along the Rue St. Denis, passing R. and L. the Rue des Lombards, the
Italian business quarter of old Paris, where Boccaccio, son of
Boccassin, the money-changer, was born. We continue past the
ill-omened Rue de la Ferronnerie and soon reach the Square and
Fontaine des Innocents. This charming renaissance fountain was
transferred here in 1786 from the corner of the old Rues aux Fers (now
the widened Rue Berger) and St. Denis, where it had been designed and
decorated by Lescot and Goujon to celebrate the solemn entry of Henry
II. in 1549. The beautiful old fountain has been considerably modified
and somewhat debased. The longer side has been divided to make a
third, and a new fourth side has been added by Pajou. The whole has
been elevated much too high by the addition of the terrace steps, and
an unsightly dome has been added. Five of the exquisite reliefs of the
Naiads by Goujon still remain, and three have been added by Pajou.
These latter may be distinguished by their higher relief and lack of
refinement.
The site of the immense Necropolis of Les Innocents,[234] which for
six centuries swallowed up half the dead of Paris, roughly corresponds
to the parallelogram formed by the modern Rues Berger, St. Denis,
Ferronnerie and de la Lingerie, and one of the old vaulted
charnel-houses may still be seen at the ground floor of No. 7 Rue des
Innocents. The huge piles of human remains and skulls that grinned
from under the gable roof of the gallery painted with the Dance of
Death were, in 1786, carted away to the catacombs under Paris, formed
by the old Gallo-Roman quarrymen as they quarried the stone used to
rebuild Lutetia. For centuries this enclosure was the refuge of
vagabonds and scamps of all kinds, a receptacle for garbage, the haunt
of stray cats and dogs, whose howlings by night made sleep impossible
to nervous folk; and the lugubrious _clocheteur_, or crier of the
dead, with lantern and bell, his tunic figured with skull and
cross-bones, bleating forth:--
"Reveillez-vous gens qui dormez,
Priez Dieu pour les trepassez."
was no soothing lullaby.
[Footnote 234: According to Sir Thomas Browne, bodies soon consumed
there. "Tis all one to lie in St. Innocents' churchyard as in the
sands of Egypt, ready to be anything in the ecstasy of being ever, and
as content with six feet as the _moles_ of Adrianus."
"_Tabesne cadavera solvat
An rogas haud refert._"--LUCAN.]
A curious early fifteenth-century rhyme is associated with this
charnel-house. One morning, two _bourgeoises_ of Paris, the wife of
Adam de la Gonesse and her niece, went abroad to have a little flutter
and eat two sous' worth of tripe in a new inn. On their way they met
Dame Tifaigne, the milliner, who recommended the tavern of the
"Maillez," where the wine was excellent. Thither they went and fared
not wisely but too well. When fifteen sous had already been spent,
they determined to make a day of it, and ordered roast goose with hot
cakes. After further drinking, gauffres, cheese, peeled almonds,
pears, spices and walnuts were called for, and the feast ended in
songs. When the bad quarter of an hour came, their sum of sous proving
inadequate, they parted with some of their finery to meet the score,
and at midnight left the inn dancing and singing--
"Amours au vireli m'en vois."
The streets of Paris, however, at midnight were unsafe even for sober
ladies, and these soon fell among thieves, were stripped of the rest
of their clothing, then taken up for dead by the watch and flung into
the mortuary in the cemetery of the Innocents; but, to the terror of
the gravedigger, were found lying outside the next morning, singing--
"Druin, Druin, ou es allez?
Apporte trois harens salez
Et un pot de vin du plus fort."
Pursuing our way N. by the Rue St. Denis we pass (R.) the restored
fourteenth-century church of St. Leu and St. Gilles, and on our L. two
old reliefs of St. Peter and St. Andrew embedded in the corner of a
modern house at the corner of the Rue St. Denis and the Rue Etienne
Marcel. Near by stood the Painters' Gate of the Philip Augustus wall.
We turn L. by the latter street and soon sight on our R. the massive
machicolated Tower of Jean sans Peur (p. 133). It was at the Hotel de
Bourgogne that the Confreres de la Passion de Jesus Christ were
performing in the sixteenth century, and where in 1548 they were
forbidden by royal decree to play the mystery of the Passion any
longer, and limited to profane, decent and lawful plays. From
1566-1576 the comediens of the Hotel de Bourgogne continued their
performances, which at length became so gross that complaints were
made of the _blasphemes et impudicites_ enacted there, and that not a
farce was played that was not _orde_, _sale et vilaine_. Repeated
ordinances were levelled at the actors, aiming at the purification of
the stage and preventing words of _double entente_. It was here, too,
that the most exalted and noble masterpieces of Corneille and
Racine--_Le Cid_, _Andromaque_ and _Phedre_--were first enacted. We
turn R. by the Rue Francaise, again R. by the Rue Tiquetonne, then L.
by the curious Rue Dussoubs to the new Rue Reamur, where on the
opposite side, to the L., is the narrow passage between Nos. 100 and
102 that leads to the once notorious Cour des Miracles, so vividly
portrayed in Victor Hugo's _Notre Dame_. It was here that Jean Du
Barry and his mistress, Jeanne Vaubernier, kept a gambling-hell.
Jeanne, subsequently married to Jean's brother, was the daughter of a
monk and formerly known as Mademoiselle Lange. She it was who became
the famous Du Barry, mistress of Louis XV. Here also dwelt Hebert,
editor of the foul _Pere Duchesne_. Both perished on the scaffold. We
cross the Cour and leave by the Rue Damiette (L.), turn again L. and
descend the Rue du Nil to the Rue des Petits Carreaux. This we follow
to the L., and continue down it and the busy and picturesque Rue
Montorgeuil, noting (L.) No. 78, the curious house at the sign of the
Rocher de Cancale. 72-64 were part of the roomy sixteenth-century
posting house of the Golden Compasses, and have quaint reliefs carved
on their facades. We may enter at 64, the spacious old coaching yard,
still used by market carts and waggons. The courtyard on the opposite
side, No. 47, was the office of the old sedan-chair porters. We
continue to descend, and at length sight the tall apse of the majestic
church of St. Eustache, which towers over the Halles. Begun in 1532 by
Pierre Lemercier, it was not completed until more than a century later
by Jacques Lemercier, architect of the extended Louvre. We enter, by
the side portal, the spacious, lofty and beautiful interior with its
not unpleasing mingling of Gothic and Renaissance architecture. It
was here that in 1587 a friar reciting the story of the execution of
Mary Queen of Scots roused his hearers to such a tempest of passion
that the whole congregation melted into a common paroxysm of tears.
Here, too, on 4th April 1791 was celebrated, amid the gloom and sorrow
of a whole people, the funeral of their "Sovereign-Man," Mirabeau. Not
till five o'clock did the league-long procession reach the church in
solemn silence, interrupted only by the sound of muffled drums and
wailing music, "new clangour of trombones and metallic dirge-voice,
amid the infinite hum of men." After the funeral oration a discharge
of arms brought down some of the plaster from the vaultings of the
church, and the body went--the first tenant--to the Pantheon of the
heroes of the Fatherland. We leave by the west portal--a monstrous
pseudo-classic pile, added 1775-1778. To our L. is the vast area once
covered by a congeries of picturesque Halles and streets:--the Halle
aux Draps; the Marche des Herborists, with their mysterious stores of
simples and healing herbs and leeches; the potato and onion markets;
the butter and cheese markets; the fish market; the queer old Rue de
la Tonnellerie, under whose shabby porticoes, sellers of rags, old
clothes, iron and furniture, crowded against the bread market; the
Marche des Prouvaires, beloved of thrifty housewives--all swallowed up
by the vast modern structure of iron and glass, known as Les Halles.
