LITMIR.BIZ

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Note, to the R, a small relief of St. Martin of Tours dividing his cloak with the beggar.

      Enter the little garden further east, which occupies the site of the former archevêché, in order to observe the characteristic French form of the choir– a lofty and narrow apse, with apsidal aisles and circular chapels added below, the whole forming what is called a chevet. The light flying buttresses which support the soaring and slender choir add greatly to the beauty and picturesqueness of the building. Pretty modern Gothic fountain. Quit the garden and continue round the Northern side of the Cathedral. The first (small) door at which we arrive – the Porte Rouge – admits the canons. It is a late addition, built in 1407 by Jean sans Peur, Duke of Burgundy, in expiation of his murder of the Duke of Orleans; the donor and his wife kneel on each side of the Coronation of the Virgin in the tympanum. Notice here the gargoyles and the graceful architecture of the supports to the buttresses. The second (larger) door – the Portail du Cloître, so called from the cloisters long demolished – in the North Transept contains a good statue of the Madonna on the pier; above, in the tympanum, confused figures tell obscurely the legend of the monk Theophilus, who sold his soul to the devil. Stand opposite this door, on the far pavement, to observe the architecture of the North Transept. The best point of view for the whole body of the cathedral, as distinct from the façade, can be obtained from the Quai de Montebello on the south side of the river.

      To visit the interior, enter by the L, or northern door of the façade– that of Our Lady. The lofty nave is flanked by double aisles, all supported by powerful piers. Walk across the church and notice all five vistas. Observe the height and the delicate arches of the triforium, or pierced gallery of the second story, as well as the windows of the clerestory above it – the part of the nave which rises higher than the aisles, and opens freely to the exterior. Walk down the outer R aisle. The side-chapels, each dedicated to a separate saint, contain the altars and statues of their patrons. Notice the shortness of the Transepts, with their great rose windows; observe also the vaulting of the roof, especially at the intersection of the four main arms of the building. The entrance to the choir and ambulatory is in the R or S Transept. Close by, near the pillar, Notre-Dame de Paris, the wonder-working mediæval statue of Our Lady. The double aisles are continued round the choir, which is separated from them by a wall and gateways. Approach the brass grills, in order to inspect the interior of the choir, whose furniture was largely modernised and ruined by Louis XIV, in accordance with a misguided vow of his father. Chapels surround the ambulatory, many of them with good glass windows and tolerable frescoes. The chapel at the end is that of Our Lady of the Seven Sorrows.

      By far the most interesting object in the interior, however, is the series of **high reliefs in stone, gilt and painted (on the wall between choir and ambulatory), executed early in the 14th century by Jehan Ravy and his nephew, Jehan de Bouteillier, which, though inferior in merit to those in the same position in Amiens cathedral, are admirable examples of animated and vigorous French sculpture of their period. The series begins on the N side of the choir, at the point most remote from the grill which leads to the Transept. The remaining subjects (for some, like the Annunciation, are destroyed) comprise the Visitation; Adoration of the Shepherds; Nativity; Adoration of the Magi (note the Three Kings, representing the three ages of man; the oldest, as usual, has removed his crown, and is offering his gift); the Massacre of the Innocents; the Flight into Egypt (where a grotesque little temple, containing two odd small gods, quaintly represents the prevalence of idolatry); the Presentation in the Temple; Christ among the Doctors; the Baptism in Jordan (with attendant angel holding a towel); the Miracle at Cana; the Entry into Jerusalem (with Zacchæus in the tree, and the gate of the city); the Last Supper; the Washing of the Apostles’ feet; and the Agony in the Garden. The tourist should carefully examine all these subjects, the treatment of which strikes a keynote. Similar scenes, almost identical in their figures, will be found in abundance at Cluny and elsewhere. Note, for example, the symbolical Jordan in the Baptism, with St. John pouring water from a cup, and the attendant angel, all of which we shall often recognise hereafter.

