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throughout Europe. Conspicuous among its devout soldiers was Louis IX, afterwards canonized as St. Louis. The saintly king purchased from Baldwin, Emperor of Constantinople, the veritable Crown of Thorns, and a fragment of the True Cross– paying for these relics an immense sum of money. Having become possessed of such invaluable and sacred objects, Louis desired to have them housed with suitable magnificence. He therefore entrusted one Pierre de Montereau with the task of building a splendid chapel (within the precincts of his palace), begun in 1245, and finished three years later, immediately after which the king set out on his Crusade. The monument thus breathes throughout the ecstatic piety of the mystic king; it was consecrated in 1248, in the name of the Holy Crown and the Holy Cross, by Eudes de Châteauroux, Bishop of Tusculum and papal legate.

      Three things should be noted about the Sainte Chapelle. (1) It is a chapel, not a church; therefore it consists (practically) of a choir alone, without nave or transepts. (2) It is the domestic Chapel of the Royal Palace. (3) It is, above all things, the Shrine of the Crown of Thorns. These three points must be constantly borne in mind in examining the building.

      Erected later than Notre-Dame, it represents the pointed style of the middle of the thirteenth century, and is singularly pure and uniform throughout. Secularized at the Revolution, it fell somewhat into decay; but was judiciously restored by Viollet-le-Duc and others. The “Messe Rouge,” or “Messe du St. Esprit,” is still celebrated here once yearly, on the re-opening of the courts after the autumn vacation, but no other religious services take place in the building. The Crown of Thorns and the piece of the True Cross are now preserved in the Treasury at Notre-Dame.

      Open daily, free, except Mondays, 11 to 4 or 5. Choose a very bright day to visit it.]

      Examine the exterior in detail from the court on the south side. More even than most Gothic buildings, the Sainte Chapelle is supported entirely by its massive piers, the wall being merely used for enclosure, and consisting for the most part of lofty windows. As in most French Gothic buildings, the choir terminates in a round apse, whereas English cathedrals have usually a square end. The beautiful light flèche or spire in the centre has been restored. Observe the graceful leaden angel, holding a cross, on the summit of the chevet or round apse. To see the façade, stand well back opposite it, when you can observe that the chapel is built in four main stories, – those, namely, of the Lower Church or crypt, of the Upper Church, of the great rose window (with later flamboyant tracery), and of the gable-end, partially masked by an open parapet studded with the royal fleurs-de-lis of France. The Crown of Thorns surrounds the two pinnacles which flank the fourth story.

      The chapel consists of a lower and an upper church. The Lower Church is a mere crypt, which was employed for the servants of the royal family. Its portal has in its tympanum (or triangular space in the summit of the arch) the Coronation of the Virgin, and on its centre pillar a good figure of the Madonna and Child. Enter the Lower Church. It is low, and has pillars supporting the floor above. In the polychromatic decoration of the walls and pillars, notice the frequent repetition of the royal lilies of France, combined with the three castles of Castille, in honour of Blanche of Castille, the mother of St. Louis.

      Mount to **the Upper Chapel (or Sainte Chapelle proper) by the small spiral staircase in the corner. This soaring pile was the oratory where the royal family and court attended service; its gorgeousness bespeaks its origin and nature. It glows like a jewel. First go out of the door and examine the exterior and doorway of the chapel. Its platform was directly approached in early times from the Palace. The centre pillar bears a fine figure of Christ. In the tympanum (as over the principal doorway of almost every important church in Paris and the district) is a relief of the Last Judgment. Below stands St. Michael with his scales, weighing the souls; on either side is depicted the Resurrection, with the Angels of the Last Trump. Above, in the second tier, is Christ, holding up His hands with the marks of the nails, as a sign of mercy to the redeemed: to R and L of Him angels display the Crown of Thorns and the True Cross, to contain which sacred relics the chapel was built. Extreme L kneels the Blessed Virgin; extreme R, Sainte Geneviève. This scene of the Last Judgment was adapted with a few alterations from that above the central west door of Notre-Dame, the Crown of Thorns in particular being here significantly substituted for the three nails and spear. The small lozenge reliefs to R and L of the portal are also interesting. Those to the L represent in a very naïve manner God the Father creating the world, sun and moon, light, plants, animals, man, etc. Those to the R give the story of Genesis, Cain and Abel, the Flood, the Ark, Noah’s Sacrifice, Noah’s Vine, etc. the subjects of all which the visitor can easily recognise, and is strongly recommended to identify for himself.

