service in the Temple; but Anne d'Autriche, under the same
circumstances, went further, and built the church and founded the
monastery of Val de Grâce, in the Rue S. Jacques. It it not often that
the gratitude of sovereigns takes so magnificent a form. The Benedictine
nuns of the monastery of Val Profond, which had been established near
Bièvre le Châtel since the 13th century had been removed by the Queen to
the Hôtel du Petit-Bourbon some years previously; but she did not
commence the new buildings until she became regent. The little King laid
the first stone of the church in 1645, François Mansard being the first
architect; Jacques Lemercier continued the work, and Pierre Lemuet,
Gabriel Leduc, and Duval finished it. The abbey is now a military
hospital.
The decoration of the church points to the Birth of Christ as
symbolising the birth of Louis XIV., in future years, known as the "Roi
Soleil." In the great courtyard is a statue in bronze of Larrey,
Napoléon's great army surgeon, by David d'Angers, the celebrated
sculptor. The dome is exceedingly elegant, but the church below is, like
the Invalides, too small as a basement. Both buildings give the
impression of an elongated dome, and nothing else; hence they look far
better from a point which hides the lower part of the buildings. The
pavement is laid with rich marbles, and the baldachino, supported by six
twisted columns, recalls that of S. Peter's. "If you wish to see the
prettiest fresco painting in all Paris, you must go in here, and look up
at the dome; the chapels, too, are full of virgins, and dirty little
Angels." Why dirty, I know not; but the praise of the painting in the
dome is not exaggerated. It is a mass of figures, a whole hierarchy of
Saints adoring the Trinity, and Anne d'Autriche, introduced by S. Louis,
presenting the model of her church. Like all Mignard's work, it is
grandiose rather than grand, with exaggerated attitudes and
hurricane-blown garments. In the chapel of the Communion are some works
by Philippe de Champaigne.
Many were the royal hearts placed in neat little golden and silver-gilt
boxes, which formerly adorned the church. It was privileged to entertain
these appendages of Bourbon bodies, but the Revolution made light of
them, and carried off the casings. Poor hearts, alive or dead, they were
not worth much, except for their settings.
LA CHAPELLE DU CHÂTEAU DE VERSAILLES.
Consecrated in 1710, this chapel is, like the whole palace, an example
of exquisite workmanship. Not a bolt or a hinge but is of the best
bronze, exquisitely designed and gilt. We may not admire the style, but
all Mansard's subordinates turned out the best work they could produce.
Can anything be more worthy of praise in this respect than the
staircases of the palace, resplendent with different coloured marbles,
or the magnificent Salle des Glaces? The same may be said of the
chapel. As a church it may fail; it certainly inspires no feeling of
religion; but as a building it is magnificent.
[Illustration: CHAPEL OF THE CHÂTEAU DE VERSAILLES.]
The Kings sat in the gallery, and in consequence of the holiness of S.
Louis, they were allowed a privilege only accorded to ecclesiastics--that
of kissing the paten at mass; and when they received the Holy Sacrament,
they were presented with as many wafers as there had been Kings in
succession to Clovis--a custom which had come down from the time of
Louis le Débonnaire, as a safe-guard against poison, Louis having been
poisoned by a consecrated wafer.
LA CHAPELLE DU CHÂTEAU DE VINCENNES.
The beautiful chapel attached to the castle of Vincennes was begun in
1379, by Charles V., but was only finished by Henri II., who adorned the
interior, and especially the glass, with the interlaced H. and D., which
figure upon everything of the period, without the slightest shame. The
apse contains glass by Jean Cousin, an exquisite Last Judgment.
At once a royal residence and a prison, the Château de Vincennes has a
long history to recount. It was much beloved by S. Louis; he lived
there, and delivered his judgments sitting under an oak in the forest.
It was there also that he received those precious relics from the
Emperor Baldwin, deposited for a time at the convent of the Minimes; and
from Vincennes also the departure for those unhappy Crusades took place.
Louis X., Philippe V., Charles IV., and our own Henry V. died there;
Charles IX. and Mazarin died there; and Henry IV. was imprisoned there.
So was Mirabeau, who passed his time in composing _L'Essai sur les
lettres de cachet et les prisons d'Etat_. Diderot was also a prisoner;
and the Duc d'Enghien was shot within its precincts. Like the Bastille
it had its _lettres de cachets_, and although less notorious, it was
probably no less dark in its tales of legal and regal crimes. But for
all that its woods were favourite hunting-grounds, a part having been
enclosed by Philippe-Auguste to receive the stags and roebucks sent by
Henry II. of England to his most Christian majesty.