The Halle au Ble, or corn market, last to disappear, was built on the
site of the Hotel de la Reine which Catherine de' Medici had erected
when frightened from the Tuileries by her astrologer Ruggieri. The
site is now occupied by the Bourse de Commerce, but one curious
decorated and channelled column, which conceals a stairway used by
Catherine and her Italian familiar when they ascended to the roof to
consult the stars, has been preserved.
The Rue Pirouette N. of the Halles reminds us that there, until the
reign of Louis XVI., stood the royal pillory, a tall octagonal tower
of two floors. The unhappy wretches condemned to exposure there were
placed with head and hands protruding through holes in a revolving
wheel, and were left for three hours on three market days, to the
gibes and missiles of the populace. There, too, was a place of
execution for state offenders, the Constable of Clisson in 1344 and
_le pauvre Jacques_ (p. 147) in 1477 having perished on this spot.
From the Place St. Eustache we cross (L.) to the Rue Vauvilliers,
formerly the Rue du Four St. Honore, the west side of which still
retains much of its old aspect, and many of the shops, their old
signs: _Au Chou Vert_; _Le Panier Fleuri_, etc. Descending this street
southwards, a turn (R.) up the Rue de Vannes will bring us to the
Ruggieri column, transformed (1812) into a fountain, as the
inscription tells. Resuming our way down the Rue Vauvilliers we turn
R. by the Rue St. Honore and opposite, at the corner of the Rue de
l'Arbre Sec, find the old fountain of the Croix du Trahoir, erected in
the reign of Francois I. and rebuilt by Soufflot in 1775. Here
tradition places the cruel death of Queen Brunehaut (p. 29).
Descending this street to the Rue de Rivoli, we note, No. 144, to the
L. an inscription marking the site of the Hotel de Montbazon where
Coligny was assassinated. We cross to the Rue Perrault and soon reach
the church of St. Germain l'Auxerrois from whose tower rang the signal
for the St. Bartholomew butchery. The porch was added in 1431 for the
convenience of distinguished worshippers; for it was the parish church
of the Chateau of the Louvre and consequently the royal chapel. The
saints and martyrs on the portail and porch are therefore closely
associated with the history of Paris: opposite to us extends
Perrault's famous E. facade of the Louvre.
SECTION IX
_Palais Royal--Theatre Francais--Gardens and Cafes of the Palais
Royal--Palais Mazarin (Bibliotheque Nationale)_[235]_--St.
Roch--Vendome Column--Tuileries Gardens--Place de la Concorde--Champs
Elysees._
[Footnote 235: Open Tuesdays and Fridays, 10 to 4.]
From the Palais Royal Station of the Metropolitain we issue before the
great palace begun by Richelieu (p. 212). To our L. stands the Theatre
Francais, occupied by the Comedie Francaise since 1799, on the site of
the old Varietes Amusantes or Palais Varietes built in 1787, a little
to the W. of Richelieu's Theatre of the Palais Cardinal. This latter
was the scene of Moliere's triumphs and of his piteous death, and the
original home of the French Opera whose position is indicated by an
inscription at the corner of the Rues de Valois and St. Honore. It was
at the Theatre des Varietes, when the staid old Comedie Francaise was
rent by rival factions that Chenier's patriotic tragedy, _Charles
IX._, was performed on 4th November 1789, and the pit acclaimed Talma
with frantic applause as he created the _role_ of Charles IX., and the
days of St. Bartholomew were acted on the stage. The bishops tried to
stop the performances, and priests refused absolution to those of
their penitents who went to see them. The Royalists among the
Comedians replied at the Nation (the Odeon) by playing a royalist
repertory, _Cinna_ and _Athalie_, amid shouts from the pit for
_William Tell_ and the _Death of Caesar_, and the stage became an arena
where political factions strove for mastery. Men went to the theatre
armed as to a battle. Every couplet fired the passions of the
audience, the boxes crying, "_Vive le Roi!_" to be answered by the
hoarse voices of the pit, "_Vive la nation!_" Shouts were raised for
the busts of Voltaire and of Brutus: they were brought from the foyer
and placed on the stage. The very kings of shreds and patches on the
boards came to blows and the Roman toga concealed a poignard. For a
time "idolatry" triumphed at the Nation, but Talma and the patriots at
length won. A reconciliation was effected, and at a performance of the
_Taking of the Bastille_, on 8th January 1791, Talma addressed the
audience, saying that they had composed their differences. Naudet, the
Royalist champion, was recalcitrant, and amid furious shouts from the
pit, "On your knees, citizen!" at length gave way, embraced Talma with
ill-grace, and on the ensuing nights the Revolutionary repertory, _The
Conquest of Liberty_, _Rome Saved_, and _Brutus_, held the boards.
In the stormy year of 1830, when the July Revolution made an end for
ever of the Bourbon cause in Paris, the Comedie Francaise again became
a scene of fierce strife. _Hernani_, a drama in verse, had been
accepted from the pen of Victor Hugo, the brilliant and exuberant
master of the new Romantic school of poets who had determined to
emancipate themselves from the traditions, long since hardened into
dogmas, of the great dramatists of the siecle de Louis Quatorze. On
the night of the first performance each side--Romanticists and
Classicists--had packed the theatre with partisans. The air was
charged with feeling; the curtain rose, but less than two lines were
uttered before the pent-up passions of the audience burst forth:--
DONA JOSEFA--"Serait-ce deja lui? C'est bien a l'escalier
Derobe--"
The last word had not passed the actress' lips when a howl of
execration rose from the devotees of Racine, outraged by the author's
heresy in permitting an adjective to stray into the second line of
verse. The Romanticists, led by Theophile Gautier, answered in
withering blasphemies; the Classicists began to
"... prove their doctrine orthodox
By apostolic blows and knocks,"
and the pit became a pandemonium of warring factions. Night
after night the literary sects renewed their fights, and the
representations, as Hugo said, resembled battles rather than
performances. The year 1830 was the '93 of the classic drama, but the
passions it evoked have long since been calmed and _Hernani_ and _Le
Roi s'Amuse_, the latter suppressed by Louis Philippe after its first
appearance, have taken their places in the classic repertory of the
Francais beside the tragedies of Corneille and Racine.
At No. 161 Rue St. Honore, now Cafe de la Regence, beloved of chess
players, is the site of the Porte St. Honore of the Charles V. wall
before which Joan of Arc was wounded at the Siege of Paris in 1429.
The old chess-players' temple where Diderot loved to watch the
matches; where the author of _Gil Blas_ beheld in a vast and
brilliantly lighted salon, a score of silent and grave _pousseurs de
bois_ (wood-shovers) surrounded by crowds of spectators amid a silence
so profound that the movement of the pieces alone could be heard;
where Voltaire and D' Alembert were often seen; where Jean Jacques
Rousseau, dressed as an Armenian, drew such crowds that the proprietor
was forced to seek police protection; where Robespierre loved to play
a cautious game and the young and impecunious Napoleon Bonaparte, an
impatient player and bad loser, waited on fortune; where strangers
from all corners of the earth congregated as in an arena where
victory was esteemed final and complete; where Poles, Turks, Moors and
Hindoos in their picturesque garbs made a scene unparalleled even at
the Rialto of Venice; where on Sunday afternoons a seat was worth a
monarch's ransom--this classic Cafe de la Regence which, until 1852,
stood on the Place du Palais Royal, no longer exists.