      The series is continued on the other (S) side of the choir (a little later in date, with names in Latin underneath; better modelled, but neither so quaint nor so vigorous). The subjects begin by the grill of the South Transept, with the “Noli me tangere” or Apparition to Mary Magdalen (Christ as a gardener); the Apparition to the Marys; to Simon Peter; to the Disciples at Emmaus (dressed as mediæval pilgrims); to the Eleven Apostles; to the Ten and Thomas; to the Eleven by the sea of Tiberias; to the Disciples in Galilee; and on the Mount of Olives. The intervening and remaining subjects – Scourging, Crucifixion, Ascension, etc. – were ruthlessly destroyed by Louis XIV, in order to carry out his supposed improvements in accordance with the vow of his father, Louis XIII. The woodwork of the choir-stalls, executed by his order, is celebrated, and uninteresting. You may omit it. The Treasury contains little of artistic value. The Crown of Thorns still figures in its inventory.

      Leave the Choir by the door by which you entered it, and seat yourself for a while at the intersection of the Nave and Transepts, in order to gain a good idea of the Apse, the Choir, and the general arrangement of the shortly cruciform building. Observe the beautiful vaulting of the roof, and the extent to which the church is born on its piers alone, the intervening walls (pierced by windows and triforium-arches) being intended merely for purposes of enclosure. Note also the fine ancient glass of the rose windows. Quit the church by the North or Left Aisle, and come back to it often.

      Those who are not afraid of a spiral staircase, mostly well lighted, should ascend the Left or North Tower (tickets fifty cents. each, at the base of the tower). Stop near the top to inspect the gallery, with the famous birds and demons. The view hence embraces from the front the Tower of St. Jacques; behind it, the hill of Montmartre, with the white turrets and cupolas of the church of the Sacré-Cœur; a little to the L, St. Eustache; then the Tribunal de Commerce; St. Augustin; the Louvre; the roof of the Ste. Chapelle; the Arc de Triomphe; the twin towers of the Trocadéro; the Eiffel Tower; the gilded dome of the Invalides; St. Sulpice, etc. The Île de la Cité is well seen hence as an island. Note also the gigantic size of the open screen, which looked so small from below. Ascend to the top. Good general panorama of the town and valley. This is the best total view of Paris, far superior to that from the Eiffel Tower, being so much more central.

      Return by the Pont d’Arcole (whence you get a capital notion of the bifurcation of the Seine around the Île St. Louis), and then pass the modern Hôtel-de-Ville, with St. Gervais behind it, on your way home to the Rue de Rivoli.

      [Map of] HISTORIC PARIS

MAP OF HISTORIC PARIS

      This Map represents approximately the growth of Paris, outside the island, at different epochs. Earlier buildings are printed in black; later streets and edifices are shown by means of dotted lines. But the Map does not represent the aspect of Paris at any one time; it merely illustrates this Guide: thus, the original Château of the Louvre is marked in black; the later Palace is dotted; whereas the Madeleine, a much more modern building than the Louvre of François I, is again inserted in black, because it does not interfere with the site of any more ancient building. In very early times the town spread south as far only as Cluny, and north (just opposite the island) as far as the Rue de Rivoli. The subsequent walls are marked approximately on the Map, with the chief edifices enclosed by them. The fortifications of Louis XIII were demolished by Louis XIV, who substituted for them the broad streets still known as the Boulevards. This Map shows, roughly speaking, the extent of Paris under Louis XIV; by comparing it with Baedeker’s Map of Modern Paris, the small relative size of the 17th-century town will be at once appreciated. Nevertheless, the inner nucleus here mapped out contains almost everything worthy of note in the existing city.

      II

      THE LEFT OR SOUTH BANK

      [THE earliest overflow of Paris was from the Île de la Cité to the Left or South Bank (Rive Gauche).

      The reason for this overflow is clear. The city was situated on a small island, near the head of navigation;

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