Vincennes was also the birthplace of the Sèvres porcelain manufactory,
started by one Charles Adam in 1745: but this is guide-book information,
with no bearing upon the Paris churches. Let no one, however, visit the
Chapel at Vincennes without sauntering into the wood, which is quite the
equal, if not prettier than the Bois de Boulogne. You may pick violets
and enjoy a splendid view of the Seine and the Marne meandering among
the valleys; but you will not enjoy _le monde_, which does not venture
so far east of the Champs Elysées. If you require fashion, go not east
of the Louvre.
[Illustration: THE CHAPEL OF THE CHÂTEAU DE VINCENNES.]
SAINT-VINCENT DE PAUL.
Whether we consider this church from the architectural or the decorative
point of view, it is quite worthy of its titular Saint, and is one of
the grandest of modern churches to be seen anywhere. It is built on the
plan of the early Roman basilicas. Begun by Lepère in 1824, it was
finished from designs by Hittorf. The situation is fine, and the step
and slopes leading up to it are at once grand and original. The subject
in the tympanum is by Nanteuil, representing S. Vincent de Paul
surrounded by Sisters of Charity and Angels.
S. Vincent de Paul was the founder of the picturesque grey Sisters we
all know so well by their pretty flapping headgear, and of foundling
hospitals in France. He was born in 1576 at Puy in Gascony, and being of
a contemplative disposition, full of piety and sweetness, was fitted,
his father thought, for the religious life; and so he was sent to a
convent of the Cordeliers near by, and assumed the Franciscan frock at
the age of twenty. For ten years he studied, and then an incident
occurred which settled his destiny. Going to Marseilles to transact some
business, and returning by sea, the bark was attacked by African
pirates, and S. Vincent, with the others on board, was bound and sent
into slavery at Tunis. Vincent spent two years in captivity, passing
from one owner to another, when, one day, being asked by his master's
wife to sing to her, he burst into tears, chanting, "By the waters of
Babylon we sat down and wept," and "_Salve Regina_." But the songs or
the preaching converted the woman, and then her husband; which being so,
they all escaped and landed at Aiguesmortes. Vincent went to Rome, and
then to Paris, where he pleaded the cause of the wretched galley-slaves
of Marseilles. We all remember the grand picture by Bonnat, of S.
Vincent taking the place of a slave and having the fetters put upon him.
I forget its exact name; it was exhibited, in London some years ago, and
is now in one of the churches. The Saint began his good work by visiting
the prisons or _dépôts_, whence the criminals were forwarded to the
galleys. There he saw "des malheureux renfermés dans de profondes et
obscures cavernes, mangés de vermines, atténués de langueur et de
pauvreté, et entièrement negligés pour le corps et pour l'âme." S.
Vincent then took up the cause of the street girls, and finally he
instituted the Order of Sisters of Charity, nuns "qui n'ont point de
monastères que les maisons des malades, pour cellules qu'une chambre de
louage, pour chapelle que l'église de leur paroisse, pour cloître que
les rues de la ville et les salles des hôspitaux, pour clôture que
l'obéissance, pour grille que la crainte de Dieu, et pour voile qu'une
Sainte et exacte modestie, et cependant elles se préservent de la
contagion du vice, elles font germer partout sur leurs pas la vertu."
Such was S. Vincent's idea when founding the Sisterhood, and such the
Sisters are to this day, eminently practical, whether in their work or
their quaint costume, which is short enough to clear the muddy street
pavements, a model to most nurses in or out of hospital. They move with
the world, but are not of it.
[Illustration: SAINT VINCENT DE PAUL; FROM AN OLD ENGRAVING.]
S. Vincent is generally represented carrying one babe and holding
another by the hand, typical of his founding la Maison des Enfants
Trouvés, which was the outcome of his first plan of gathering up
children in the streets and placing them with his Sisters. Such an
accumulation of little outcasts did he obtain that a special house had
soon to be founded.
Nor was S. Vincent out of his element at Court, for he was friendly with
Cardinal Richelieu, and attended Louis XIII. in his last moments. He
died, in 1660, at S. Lazare, and was canonized in 1747; but, in the
words of the people, he was "l'Intendant de la Providence et Père des
Pauvres." When the fine new church, dedicated to S. Vincent de Paul, was
built, Hippolyte Flandrin was at the height of his reputation. He had
decorated S. Germain-des-Prés with exquisite pictures, telling the whole
story of the Redemption from the Old and New Testament; the churches of
S. Paul at Nismes and S. Martin of Lyons were no less great successes.
But the frescoes of S. Vincent were to be the painter's crowning work.