We enter the gardens of the Palais by the colonnade to the R. of the
Theatre Francais and pass N. along the W. colonnade. On this side was
situated the famous Cafe de Foy (p. 261), founded in 1700, whose
proprietor was in early days alone permitted to place chairs and
tables on the terrace. There, in the afternoon, would sit the finely
apparelled sons of Mars, and other gay dogs of the period, with their
scented perukes, amber vinaigrettes, silver-hilted swords and
gold-headed canes quizzing the passers-by. In summer evenings, after
the conclusion of the opera at 8-30, the _bonne compagnie_ in full
dress would stroll under the great overarching trees of the _grande
allee_, or sit at the cafes listening to open-air performers,
sometimes revelling in the moonlight as late as the small hours of the
morning.
It was from one of the tables of the Cafe Foy that Camille Desmoulins
sounded the war-cry of the Revolution. Every day a special courier
from Versailles brought the bulletins of the National Assembly, which
were read publicly amid clamorous interjections. Spies found their
office a perilous one, for, if discovered, they were ducked in the
basins of the fountains, and when feeling grew more bitter, risked
meeting a violent death. Later the Cafe Foy made a complete
_volte-face_, raised its ices to twenty sous and grew Royalist in
tone. Its frequenters came armed with sword-sticks and loaded canes,
raised their hats when the king's name was uttered, and one evil day
planted a gallows outside the cafe, painted with the national
colours. The excited patriots stormed the house, expelled the
Royalists and disinfected the salon with gin. Next day the Royalists
returned in force and cleansed the air with incense: after many
fatalities the cafe was closed for some days and the triumph of the
Jacobins at length made any suspicion of Royalism too perilous. During
the occupation of Paris by the allies many a fatal duel between the
foreign officers and the Imperialists was initiated there.
The extremer section of the Revolutionists frequented the Cafe
Corazza, still extant on this side of the garden, which soon became a
minor Jacobin's, where, after the club was closed, the excited orators
continued their discussions: Chabot, Collot d'Herbois and other
Terrorists met there. The Cafe Valois was patronised by the
Feuillants, and so excited the ire of the Federes, who met at the
Caveau, that one day they issued forth, assailed their opponents'
stronghold and burned the copies of the _Journal de Paris_ found
there.
In the earlier days of the Revolution when its leaders looked for
sympathy to England, "a brave and generous nation, whose name alone
like that of Rome evokes ideas of Liberty," the people during an
exhibition of anti-monarchical feeling went about destroying the
insignia of royalty. On coming in the Palais Royal to the sign of the
English king's head over a restaurant, an orator mounted a chair in
the gardens, and informed them that it was the head of a good king,
ruling over a free nation: it was spared, amid shouts of "_Vive la
Liberte_." Later, at the Cafe des Milles Colonnes, the handsome Madame
Romain, _La Belle Limonadiere_, sat majestically on a real throne used
by a king whom Napoleon had overthrown.
We leave the gardens by the issue in the middle of the N. colonnade,
mount the steps and at the corner of the Rue Vivienne and the Rue des
Petits Champs opposite, come upon the Palais Mazarin (p. 222), now the
Bibliotheque Nationale, with a fine facade on each street. In the Rue
Vivienne stood also the princely Hotel Colbert, of which only the name
remains--the Passage Colbert. We turn W. along the Rue des Petits
Champs and skirt the W. walls of the modernised palace northwards
along the Rue de Richelieu to the main Cour d'Honneur, opposite the
Square Louvois. Hence we may enter some rooms, which contain a
magnificent and matchless collection of printed books, bindings and
illuminated MSS. The second of the two halls where these treasures are
exposed, the Galerie Mazarin, is a part of the old palace and retains
its fine frescoed ceiling. As we retrace our steps down the Rue
Richelieu we may enter, on our L. the equally rich and sumptuous
museum of coins, medals, antiques, intaglios, gems, etc. Having
regained the Rue des Petits Champs, we resume our westward way, noting
at No. 45, corner of the Rue St. Anne, the fine double facade of the
Hotel erected by Lulli and bearing the great musician's coat-of-arms,
a design of trumpets, lyres and cymbals, and soon cross the Avenue de
l'Opera to the Rue St. Roch on our L. This we descend to the church of
the same name, with old houses still nestling against it, famous for
Bonaparte's whiffs of grape-shot that scattered the Royalist
insurrectionary forces stationed there on 5th October 1795. We descend
to the Rue de Rivoli. To our L., at the Place des Pyramids, a statue
of Joan of Arc recalls her ill-advised attack on Paris, and to our R.,
on the railings of the Tuileries Garden opposite No. 230, Rue de
Rivoli, is the inscription marking the site of the Salle du Manege (p.
271). Northward hence extend Napoleon's Rues de Castiglione and de la
Paix, the Regent Street of Paris, divided by the Place Vendome, which
was intended by its creator, Louvois, to be the most spacious in the
city. A monumental parallelogram of public offices was designed to
enclose the Place, but Versailles engulfed the king's resources and
the ambitious scheme was whittled down, the area much reduced, and the
site and foundations of the new buildings were handed over to the
Ville. What the Allies failed to do in 1814 the Commune succeeded in
doing in 1871, and the boastful Column of Vendome, a pitiful
plagiarism of Trajan's Column at Rome, was laid in the dust, only
however to be raised again by the Third Republic in 1875. We enter the
Tuileries Gardens crossing the Terrace of the Feuillants, all that is
left of the famous monastery and grounds where Lafayette's club of
constitutional reformers met. The beautiful gardens remain much as Le
Notre designed them for Louis XIV: every spring the orange trees, some
of them dating back it is said to the time of Francis I., are brought
forth from the orangery to adorn the central avenue, and the gardens
become vocal with many voices of children at their games--French
children with their gentle humour and sweet refined play. R. and L. of
the central avenue we find the two marble exhedrae, erected in 1793 for
the elders who presided over the floral celebrations of the month of
Germinal by the children of the Republic.
Of the gorgeous palace of the Tuileries at the E. end of the gardens,
with its inharmonious but picturesque facade stretching across the
western limit of the Louvre from the Pavilion de Flore to the Pavilion
de Marsan, not one stone is left on another. We remember it after its
fiery purgation by the Commune in 1871, a gaunt shell blackened and
ruined, fitting emblem of the wreck which the enthroned wantonness and
corruption of the Second Empire had made of France.
We fare again westward along the gardens and emerge into the Place de
la Concorde by the gate adorned with Coysevox' statues, Fame and
Mercury on Winged Horses, facing, on the opposite side of the vast
area, Guillaume Coustou's Horse Tamers from Marly.
The Place, formerly of Louis XV., with its setting of pavilions
adorned with groups of statuary representing the chief cities of
France, was created by Gabriel in 1763-1772 on the site of a dreary,
marshy waste used as a depot for marble. It was adorned in 1763 with
an equestrian statue of Louis XV., by Pigalle, elevated on a pedestal
which was decorated at the corners by statues of the cardinal virtues.
Mordant couplets, two of which we transcribe, affixed on the base,
soon expressed the judgment of the Parisians:--
"_Grotesque monument! Infame piedestal!
Les vertus sont a pied, le vice est a cheval._"
"_Il est ici comme a Versailles,
Toujours sans coeur et sans entrailles._"
After the fall of the monarchy the Place was known as the Place de la
Revolution, and in 1792, Louis XV. with the other royal simulacra in
bronze having been forged into the cannon that thundered against the
allied kings of Europe, a plaster statue of Liberty was erected, at
whose side the guillotine mowed down king and queen, revolutionist and
aristocrat in one bloody harvest of death, ensanguining the very
figure of the goddess herself, who looked on with cold and impassive
mien. She too fell, and in her place stood a _fascis_ of eighty-three
spears, symbolising the unity of the eighty-three departments of
France. In 1795 the Directory changed the name to Place de la
Concorde, and again in 1799 a seated statue of Liberty holding a globe
was set up. In the hollow sphere a pair of wild doves built their
nest--a futile augury, for in 1801 Liberty II. was broken in pieces,
and the model for a tall granite column erected in its place by
Napoleon I. One year passed and this too disappeared. After the
Restoration, among the other inanities came, in 1816, a second statue
of Louis XV., and the Place resumed its original name. Ten years later
an expiatory monument to Louis XVI. was begun, only to be swept away
with other Bourbon lumber by the July Revolution of 1830. At length
the famous obelisk from Luxor, after many vicissitudes, was elevated
in 1836 where it now stands.