      The interior consists almost entirely of large and lofty windows, with magnificent stained glass, in large part ancient. The piers which divide the windows and alone support the graceful vault of the roof, are provided with statues of the twelve apostles, a few of them original. Each bears his well-known symbol. Spell them out if possible. Beneath the windows, in the quatrefoils of the arcade, are enamelled glass mosaics representing the martyrdoms of the saints – followers of Christ, each wearing his own crown of thorns: a pretty conceit wholly in accord with St. Louis’s ecstatic type of piety. Conspicuous among them are St. Denis carrying his head, St. Sebastian pierced with arrows, St. Stephen stoned, St. Lawrence on his gridiron, etc. Examine and identify each separately. The apse (formerly separated from the body of the building by a rood-screen, now destroyed) contains the vacant base of the high altar, behind which stands an arcaded tabernacle, now empty, in whose shrine were once preserved the Crown of Thorns, the fragment of the True Cross, and other relics. Amongst them in later times was included the skull of St. Louis himself in a golden reliquary. Two angels at the summit of the large centre arch of the arcade bear a representation of the Crown of Thorns in their hands. Above the tabernacle rises a canopy or baldacchino, approached by two spiral staircases; from its platform St. Louis and his successors, the kings of France, were in the habit of exhibiting with their own hands the actual relics themselves once a year to the faithful. The golden reliquary in which the sacred objects were contained was melted down in the Revolution. The small window with bars to your R, as you face the high altar, was placed there by the superstitious and timid Louis XI, in order that he might behold the elevation of the Host and the sacred relics without being exposed to the danger of assassination. The visitor should also notice the inlaid stone pavement, with its frequent repetition of the fleur-de-lis and the three castles. The whole breathes the mysticism of St. Louis: the lightness of the architecture, the height of the apparently unsupported roof, and the magnificence of the decoration, render this the most perfect ecclesiastical building in Paris.

      In returning from the chapel, notice on the outside, from the court to the S., the apparently empty and useless porch, supporting a small room, which is the one through whose grated window Louis XI used to watch the elevation.

      I would recommend the visitor on his way home from this excursion to walk round the remainder of the Île de la Cité in the direction of Notre-Dame, so as to gain a clear idea of the extent of the island, without, however, endeavouring to examine the cathedral in detail on this occasion.

      Vary your artistic investigations by afternoons in the Bois de Boulogne, Champs Elysées, etc.

      B. NOTRE-DAME

      [In very early times, under the Frankish monarchs, the principal church of Paris was dedicated to St. Stephen the Protomartyr. It stood on part of the site now covered by Notre-Dame, and was always enumerated first among the churches of the city. A smaller edifice, dedicated to the Blessed Virgin Mary, also occupied a part of the site of the existing cathedral. About the middle of the twelfth century, however, it was resolved to erect a much larger cathedral on the Île de la Cité, suitable for the capital of so important a country as France had become under Louis VI and Louis VII; and since the cult of the Blessed Virgin had then long been increasing, it was also decided to dedicate the new building to Our Lady alone, to the exclusion of St. Stephen. The two early churches were therefore cleared away by degrees, and in 1163 the work of erecting the present church was begun under Bishop Maurice de Sully, the first stone being laid by Pope Alexander III, in person. The relics of St. Stephen were

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