The church has a feature in common with S. Apollinare Nuovo, Ravenna,
namely, a long flat wall space on each side of the nave and the west
end, supported by pillars, and, in the case of the Paris church, forming
a gallery. This it was that Flandrin was commissioned to cover with
frescoes; and just as he had gone to the Roman catacombs for his
inspiration for the Romanesque church at Lyons, so he looked to Ravenna
for his designs for the Paris basilica. There is great similarity of
idea in the two processions, and if S. Apollinare carries off the palm
for its gorgeous mosaic, it must give way to S. Vincent in beauty of
form and spirituality of design. Few, if any, churches can show
pictures so full of beauty as this procession to Paradise (the
"Christian Panathenæa" it has been called), a magnificent army of
sufferers who have gained the crown. There they walk with stately steps,
a hundred and fifty men and women, carrying their emblems and their
palms; and yet there is no repetition; each one has his own
individuality, his own idiosyncrasy.
M. Ingres was the first artist invited to undertake the work, then
Delaroche; but happily, both of them declined, and Picot accepted the
commission. The 1848 Revolution broke out and interrupted the work; then
the new administration, struck with the beauty of the frescoes of S.
Germain, wished to give over the decoration of S. Vincent to Flandrin.
Naturally this great artist did not relish ousting a brother brush, and
so a compromise was arranged; Picot chose the choir, and the frieze of
the nave was left for Flandrin.
[Illustration: S. GREGORY AND S. LEO, BY FLANDRIN.]
The procession of men is on one side, that of women upon the other, both
being marshalled into Paradise by Angels bearing crowns for the elect.
These stand on each side of the sanctuary, symbolic of Heaven: "_Beati
misericordis, Beati qui persecutionem patientur propter justitiam._"
Beginning with the Apostles, we see SS. Peter and Paul as the pillars of
the Church and the two great preachers of Christianity. S. Matthew and
S. John follow, accompanied by the rest of the twelve. Then come the
Holy Martyrs, beginning with S. Stephen looking up at the "Son of Man
seated on the right hand of God." S. Pothinus and S. Eustace lead the
group of soldier martyrs, ended by S. Christopher bearing the Infant
Christ upon his shoulders. Then follow the doctors of the Church: S.
John Chrysostom, "the golden mouthed"; S. Jerome; S. Augustin, of Hippo;
and S. Leo, said to be a portrait of M. Ingres. Of these I give slight
sketches, as they seem to be peculiarly fine in expression.
The Bishops and Confessors follow, a notable figure for refinement and
dignity being S. Nicholas with his three little chubby boys; S. Joseph
bears the carpenter's rule instead of the palm, and a lily, emblem of
chastity. Charlemagne, sainted, and S. Clodoald, his kingly robes being
covered by the monk's habit, are followed by S. Roch, S. Francis of
Assisi, S. Dominic, and a crowd of others it is impossible to mention.
[Illustration: S. NICOLAS, BY FLANDRIN.]
Turning round we see first the Virgin-Martyrs, S. Cecilia bearing her
harp, S. Ursula and her friends, S. Agnes, S. Geneviève, and S. Zita
bearing her pitcher, one of the most beautiful of Flandrin's women.
Interspersed, after the manner of the Ravenna mosaic, are palm trees
dividing the groups. After the Virgins the Holy Women march along: S.
Felicitas with her six little children is a charming group; S. Anne, old
and feeble, walks with S. Elizabeth leaning on the boy S. John Baptist;
S. Monica is alone, her son being amongst the doctors; S. Helena rests
upon the cross, and is followed by the gentle Elizabeth of Hungary
carrying bread, and S. Clotilde resting upon the shoulder of the young
S. Clodoald.
The penitents follow: S. Mary Magdalen leading the group, S. Mary of
Egypt, S. Thais burning her rich garments, and S. Pelagia trampling upon
her worldly goods. The Holy Households follow: S. Eustache, S. Julian,
and other heads of families who were converted by their wives, and whose
children they dedicated to God.
Below the organ is the "Mission of the Church." S. Peter and S. Paul are
teaching the nations. In the centre is an altar with the sacred monogram
and a nimbed cross; S. Peter is on the left, holding the keys and
preaching to the Western nations. A father and mother kneel at his feet
and present their children that they, too, may be converted.