The Place as we behold it dates from 1854, when the deep fosses which
surrounded it in Louis XV.'s time, and which were responsible for the
terrible disaster that attended the wedding festivities of Louis XVI.
and Marie Antoinette, were filled up, and other improvements and
embellishments effected. The vast space and magnificent vistas enjoyed
from this square are among the finest urban spectacles in Europe. To
the north, on either side of the broad Rue Royale which opens to the
Madeleine, stand Gabriel's fine edifices (now the Ministry of Marine
and the Cercle de la Rue Royale), designed to accommodate foreign
ambassadors. To the south is the Palais Bourbon, now the Chamber of
Deputies; to the east are the gardens of the Tuileries, and to the
west is the stately Grande Avenue of the Champs Elysees rising to the
colossal Arch of Triumph crowning the eminence of the Place de
l'Etoile. As our eyes travel along the famous avenue, memories of the
military glories and of the threefold humiliation of Imperial France
crowd upon us. For down its ample way there marched in 1814 and 1815
two hostile and conquering armies to occupy Paris, and in 1871 the
immense vault of the Arc de Triomphe, an arch of greater magnitude
than any raised to Roman Caesars, echoed to the shouts of another
exultant foreign host, mocking as they strode beneath it at the names
of German defeats inscribed on its stones. And on the very Place de la
Concorde, German hussars waltzed in pairs to the brazen music of a
Uhlan band, while a line of French sentries across the entrance to the
Tuileries gardens gazed sullenly on. To this day the mourning statue
of Strassbourg with her sable drapery and immortelles, still keeps
alive the bitter memory of her loss.
To the south of the Champs Elysees is the Cours de la Reine, planted
by Catherine de' Medici, for two years the most fashionable carriage
drive in Paris. This we follow and at No. 16 find the charming Maison
Francois I. brought from Moret, stone by stone, in 1826. To the north,
in the Cours de Gabriel, a fine gilded grille, surmounted with the
arms of the Republic, gives access to the Elysee, the official
residence of the President. It was once Madame Pompadour's favourite
house in Paris, and the piece of land she appropriated from the public
to round off her gardens is still retained in its grounds. In the
Avenue Montaigne, leading S.W. from the Rond Point (once the Allee des
Veuves, a retired walk used by widows during their term of seclusion)
Nos. 51 and 53 stand on the site of the notorious Bal Mabille,[236]
the temple of the bacchanalia of the gay world of the Second Empire.
In 1764 the Champs Elysees ended at Chaillot, a little to the W. of
the Rond Point, an old feudal property which Louis XI. gave to
Philippe de Comines in 1450, and which in 1651 sheltered the unhappy
widow of Charles I. Here Catherine de' Medici built a chateau, but
chateau and nunnery of the Filles de Sainte Marie, founded by the
English queen, disappeared in 1790. S. of the Champs Elysees on the
opposite bank of the Seine rises the gilded dome of the Invalides, and
to the S.W. stretches the vast field of Mars, the scene of the Feast
of Pikes, and now encumbered with the relics of four World-Fairs.
[Footnote 236: A description of this and of other public balls of the
Second Empire will be found in Taine's _Notes sur Paris_, which has
been translated into English.]
The Paris we have rapidly surveyed is, mainly, enclosed by the inner
boulevards, which correspond to the ramparts of Louis XIII. on the
north, demolished by his successor between 1676 and 1707, and the line
of the Philip Augustus wall and the Boulevard St. Germain on the
south. Beyond this historic area are the outer boulevards which mark
the octroi wall of Louis XVI.; further yet are the Thiers wall and
fortifications of 1841. Within these wider boundaries is the greater
Paris of the nineteenth and twentieth centuries, of profound concern
to the economical and social student, but of minor interest to the
ordinary traveller. The vogue of the brilliant and gay inner
boulevards of the north bank so familiar to the foreigner in Paris is
of comparatively recent growth. In the early nineteenth century the
boulevard from the Place de la Madeleine to the Rue Cambon was almost
deserted by day and dangerous by night--a vast waste, the proceeds of
the confiscated lands of the Filles de la Conception. From the
Boulevard Montmartre to the Boulevard St. Martin followed lines of
private hotels, villas, gardens and convent walls. A great mound which
separated the Boulevard St. Martin from the Boulevard du Temple was
not cleared away until 1853. From 1760 to 1862 the Boulevard du Temple
was a centre of pleasure and amusement, where charming suburban houses
and pretty gardens alternated with cheap restaurants, hotels,
theatres, cafes, marionette shows, circuses, tight-rope dancers,
waxworks, and cafes-chantants. In 1835, so lurid were the dramas
played there, that the boulevard was popularly known as the _Boulevard
du Crime_.
In the early nineteenth century the favourite promenade of Parisian
_flaneurs_ was displaced from the Palais Royal to the Boulevard des
Italiens, whither the proprietors of cafes and restaurants followed. A
group of young fellows entered one evening a small _cabaret_ near the
Comedie Italienne (now Opera Comique), found the wine to their taste
and the cuisine excellent, praised host and fare to their friends, and
the modest _cabaret_ developed into the Cafe Anglais, most famous of
epicurean temples, frequented during the Second Empire by kings and
princes, to whom alone the haughty proprietor would devote personal
care. The sumptuous cafes Tortoni, founded in 1798, and De Paris,
opened 1822, have long since passed away. So has the Cafe Hardy, whose
proprietor invented _dejeuners a la fourchette_, although its rival
and neighbour, the Cafe Riche, stills exists. Many others of the
celebrated cafes of the Boulevards have disappeared or suffered a
transformation into the more popular Brasseries and Tavernes of which
so many, alternating with the theatres, restaurants and dazzling shops
that line the most-frequented evening promenade of Paris, invite the
thirsty or leisurely pleasure-seeker of to-day.
Nowhere may the traveller gain a better impression of the essential
gaiety and sociability of the Parisian temperament than by sitting
outside a cafe on the boulevards on a public festival and observing
his neighbours and the passers-by: their imperturbable good humour;
their easy manners; their simple enjoyments; their quick intelligence,
alert gait and expressive gestures; the wonderful skill of the women
in dress. The glittering halls of pleasure that appeal to so many
visitors, the Bohemian cafes of the outer boulevards, the Folies
Bergeres, the Moulins Rouges, the Bals Bulliers, with their
meretricious and vulgar attractions, frequented by the more facile
daughters of Gaul, "whose havoc of virtue is measured by the length of
their laundresses' bills," as a genial satirist of their sex has
phrased it--all these manifestations of _la vie_, so unutterably dull
and sordid, are of small concern to the cultured traveller. The
intimate charm and spirit of Paris will be heard and felt by him not
amid the whirlwind of these saturnalia largely maintained by the
patronage of English-speaking visitors, but rather in the smaller
voices that speak from the inmost Paris which we have essayed to
describe. Nor can we bid more fitting adieu to Lutetia than by
translating Goethe's words to Eckermann: "Think of the city of Paris
where all the best of the realms of nature and art in the whole earth
are open to daily contemplation, a world-city where the crossing of
every bridge or every square recalls a great past, and where at every
street corner a piece of history has been unfolded."
