}. (The Rue du Louvre itself is of very recent origin, and leads to the L to the new Post Office.) Still going east, you have on your R the tower of St. Jacques, once another fine mediæval church, now demolished. (Near it, on the L, opens out the modern Boulevard de Sébastopol, forming part of the great trunk line from N to S, which was a principal feature in the Haussmannizing plan. It is known, further N, as the Boulevard de Strasbourg, and S as the Boulevard du Palais, and the Boulevard St. Michel.) Keep on till you come to the =Hôtel de Ville=, the centre of the town on the North Bank.

The old Hôtel de Ville, which this building replaces, was erected in 1533, under François I^{er}, by an Italian architect, in emulation of the similar buildings in Italy and the Low Countries. It was afterwards largely added to at various times, and played an important part in the history of Paris. This first Hôtel de Ville, however (a handsome Renaissance building), was unfortunately burned down during the internal struggles of 1871. The present edifice was erected shortly after, in much the same style, but on a larger scale; a walk round the =exterior= will help to piece out the visitor’s conception of Renaissance Paris. Note here once more the _pavillons_ at the angles, and other features which recall the Louvre. A visit to the interior is quite unnecessary for any save those hardened sight-seers who desire to inspect the decorations and arrangements of purely contemporary buildings. The sole reason for coming to the Hôtel de Ville at all, indeed, is the desirability of recognising its historic site, and understanding that here, by the hall of the old Prévôt des Marchands and the seat of the revolutionary Commune of Robespierre’s period, you stand at the heart of La Ville—the Paris of the merchants. The building is occupied by the Préfet de la Seine—the Department which practically coincides with Paris. The Place in front of it, now called after the Hôtel itself, is the old Place de Grève, the famous place of execution under the old Monarchy,—almost equally conspicuous in the history of the great Revolution.

Earlier still than the building of François I^{er}, a “Hostel de Ville” had stood upon the same site, purchased for the purpose by Étienne Marcel, Prévôt des Marchands, the real founder of the Paris municipality—to whom, therefore, a bronze equestrian statue has been erected in the little square facing the river.

The Hôtel de Ville forms a convenient centre from which to begin the exploration of the core of the northern city. Walk round to the back (with a second fine _façade_) and, between the two handsome barracks, you see towering before you the front of the church of

St. Gervais.

This is an old church, remodelled: and, unlike most of the churches in the older part of Paris, it does _not_ commemorate a local saint. Gervasius and Protasius, to whom it is dedicated, were two very doubtful martyrs of the persecution under Nero, whose names, bodies, and resting-place were miraculously and conveniently revealed to St. Ambrose at Milan (A.D. 387) at the exact moment when he needed relics for the church he had built, and which is now dedicated to him—the most interesting building in that beautiful city. St. Germain, bishop of Paris, brought back some relics of these saints in 560: and thenceforth St. Gervais and St. Protais became great objects of cult, like St. Stephen, in the Frankish city. (They are frequent subjects of French pictures in the 17th century.) This church, dedicated to them, probably occupies the site of one built by St. Germain in their honour. It was begun in 1212, added to and completely altered in 1420, and finally remodelled in front in the later Renaissance or classic manner. Most of the building as it stands is late Gothic; but you must go to the side to see it: the incongruous classic _façade_, illustrating the Doric, Ionic, and Corinthian orders, was added by Debrosse in 1616. Notice the coldness and bareness of this pseudo-classical front, as compared with the rich detail of the earlier mediæval exteriors. Almost the only breaks are the figures, on either side, of the two martyrs to contain whose relics the church was built. The sides, enclosed in houses which go close up to the wall, show the earlier architecture. Most churches in Paris were so walled up during the 17th century. The tower, and the aspect of the streets at the side, are very characteristic of a set of old effects now seldom visible.

The =interior= is chiefly noticeable for its great height, and for its interesting Late Gothic architecture. The patron saints, with their palms of martyrdom, stand on either side of the High Altar. The chapels at the S side should be examined separately: in one is a good stained glass window by Pinaigrier (restored) of the Judgment of Solomon. Notice to what saint each is dedicated. The beautiful flamboyant Lady Chapel, behind the choir, contains good modern frescoes, illustrating the mystic titles of the Blessed Virgin, whose history is shown in the stained glass of the windows, also by Pinaigrier, but very much restored. These scenes the reader will now, I trust, be able to follow for himself—the birth, education, marriage, etc., of the Virgin, with the events of her life as recorded in the Gospels, and her death and assumption. Good Pietà (Christ mourned by angels) as you return on the N side, with some excellent paintings—Martyrdom of St. Juliet, etc. I do not enlarge, as I hope the reader is now able to follow the lead I have given him in previous churches.

From St. Gervais, walk a little way along the N side of the church, enclosed in its curious envelope of houses, till you come to the Mairie of the IVth Arrondissement. Then, turn up into the Rue de la Verrerie, along which continue till you reach the side of the church of =St. Merri=, almost hidden from view by a wall of houses. The _façade_ is round the corner, in the Rue St. Martin. This is one of the few remaining mediæval churches in this district. St. Merri (Abbot Mederic of Autun) was a (historical) saint of the 7th century, local and early. He had a hermitage on this spot (then in the woods), and was finally buried here. The shrine over his tomb became the centre of a Parisian cult, and several churches rose successively above his body. The present one was not built till 1520; it is nevertheless a good late Gothic building. But notice the decline from the purity of Notre-Dame and the exquisite lightness of St. Louis’s chapel. Handsome flamboyant doorway, one mass of sculpture: statues of 12 Apostles, with symbols of their martyrdoms, all restored, after being destroyed in the Revolution. The =interior= is interesting, but spoilt in 17th century: good stained glass, badly injured. I bring you here mainly for the sake of the reminiscences.