On the right is S. Paul, clasping his sword and announcing the glad
tidings to the Eastern nations: Jews, Persians, Greeks, Arabians, and an
African bearing his war arrows.
For beauty of form, purity of sentiment and spirituality, untainted by
the least spark of sentimentality, which is the bane of most modern
religious painting, this work of Flandrin's may be classed as the finest
of our time. It is treated in the conventional manner; there is no
intense realism such as we find in the work of Laurens, Lhermitte or
Hitchcock, but neither is it inane, effeminate, or affected, as are the
pictures of Ary Scheffer, Hesse, and a crowd of disciples of Overbeck
and Cornelius. The latter called the frieze an example of a true
Renaissance, and M. Ingres, who had helped his favourite pupil in
analysing the details, looked upon it as a revival of true religious
art, a vivification of the Old Masters. "Do you suppose it is to make
copyists of you that I send you to copy the great masters? I wish you to
get the juice of the plant and to plunder the bee." This Flandrin did.
He studied the art of Memlinc and Van Eyck, of Fra Angelico and of
Raffaello, but the feeling was his own. He went on his way calmly,
thoughtfully working out his ideas in faith and prayer, scorning the
world and indifferent to its inhabitants, and thus his painting is as
instinct in religious sentiment as that of Angelico, while his mastery
of drapery and his management of its folds are not surpassed by the
Greeks themselves; indeed, he united Greek beauty of form with Mediæval
purity of sentiment.
Flandrin's only weak point was his colour, but in the frieze it is
sufficiently harmonious, owing to the flat gold backgrounds. In drawing
he was perfect, never hesitating, never altering; beginning as he meant
to finish, without any experiments, or changes in the designs he had
sketched out.
Nor must Picot's part in the decoration of S. Vincent de Paul be
overlooked. His _Christ sur un trône_, with the patron Saint at His feet
adoring, is quite in keeping with the frieze, by the younger painter.
The wood-work of the church is finely carved, and, indeed, all the
details of the building are magnificent, making it a glorious example of
the perfect unity of the allied arts--architecture, painting, and
sculpture; an example that is almost unique in modern times.
INDEX.
A.
Academy of Painters, 136.
Agnes, S., Legend of, 120.
Alleluiatic Victory, 180.
Anne d'Autriche, 147, 322, 327.
Anselme, 80.
Antoine, S., 1.
Apollinaris, S., 217.
B.
Barrère, 53.
Benoist, Curé of S. Eustache, 144.
Benozzi, F., 300.
Biscornette, Legend of, 283.
Blanc, J., 175.
Blanche of Castille, 2, 79.
Blancs-Manteaux, N. D. de, 300.
Boïleau, N., 12, 200.
Bonnat, 258.
Bontems, P., 47.
Bouillart, Dom, 197.
Bouteiller, J. le, 272, 286.
C.
Cabanel, A., 171.
Cameo, "Apotheosis of Augustus," 19.
Carlyle, T., 150, 279, 307.
Carmelites, Church of the, 1.
Champaigne, P. de, 213, 304, 327.
Chapelle, S., 2.
" Ceremonies at, 11, 16, 17.
" Treasury of, 21.
Chapel, Valois, 38.
Charles VIII., Tomb of, 58.
" le Chauve, 40, 58, 90.
Chavannes, P. de, 171.
Chelles, Jean de, 268, 284.
Clotilde, S., 158, 161.
Clovis, 158, 163.
Colbert, 125, 126, 139.
Columns, Memorial, 66, 67.
Coustou, 238, 307.
Coysevox, 189, 238, 259, 307.
D.
Dagobert, Tomb of, 49, 70, 71.
Darboy, Archbishop, 156, 262, 286.
David d'Angers, 169, 327.
Delacroix, 304.
Delaunay, J. E., 175.
Delorme, P., 49, 65.
Denis, S., 30.
" " Abbots of, 40.
" " Crypt of, 72.
" " Legend of, 34.
" " Tombs at, 44, 49, 50, 61, 74, 75.
" " Treasury at, 32, 89, 94, 95, 96, 97, 98.
Descartes, R., 200.
Dibden, T. F., 123, 165, 186, 208, 211, 273, 305, 309, 321.
Du Breuil, 125, 278.
Duguerry, L'abbé, 157.
E.
Early kings of France, Burial of, 44, 74, 192.
Elizabeth, S., 100.
Eloy, S., Legend of, 37.
Epitaphs, 7, 68, 69, 80, 83, 108, 132, 152, 164, 200, 214, 228, 229,
230, 231, 236, 252, 256, 259, 260, 317.