SECTION X
_The Basilica of St. Denis and the Monuments of the Kings, Queens and
Princes of France._
No historical pilgrimage to Paris would be complete without a visit to
the Sanctuary of its protomartyr and the burial-place of its kings.
Taking train from the Gare du Nord, either main line or local
train-tramway and being arrived at the railway station of the grimy
industrial suburb of St. Denis, we cross the canal and continue along
the Rue du Chemin de Fer and the Rue de la Republique, to the
Cathedral, architecturally the most important relic of the great age
of the early ecclesiastical builders. The west facade before us,
completed about 1140 by Abbot Suger, is of profound interest, for here
we may behold the round Romanesque arch side by side with the Pointed,
and the very first grip of the new Gothic on the heavy Norman
architecture it was about to overthrow. The sculptures on the W.
portals, however, almost wholly and clumsily renewed, need not detain
us long. We enter and descend from the sombre vestibule. As we wait
for the verger we revel in the airy and graceful symmetry of the nave
and aisles; the beautiful raised choir and lovely apse with its
chevets and round of chapels, where structural science and beauty of
form are so admirably blended. The choir was so far advanced in 1143
that mass was sung at the high altar during a heavy storm while the
incomplete ribs of the new Gothic vaulting swayed over head. In 1219,
however, Suger's structure was nearly destroyed by fire and the upper
part of the choir, the nave and transepts were afterwards rebuilt in
the pure Gothic of the times, the more active reconstruction being
effected between 1231 and 1281. A visit to the monuments is unhappily
a somewhat mingled experience. Owing to the inscrutable official
regulations in force, the best of the mediaeval tombs are only seen
with difficulty and from a distance that renders any appreciation of
their beauty impossible.[237] The monuments are mainly those claimed
by Lenoir for his Museum at Paris when the decree of 1792 was
promulgated, ordering the "effacement of the proud epitaphs and the
destruction of the Mausoleums, that recalled the dread memories of
kings": they were restored to their original places so far as possible
by Viollet le Duc. The head of St. Denis is said to have been found
when his shrine was desecrated and appropriated by the revolutionists,
and in the cant of the time was brought back to Paris by "a miracle
greater and more authentic than that which conveyed it from
Montmartre to St. Denis, a miracle of the regeneration of opinion,
registered not in the martyrology but in the annals of reason."
[Footnote 237: We cannot too strongly impress on the traveller the
desirability of visiting the admirable Musee de Sculpture Comparee at
the Trocadero where casts of the most important sculpture and
architecture in France, including many of the monuments, here and
elsewhere in Paris, may be conveniently studied.]
[Illustration: CATHEDRAL OF ST. DENIS.]
We are first led past some mediaeval tombs in the N. transept, then by
those of the family of St. Louis, which include that of his eldest
son, one of the most beautiful creations of thirteenth-century
sculpture. Our own Henry III. who attended the funeral is figured
among the mourners around the base which are only partially seen from
afar. The monument to Louis XII. and his beloved and _chere Bretonne_,
Anne, is next shown. It is in Italian style and was wrought by the
Justes, a family of Tourraine sculptors. The Royal effigies are twice
rendered: once naked in death under a tabernacle and again kneeling in
prayer. Before we ascend the steps leading to the raised ambulatory,
we are shown across the choir, and R. of the high altar, the fine
thirteenth-century tomb of Dagobert, with some quaint reliefs,
impossible to see in detail, illustrating his legend (p. 34) and a
statue of Queen Nantilde also of the thirteenth century. Nor should we
omit to note the two rare and beautiful twelfth-century statues, in
the style of the Chartres sculpture, of a king and queen on either
side of the portal of the N. transept brought from the church of Notre
Dame de Corbeil. To our L. is a masterpiece of the French renaissance,
the tomb by Lescot and Pilon of Henry II. and Catherine de' Medici,
who are represented twice, as in the monument to Louis XII. We ascend
the steps to the ambulatory and below, to our L., are summarily shown
some important Valois tombs: Philippe de Valois, John II., Charles V.
and others, by contemporary sculptors, such as Andrieu Beaunepveu and
Pierre de Chelles--all of great interest to the traveller but utterly
impossible of appreciation under the cursory glance permitted by the
vergers. A second monument to Henry II. and Catherine, with recumbent
and draped figures, is next indicated; Catherine is portrayed in her
old age and rigid devotion. As we pace round the ambulatory we are
shown some remains of twelfth-century stained glass in the choir
chapels (that in the Lady Chapel including the figure of Abbot Suger,)
and a modern representation of the Oriflamme to the L. of the high
altar. Opposite the sacristy is a curious twelfth-century tomb from
St. Germain des Pres, with the effigy of Queen Fredegonde outlined in
mosaic and copper. We descend to the gloomy old crypt, with the
curious Romanesque capitals of its columns, where now lie the remains
of the later Bourbons. On returning to the church the tombs of Philip
the Bold and Philip the Fair are shown, and to the L. the grandiose
monument to Francis I., designed by Delorme, with five kneeling
effigies: the king, Claude his queen, and their three children. The
fine base reliefs represent the battles of Marignano and Cerisole.
Then follows the beautiful urn executed by Pierre Bontemps, to contain
the heart of the _gran re Francesco_. In conclusion, we are permitted
to see the tombs of Louis of Orleans and of Valentine of Milan, early
fifteenth-century, by a Milanese artist; and Charles of Etampes, an
excellent work of the middle of the fourteenth-century. Before
returning to Paris we should not omit to walk round the basilica and
examine the sculptures of the portal of the N. transept, which have
suffered less from iconoclasts and restorers.
[Illustration: Map of Paris.]
INDEX
A
ABBEYS, their foundation and growth, 30
Abbo, his story of the siege of Paris, 43-49
Abbots, their power and wealth, 39, 52
Abelard and Heloise, 91-93;
their tomb, 93;
and house, 305
Academie Francaise, 213
_Acephali_, the, 47, 49
Adam du Petit Pont, 94
Agincourt, 134
Aignan's, St., remains of, 305
Alcuin, 40
Alencon, Duke of, 177, 187
Amphitheatre, Roman, 13, 14, 332
_Ancien Regime_, the, 275, 280, 286
Anselm, story of, 58
Antheric, Bishop, 47, 48
Antoine, St., Abbey of, 79
Antoinette, Marie, _note_, 78, 249, 257, 265, 268, 311, 312
Aqueduct, Roman, 13, 208
Aquinas, 103, 104
Aristotle, study of, at Paris, 103
Armagnac, Count of, 134
Armagnacs, the, 134;
massacre of, 136
Augustins, the Grands, 75
Austria, Anne of, 207, 212, 215, 217, 237
B
BACON, ROGER, 104
Bailly, 282
Balafre, le, 187
Bal des Ardents, 131
Barrere, 282
Barry, Mme. du, 248, 421
Bartholomew, St., massacre of, 175, 179-185
Basoche, the, 309
Bastille, the, 128, 146, 218, 261-264;
column of, 291;
site of, 406
Baths, Roman, 13, 17;
public, _note_, 90
Bazoches, Guy of, his impression of Paris, 69
Beauharnais, Mme. de, 282
Beaux Arts, Ecole des, 318
Bedford, Duke of, _note_, 127;
Regent at Paris, 137;
his death there, 140
Beguines, the, 79
Bellay, du, 169
Benvenuto da Imola, 104
Bernard, St., 58, 59, 61, 63, 89, 92
Bernini, 234, 235, 398
Bibliotheque Nationale, 222, 429;
de l'Arsenal, 406
Billettes, cloister of, 410
Bishops, their power and patriotism, 30
Blancs Manteaux, church of, 133
Blancs Manteaux, the, 76, 142
Boccaccio, 417
Bonaventure, St., 78
Boniface VIII., Pope, 107-109, 111
Boulevards, the, 238, 434-436
Bourbon, Hotel de, 204, 233
Bretigny, treaty of, 125
Brunehaut, her career and death, 27-29
Brunswick, Duke of, his proclamation, 269
Bullant, Jean, 198
Burgundy, Duke of, 132;
defeat of, 146
Buridan, _note_, 68, 313
Bursaries, foundation of, 97
Bussy, Island of, _note_, 117
C
CAESAR, JULIUS, 11, 13, 297
Cafe Corazza, 428
Cafe de Foy, 261, 427
Cafe de la Regence, 426, 427
Cafe Milles Colonnes, 428
_Ca ira_, origin of, 266
Calvin, 98, 164
Campan, Madame, Memoirs of, 248, 267
Capet, Hugh, 51
Capetians, rise of, 51
Cards, playing, renamed, 203
Carlovingians, their rise, 35
Carlyle, his history, 260, 268
Carmelites, the, 75, 316
Carrousel, the, 225;
arch of, 291
Casaubon, Isaac, 202
Castile, Blanche of, 70, 96
Catholic Faith, restoration of, 286
Cellini, at Paris, 160, 163
Champ de Mars, 22, 261, 264, 433
Champeaux, William of, 63, 90, 94;
market of, 63
Champs Elysees, 432
Chapelle, Sainte, the, 72, 86, 306-309
Charlemagne at St. Denis, 37;
his love of learning, 40
Charles, the Bold, 41;
the Fat, 47, 48;
the Simple, 49
Charles V., completes Marcel's wall, 125;
his success against English, 125;
a great builder, 126
Charles VI., minority of, 128;
narrow escape of, 131;
his vengeance on the Parisians, 130;
his madness, 131
Charles VII., 138; his wretched death, 144
Charles VIII, 151
Charles IX., 176;
his pitiful death, 185
Charles X., 267
Charonne, 219
Charterhouse, the monks of, 75
Chatelet, the Grand, 44, 154, 408
Chatelet, the Petit, 152, 192, 408
Chaumette, _note_, 299
Chelles, Jean de, 87
Chenier, Marie Joseph, 282
Childebert, 26
Chilperic III., 35
Choiseul, Duke of, 248
Cite, the, 11, _note_, 36, 37, 295
Clarence, Duke of, 138
Claude Lorrain, 224, 377
Clement V., Pope, 111
Clement, Jacques, 189, 190
Clergy, their wealth, 256
Clisson, Constable of, 129
Clootz, 282
Clotilde, 24, 26
Cloud, St., 27
Clovis, captures Paris, 21;
stories of, 21, 24;
conversion of, 24;
makes Paris his capital, 26;
Tower of, 331
Cluny, Hotel de, 159;
Museum of, 324-329
Colbert, 223, 234, 235, 237
Coligny, Admiral, 176;
attempted assassination of, 178;
his assassination, 181
College, de Cluny, 98;
de France, 163, 329;
des Jesuits, 105;
des Lombards, 316;
de Montaigu, 97;
de Navarre, 97;
de la Sorbonne, 96
Colleges, foundation of, 95-98
Comedie Francaise, 424-426
Comines, De, 145, 148, 163
Commune, origin of, 17
Conciergerie, the, 120, 312
Concini, assassination of, 205
Conde, Prince of, 175, 176, 178, 183, 204, 209, 210
Condorcet, 282
Constance of Aquitaine, 54
Contrat, Social, the, 279, 280
Convention, the National, its constructive work, 275
Cordeliers, the, 76;
club of, 324
Corneille, 224, 314
Cortona, Dom. da, 155, 159
Coryat, his impressions of Paris, 200-203
Cour du Dragon, 321;
des Miracles, 421;
de Rouen, 67
Crecy, 121,134
D
DAGOBERT THE GREAT, 33, 34, 305
Damiens, 247
Dante, 59, 89, 103, 109, 159, 278
Danton, 273, 324
Dark Ages, the so-called, 88, 89
Da Vinci, 158, 354, 372
Debrosse, Solomon, 208
Deffand, Mme. du, 282
Denis, St., legends of, 15; Abbey
of, 33;
body of, exposed, 56;
church of, 23, 84, 193;
head of, 203;
tombs at, 436-440
Desmoulins, Camille, 98, 213, 261, 324
Diamond necklace, the, 78
Dickens, at Paris, 416
Dionysius, 13, 15
Dolet, Etienne, 316
Dominic, St., at Paris, 76
Dominicans, the, 76
Dubois, Abbe, 242
Durham, Bishop of, his praise of Paris, 104
E
EBLES, ABBOT, 44, 47
Edward IV., of England, 146
Egalite, Philip, 213, 272
Elizabeth, Queen, her crooked policy, 177
Eloy, St., 33;
abbey of, 37, 60
Elysee, the, 433
Emigres, the, 267, 268
Empire, the second, its fall, 287;
changes under, at Paris, 292
Encyclopedists, the, 279, 281, 282
English Barons at Paris, 125
English, occupy Paris, 138;
expelled from Paris, 143
Erasmus, 98, 163
Estampes, Mme. d', 162
Estiennes, the, 148-150
Estrees, Gabrielle d', 193, 195, 196, 216
Etienne du Mont, St., _note_, 85, 159, 331
Etoile, Arch of, l', 291
Eudes, Count, 44, 47, 48, 49
Eugene III., Pope, at Paris, 61
Eustache, St., church of, 159, 421
Evelyn, at Paris, 210, 275
F
FEUDALISM, rise of, 50, 52
Fioretti, the, _note_, 78
Fontainebleau, school of, 160, 372
Francis I., 149, 156, 157;
fixes hotel charges, _note_, 164;
his morbid piety, 166;
and death, 169;
Maison de, 433
Francis II., 175
Francis, St., 102
Franciscan Refectory, 322
Franciscans, the, 76
Franklin, Benjamin, 266, 282
Fredegonde, her career and death, 27-29
French art, its stubborn individuality, 159
French language, the, its universality, 102
Froissart, 300
Fronde, the, 218, 219
Fulbert, Canon, 91
Fulrad, Abbot, 38
G
GALERIE, GRANDE, 198, 353
Galerie, Petite, 198, 250, 399
Galilee, Island of, 14
Gauls, their permanent traits, 3, 4