Étienne, S., 100.
Eudes de Fauconnier, 251.
Eustache, S., 116.
" " Legend of, 118, 119.
" " Organ of, 154.
F.
Félibien, 49, 73, 85.
Flamaël, B., 1.
Flamel, N., 214.
Flandrin, H., 197, 201, 318, 334.
Fléchier, 147.
François, Ier, Tomb of, 46, 49, 59, 65, 85.
François, S., 215.
" " Xavier, 158.
Fredégonde, Queen, 49, 72.
G.
Galland, V., 176.
Gaussel, J., 184.
Gems in Bibliothèque, 20.
Geneviève, S., Abbey of, 102, 103, 158.
" " Church of, 158.
" " Legend of, 159.
" " Tomb of, 112, 114.
Gérard, 170.
Germain, S., of Auxerre, 159, 178, 179, 180, 181.
Germain, S., l'Auxerrois, 177.
" " en Laye, 189.
" " des Prés, 190.
" " Tomb of, 199.
Gervais, S., 209.
" " Legend of, 209.
Gilles, S., 235.
Girardon, 320.
Glass, Stained, 23, 109, 111, 112, 130, 187, 194, 199, 212, 292, 317.
Goujon, J., 186.
Grégoire of Tours, 161, 191, 234, 266.
Gros, Baron, 170.
H.
Hébert, A.-E., 176.
Helgaud, 75.
Henri II., Tomb of, 49, 64, 65, 66.
" IV., 49, 73, 197.
Hugo, V., 234, 273, 275, 277.
Hugues Capet, 75.
Hulduin, Abbot, 35.
I.
Ingres, 336.
J.
Jacques du Haut-Pas, S., 215.
Jacques, Tour S., 213.
Jansenists, 249.
Jean, S., 215.
Joinville, 49.
Julian Hospitator, S., 219, 220, 221.
Julien de Brioude, S., 216.
Julien the Confessor, S., 217.
Julien le Pauvre, S., 215.
Juste, J., 49, 61, 63.
L.
L'Abbaye au Bois, N. D. de, 300.
Lacordaire, Père, 268.
Lamartine, 150.
Laon, Inventory of the Treasury of, 39.
L'Assomption, N. D. de, 299.
Laurens, J. P., 174.
Laurent, S., 232.
" " Legend of, 232.
Lebrun, 259, 302, 320.
Légende dorée, 219.
Lenepveu, 175.
Leu, S., 235.
Lévy, H., 171.
Louvre, 47, 95.
Louis d'Antin, S., 237.
" des Invalides, S., 237.
" en l'Ile, S., 237.
" VI., le Gros, 76.
" VII., 77.
" IX., S., 2, 4.
" " " Burial of, 9, 80.
" XI., 81.
" XII., Tomb of, 49, 61, 62.
" XIII., 85, 86, 303, 304.
" " _Voeu de_, 277, 289.
Louis XIV., great generals of, 50, 51.
Louis XV., 165.
Lulli, 303.
Lupus, S., 235.
Lutrin, Le, 12.
M.
Madeleine, S., 239.
Maid and the Magpie, The, 141.
Maillot, T., 173.
Maintenon, Madame de, 147.
Marcel, S., Legend of, 282.
Marguerite, S., 243.
" de Valois, 83.
Marie de' Medici, 83, 85.
Martin des Champs, S., 244.
" S., Legend of, 245.
"Mass of St. Giles," 90.
Massillon, 148.
Médard, S., 248.
" " Legend of, 249.
Merri, S., 251.
" " Legend of, 251.
Mignard, 125, 259, 307, 327.
Millet, Dom, 31, 61, 69, 72.
Mirabeau, 149, 329.
Molière, 125.
Montereau, P. de, 194, 195, 247.
Montyon, A. de, 231.
Music, 153, 240, 309, 324.
N.
Nangis, Guillaume de, 71.
Nefs or Navettes, 223.
Nicolas des Champs, S., 256.
" S., Legend of, 258.
Nicolas du Chardonnet, S., 259.
Notre Dame, Cathedral of, 260.
" " Ceremonies at, 270, 296.
" " de l'Assomption, 299.
" " de Lorette, 302.
" " des Champs, 301.
" " des Victoires, 303.
" " Tombs of, 294.
" " Treasury of, 291.
O.
Oratoire, L', 303.
Oriflamme, L', 41.
Orléans, Tomb of the House of, 82, 83, 84.
P.
Panthéon, 158.
Paris, University of, 224.