Genevieve, St., 22, 23, 47;
church and abbey of, 23, 36, 61, 112, 254, 331
Germain, St., of Paris, 28, 30
Germain, St., des Pres, church and abbey of, 32, 36, 85, 89, 152,
319-321;
abbot's palace of, 321
Germain, St., l'Auxerrois, 22, 30;
church of, 32, 44, 423
Gervais, St., church of, 36, 402
Gibbon, 255, _note_, 282
Giocondo, Fra, 155
Girondins, the, 311, 312
Goethe, 259, 269, 275, 436
Goldoni, 275
Gothic architecture, rise of, 53, 84-88;
its development to Flamboyant style, 151
Goujon, Jean, 174, 337, 343, 399, 415;
his death, _note_, 174
Gozlin, Bishop, 43, 45, 46, 47
Greek first taught at Paris, 151
Gregory, St., 21, 28, 30, 31, 32
Greuze, 282, 384, 386
Guillaume de Nogaret, 113
Guillemites, the, 76
Guise, Cardinal of, 171
Guise, Duke of, 178, 180, 187;
assassination of, 188
Guises, the, 171, 175, 176
H
HALLE AUX VINS, the, 63
Halles, the, 69, 129, 146, 154, 422
Heine, his appreciation of Paris, 5;
at the Louvre, 339
Helvetius, 282
Henry I., 56
Henry II., 171;
his tragic death, 172
Henry III., 178, 186, 188;
his assassination, 189
Henry V. of England, 136, 137
Henry VI. of England, 137, 141
Heretics, first execution of, 69
Holy Ghost, order of, 187, 326
Hotel, d'Aumont, 403;
de Beauvais, 403;
de Bourbon, 153;
Burgundy, 133;
Carnavalet, 415;
de Clisson, 412;
Dieu, 37, 80, 81, 200, 297;
Fieubert, 406;
de Hollande, 414;
de Lulli, 429;
de Mayenne, 405;
de Nesle, 68;
Provost of Paris, 403;
de Rohan, 413;
St. Paul, 127, 133, 152;
de Soubise, 411;
de Sully, 416;
des Tournelles, 146, 153;
de Ville, 159, 199, 292, 400
Hugo, Victor, 7, 155, 255, 287, 310;
house of, 416
Huguenots, the, 175, 176, 177, 179, 206, 228
I
INFANTA, the, 244;
garden of, 244, 250
Innocents, cemetery of the, 69, 155, 182, 417-420;
fountain of, 417
Institut, the, 222
Invalides, the, 237
Iron Mask, Man of, 261, 405
Isabella of Bavaria, her welcome, 130;
joins Jean sans Peur, 136
Italian art at Paris, 155, 159
J
JACOBINS, the, 76;
club of, 208
Jacquerie, the, 122
Jacques, St., de la Boucherie, 63, 154, 408
Jansenists, the, 231, 245, 247
Jean sans Peur, 131-136, 414, 420
Jeanne d'Arc wounded at siege of Paris, 139;
her trial and rehabilitation, 140
Jefferson, Thomas, 265
Jesuits, the, 164, 198, 231, 245, 247, 248
John the Good, 118, 121, 125
Joinville, 81, _note_, 82
Julian, the Emperor, 17;
statue of, 18, 341;
his love of Paris, 18
Julien le Pauvre, St., church of, 32, 37, 85, 99, 313
Justice, bed of, 216
L
LATIN QUARTER, the, 93, 99
Latini, Brunetto, _note_, 89
Lavoisier, 282
Law, John, 242, 243
League, the, 187, 188, 191, 193
Lebrun, 215, 224, 235, 378, 379
Leczinska, Marie, 244, 249
Lemercier, Jacques, 210, 421
Lenoir, Alexandre, 335
Lescot, his work on the Louvre, 165, 173, 174
Lesueur, 75, 215, 373, 374
Levau, 215, 234
Lombard, Peter, 94
Londonne, Jocius de, 96
Lorraine, Cardinal of, assassinated, 189
Louis VI., the Lusty, 58, 62, 63
Louis, St., his youth, 70;
affection for his mother, 70;
conception of kingship, 71;
popular justice, 71;
piety, 72;
love of stories, 72;
the Jews and, 73, 74;
founds library of Sainte Chapelle, 75;
his rigid justice, 79, 81;
death, 81;
personal appearance and prowess, 83
Louis, St., island of, 214, 407;
church of, 215
Louis XI. at Paris, 145, 146;
his death, 148
Louis XII. returns taxes, 156
Louis XIII., 204, 205, 208
Louis XIV., 212, 215, 220;
his court, 224, 225;
hatred of Paris, 225;
his "three queens" at the wars, 230;
his death, 233
Louis XV., his majority, 243;
popularity, 244, 246;
death, 249
Louis XVI., 256, 257;
trial and execution of, 271-273
Louis XVIII., 255
Louis Philippe, 287
Louviers, island of, 14, 240, 406
Louvois, 224
Louvre, the, 68, 126, 164, 173, 198, 210, 233-237, 250-252, 289-290,
333-336;
Sculpture, ancient, 336-341;
mediaeval and renaissance, 341-346;
modern, 346-350;
Pictures, foreign schools, 350-368;
French schools, 368-398;
Persian and Egyptian art, 398-399
Loyola, Ignatius, 164
Lutetia, 11, 14, 18, 19
Luther, appeals to Paris, 104
Lutherans at Paris, 167, 169
Luxembourg, palace of, 208;
museum of, 322;
palace and gardens of, 322
Luxor, column of, 291
Luynes, Albert de, 205
M
MADELEINE, Church of, 291
Maillart, Jean, 123
Maillotins, the, 129
Maintenon, Mme. de, 227, 228, 229, 231, 233
Maison aux Piliers, 122, 123, 130
Manege, Salle du, 271, 429
Mansard, Francois, 212, 237
Mansard, J.H., 226, 237
Marais, the, 15, 407
Marat, 255, 289, 324
Marcel, Etienne, 122-124
Marchands d'Eau, Provost of, 122
Margaret of Angouleme, 149
Marguerite of Valois, 176, 177, 181, 194, 195
Marly, 227, 230, 232
Marseillaises, the, 275
Martel, Charles, 35
Martin, St., legend of, 16
Martin, St., des Champs, 57, 86, 155, _note_, 412
Maur des Fosses, St., _note_, 39, 60
Mayenne, Duke of, 192, 204
Mazarin, 213, 216, 219, 222;
palais, 222, 429
Mazzini, 279
Medard, St., church of, 333
Medici, Catherine de', 173, 176, 180;
her death, 189
Medici, Marie de', 195, 196, 204, 206, 207
Medici fountain, 322
Medicine, faculty of, 318
Merovingian dynasty, 26
Merri, St., church of, 159, 408
Mirabeau, 255, 267;
funeral of, 422;
the elder, 258
Mississippi bubble, the, 243
Molay, Jacques de, 111, 112, 113, 116
Moliere, 224, 233
Monarchy, growing power of, 174;
absolutism of, 220, 223
Monasteries, reform of, 60;
suppression of, 284
Montereau, Pierre de, 57, 88
Montfaucon, 48;
gallows of, 201
Montgomery, Count of, 172
Montjoie, St. Denis, war cry of, _note_, 121
Montmartre, 15;
abbey of, 65
Morris, Governor, 265
Morris, William, 88
N
NANTES, EDICT OF, revocation of, 228
Napoleon I., 276, 277, 278, 279, 281, 289, 290, 291, 426
Napoleon, Louis, 255, 287
Navarre, Charles of, 123
Navarre, Henry of, 178, 183, 189;
his conversion and kingship, 193, 194;
divorce, 193;
assassination, 197;
statue of, 208, 210
Navarre, Jeanne of, 176, 177
_Nautae_, altar of, 17, 328
Necker, Mme., 282
Nemours, Duke of, execution of, 147
Nicholas, St., chapel of, 39, 72;
church of, 251
_Noces vermeilles_, the, 177
Normans, the, 41, 49
Norwich, Canons of, 314
Notre Dame, church of, 32, 36, 72, 85, 107, 109, 116, 142, 143, 252,
298-305;
de Lorette, 291;
des Victoires, 206;
island of, 14;
Parvis of, 297
O
ODEON, theatre of the, 322
Opera, Italian, the, 233
Opera, the new, 293
Orders, the religious, 59
Oriflamme, the, 62, 440
Orleans, Duke of, 133;
assassinated, 136;
Philip of, 212, 242
Orme, Philibert de l', 198
Ovens, public, 57
P
PAINE, THOMAS, 272
Palace of Archbishop of Sens, 407
Palais de Justice, 53, 118, 137, 152, 309-313
Palais Royal, 15, 212, 213, 217, 234;
gardens of, 261, 427
Palissy, 199
Pantheon, the, 254, 330
Paris, her essential unity, 2;
apprehension of coming changes, 4;
intellectual culture, 5, 21;
conquest by Romans, 12;
origin of, 9-12;
geographical position, 10-13;
device of, 17;
sacked by the Northmen, 41;
siege of, by Northmen, 43;
growth under Capets, 53;
expansion under Louis VI., 63;
evil smells at, 65;
first paving of, 65;
capital of intellectual world, 101;
faubourgs wasted by English, 121, 124, 125;
first library at, 126;
occupied by English, 138, 143;
life at, under English, 141-143;
bridges of, 152;
sieges of, by Henry of Navarre, 189, 191;
sections of, their insurrection, 191, 192;
its dirt, 202;
misery at, 231, 241, 247, 256;
a vast camp, 273, 274
Parisian democracy, its enlightenment, 7
Parisians, their responsive nature and love of order, 6;
loss of liberties, 130;
their loyalty and tolerance, 286
Parisii, the, 10, 11
Parlement, the, 118, 216-218, 220
Parloir aux Bourgeois, 122
Pascal, 231
Passion, Confreres de la, 420
Paul, St., charnel-houses, 405
Paul and Louis, SS., church of, 405
Peasantry, their condition, 260
Pepin the Short, 35
Pere la Chaise, 220
Peronne, peace of, 146
Perrault, Charles, 235;
Claude, 224, 235-236, 250
Petit, Nesle, the, 160
Philip I., 57
Philip Augustus, birth of, 64;
his entry into Paris, 65;
wall of, 65-68, 405, 407
Philip le Bel, 78, 100, 107, 117
Philip VI., 121
Pierre, St., church of, 15
Pierre aux Boeufs, St., church of, 63, 297
Pillory, the, 423
Place, Chatelet, 407;
de la Concorde, 430-433;
de Greve, 116, 146, 154, 168, 197, 400;
Maubert, 169, 316;
Royale, 186, 200, 207, 415, 416;
Vendome, 429
Plantes, Jardin des, 214
Poitiers, 121, 134;
Diana of, 150, 173
Pol, St., Count of, 146
Pompadour, Mme., 215, 247
Pont, au Change, _note_, 15, 154, 200;
de la Concorde, 264;
Grand, 15, 70;
Marie, 214;
aux Meuniers, 200;
Neuf, 210;
Notre Dame, 155;
aux Oiseaux, 200;
Petit, 14, 70, 152, 155;
Royal, 240
Ponzardus de Gysiaco, 113
Pope Paul III., his humane protest, 169
Port Royal, suppression of, 232
Porte, St. Antoine, 124;
St. Denis, 123, 238;
St. Jacques, 143;
St. Martin, 238
Poussin, 234, 375-377
Pres aux Clercs, the, 100;
students at, 101
Printing, art of, at Paris, 148-150
Provost, of Marchands d'Eau, 17;
suppressed, 130;
royal, _note_, 17
Puget, 224, 347
Punishments, cruelty of, during Renaissance, 168
Q
QUAI, DES AUGUSTINS, 283;
de la Megisserie, 154
Quinze-Vingts, the, 78
R
RABELAIS, _note_, 39, 98, 405
Racine, 224
Radegonde, St., _note_, 27
Ravaillac, 197
Reason, temples of, 285, 286
Reformation, the, 174
Renaissance, architecture at Paris, 156
Republic, the second, 287
Republic, the third, 287, 292
Retz, de, Cardinal, 216, 219
Revolution, the great, its beneficent results, 288
Reynolds, 236, 361, 362, 377, 380
Richelieu, 205, 206, 208, 214
Robert the Pious, 53, 54, 55
Robespierre, 106, 260, 267, 426
Roch, St., church of, 429
Rohan, Cardinal of, 78
Rollo, 42, 49
Romilly, Sir S., his letters, 265
Ronsard, 337
Rousseau, J.J., 240, 255, 257, 281, 426
Royalty abolished, 270
Rue, des Anglais, 316;
de l'Arbre Sec, 29, 423;
des Archives, 410, 412;
du Bac, 240;
des Blancs Manteaux, 410;
du Dante, 316;
Etienne Marcel, 133, 420;
de la Ferronnerie, 238, 417;
du Fouarre, 103, 316;
Francois Miron, 403;
des Francs Bourgeois, 412;
Guenegaud, 68;
des Lombards, 154, 417;
Montorgeuil, 421;
Mouffetard, 333;
des Petits Champs, 429;
Quincampoix, 243;
de Rivoli, 154;
St. Antoine, 405;
St. Denis, 407;
St. Jacques, 13, 149, 283, 313;
St. Martin, 15, 408;
de Venise, 409;
Vieille du Temple, 136, 414
Ruggieri column, 422, 423
Ruskin, 86, 375
S
SACRE COEUR, church of the, 293
Salisbury, John of, 94
Salons, the, 281
Samaritaine, la, 210
_Sans-culottes_, the, 274
Savoy, Adelaide of, 232
Saxony, Henry of, 47
Scholars, poor, at Paris, 94
Schools, rise of, at Paris, 90;
elementary, 106
Scotus Duns, 78, 306
Sculpture, French, 87
Seigneurs, their lawlessness, 58
Sens, archbishop of, 61, 114, 116
September, massacres of, 270
Serfs, at Paris, 54
Severin, St., church of, 297, 314
Sevigne, Mme. de, 415
Sick, the care of in Middle Ages, 80
Sieyes, 281, 282
Siger, 103, 316
Signs, old, 283, 423
Simon, St., Duke of, 224, 232, 242
Sorbon, Robert of, 72, 96
Sorbonne, the, 292;
chapel of, 329
Soufflot, 237, 252, 254
Stael, Mme. de, 282
States-General, the, 107, 122, 192, 204
Stephen, St., church of, 32, 85
Streets, renaming of, 283
Stuart, Marie, 175
Suger, Abbot, 62, 84
Sully, Duke of, 193, 196, 406
Sully, Maurice de, 85, 94
Sulpice, St., church of, 255, 321
T
TALLEYRAND, 265, 282
Talma, Julie, 282
Tasso, 405
Tellier, le, 231
Templars, destruction of, 109-118;
fortress of, 117, 155
Terror, the, 260, 275;
the White, 261
Thermidorians, the, 260
Thomas, St., of Canterbury, 94;
church of, 95
Thorns, Crown of, redeemed by St. Louis, 71
_Tiers Etat_, the, 107
Tolbiac, battle of, 24
Torture, late use of in England, _note_, 114
Tour de Nesle, 68
Trellises, island of, 117
Tribunal, revolutionary, 311
Trocadero, the, 292, _note_, 438
Truce of God, the, 101
Tuileries, the, 153, 273;
gardens of, 179, 430;
palace of, 198;
attack on, 269
Turenne, 219, 260
Twelve, the, 46, 47, 313
U
UNIVERSITY, origin of the, 98;
decadence of, 104;
the modern, 329
Ursins, Mme. des, 229
V
VACHES, ISLE DES, 14
Val de Grace, 237
Valliere, Mme. de la, 212, 226
Valois, House of, 121
Varennes, flight to, 267
Vauban, 224
Vendome, Duke of, 230;
column of, 291, 430;
place, 240
Venetian merchants at Paris, 40
Vergniaud, 272, 282
Versailles, 226, 230
Victoires, Place des, 240
Victor, St., abbey of, 61
Villon, Francois, _note_, 68, 94, 330
Vincennes, chapel of, 128
Vincent, St., 36;
de Paul, church of, 291
Viollet le Duc, 80, 292
Volney, 282
Voltaire, 215, 223, 244, 255, 258, 281, 426
W
WALL, GALLO-ROMAN, 16, 36;
of Philip-Augustus, 66, 68, 233, 330;
of Marcel, 123;
of Charles V., 128
Wars, religious, 175
Watch, the royal, 81
Willoughby, Lord, 143
Workmen, compensation of;
by Charles V., 127
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