Pascal, B., 108, 109, 215.
Paul, S., 304.
Philippe, brother of S. Louis, 79.
Philippe, S., 305.
Pierre de Chaillot, S., 306.
Pierre de Montmartre, S., 306.
Pilon, G., 47, 65.
Pils, 137.
Pius VII., Pope, 151.
Poirier, Dom, Notes by, 54, 55, 56.
Pressoir Mystique, 110.
R.
Rameau, 151.
Ravy, J., 272, 286.
Relics, 4, 5, 6, 17, 18, 19, 139, 142.
Renaissance Museum of Louvre, 47, 132, 186, 188, 189, 211, 271.
Richelieu, Cardinal, 319.
Rigord, 77.
Robert, King, 75.
Robespierre, 279.
Roch, S., 307.
Rochelle, La, 303.
S.
Sauval, 109, 189, 260.
Scarron, 213.
September massacres, 1, 195.
Servandoni, 321.
Servites, 300.
Séverin, S., 310.
" " Legend of, 311.
Sibour, Archbishop, 112, 262.
Simon, L'Abbé, 129, 156.
Sorbonne, La, 319.
Soufflot, 165, 275.
Suger, Abbot, 37, 69, 76, 77, 78.
" Vase of, 95.
Sully, Bishop Maurice de, 266.
Sulpice, S., 321.
T.
Thomas d'Aquin, S., 326.
True Cross, Relic of, 4, 5, 6, 17.
Turenne, 51, 68, 147, 238.
V.
Val de Grâce, 45, 326.
Vallière, Mlle. de la, 302.
Valois, Marguerite de, 83.
Vase of Suger in Louvre, 95.
Versailles, 328.
Vincennes, 329.
Vincent de Paul, S., 321.
Voragine, J. de, 219.
W.
Winepress, Allegory of the, 110, 111.
Y.
Yeowell, J., 180.
* * * * *
The following typographical errors have been corrected by the etext
transcriber:
it seemed doutful=>it seemed doubtful
manifying glass will show=>magnifying glass will show
pour an cune raison=>pour aucune raison
monk Helgand giving him a tremendous=>monk Helgaud giving him a
tremendous
specieux qui occupe aujourd'huy=>spécieux qui occupe aujourd'huy
pour ancune raison,=>pour aucune raison,
regrettait tant de bienfaits réçus=>regrettait tant de bienfaits reçus
événement, consternés de douleur=>évènement, consternés de douleur
bienheureux Denis, dans le lieu resérvé=>bienheureux Denis, dans le lieu
réservé
Incldudi Gemmis lapis ista meretur et auro=>Includi Gemmis lapis ista
meretur et auro
See Notice de Émaux et de l'Orfévrerie=>See Notice des Émaux et de
l'Orfévrerie
simple stratagem, worthy a better cause, routed the enemy.=>simple
stratagem, worthy of a better cause, routed the enemy.
but the dicipline instituted by S. Columba=>but the discipline
instituted by S. Columba
sort of pseudo Classic style=>sort of _pseudo_-Classic style
now in the Renaissancé=>now in the Renaissance
in little rupute as time went on=>in little repute as time went on
plorer tres amèrement et à dire=>plorer très amèrement et à dire
père et mére, parents et amis=>père et mère, parents et amis
S'il pleut le jour de Saint-Medard,=>S'il pleut le jour de Saint-Médard,
façade was only commenced towards the end of the episcopate=>_façade_
was only commenced towards the end of the episcopate
One enterrait 100,000 personnes.=>On enterrait 100,000 personnes.
like another S. Benendict, to Monte Senario.=>like another S. Benedict,
to Monte Senario.
so was the statue of Cardinal Dubois by Gillaume Coustou=>so was the
statue of Cardinal Dubois by Guillaume Coustou
but a great deal ha been stolen or demolished during the Revolution=>but
a great deal has been stolen or demolished during the Revolution
suc-succession to Clovis=>succession to Clovis
prominient ornaments to give relief=>prominent ornaments to give relief
saison ou la mer est le plus orageuse=>saison où la mer est le plus
orageuse
Ou le sang fut le Nectar de la Vie;=>Où le sang fut le Nectar de la Vie;
De Requiem, au vendredi de la Croix et au dimenche de la Solennité du
jour, ou=>De Requiem, au vendredi de la Croix et au dimenche de la
Solennité du jour, oú
tapisserie ou est représenté l'histoire susdite=>tapisserie où est
représenté l'histoire susdite
* * * * *
FOOTNOTES: