Beale Sophia
The Churches of Paris, from Clovis to Charles X
SAINT-NICOLAS DES CHAMPS
The patron saint of children, of schoolboys, of poor maidens and travellers, of merchants, and, above all, of pawnbrokers, was popular in Paris as elsewhere, and thus we find three churches dedicated to him. S. Nicolas was a performer of stupendous miracles. Thus it happened that during a time of famine, while he was visiting his flock, he discovered that a certain disciple of the Evil One murdered little children, and, cannibal-like, feasted on them. And so audacious was this fiend in human shape, that he impudently served up the dismembered limbs of a young babe for the good bishop; who, seeing this wickedness, went to the tub where the children's remains were being salted down, and making the sign of the cross over them, the babes all stood up. This is a favourite subject in art; and not the least beautiful of all the saints and martyrs in the processional frieze in S. Vincent de Paul is Flandrin's conception of S. Nicholas.105 Why the Saint's three balls, which seem to have been purses given to three poor maidens, should have become the sign of pawnbrokers, seems doubtful. Perhaps simply as being emblems of gold lent by merchants to impecunious customers. The story of the children is probably an allegory of the conversion of sinners, the tub being the baptismal font and the wicked host, the evil state in which all men are born. S. Nicholas is also the guardian of property, and in that form figures upon the windows of the cathedral of Chartres. The Saint's image was stolen by a Jew, and placed in guardianship over his treasures. Then came robbers, who carried off the property, which, the Jew discovering, led to the chastisement of the bishop's effigy. But S. Nicholas was equal to the occasion, and reproving the Jew, ordered the robbers to restore what they had stolen; and when the Hebrew saw the miracle, he became converted, he and his whole house. This, too, may be the reason for S. Nicholas' patronage of pawnbrokers, who are many of them, indeed most of them, Jews.
In the 12th century S. Nicolas des Champs was but a chapel built upon the domain of the priory of S. Martin. Two centuries later it was rebuilt; but in the 16th century, being too small for its parishioners, it was widened by turning the chapels of the nave into an aisle, and erecting fresh chapels outside it. Later on it was again enlarged, until it has become one of the longest of the Paris churches.
The façade in the Rue S. Martin is in the Flamboyant style, and not without some beauty, with its pinnacles and turrets, its niches and statuettes; but the most striking part of the church is the richly-sculptured doorway in the Rue Aumaire, a mass of niches, figures of Angels, and Flamboyant ornament of the most elaborate kind – birds, baskets of flowers, borne by pious little personages, and every kind of foliage, reminding us of the works of Germain Pilon.
The interior shows the change of style from shafts without capitals to the latest development in the way of Doric columns. The High Altar is ornamented with Corinthian columns, some stucco Angels by Jacques Sarazin, and a picture of the Assumption by Simon Vouet. The best picture in the church is M. Bonnat's early work of S. Vincent de Paul. An old panel of a Calvary is a very good specimen of one of the unknown artists of the 16th century.
A few celebrities were buried in S. Nicolas; the savant Guillaume Budé, who died in 1540; the philosopher Pierre Gassendi; the historians Henri and Adrien de Valois; and Mdlle. de Scudéry; but their monuments have vanished. On the pavement are some stones bearing the names of Rochechouart, Crillon, Labriffe, Potier de Novion, Mesmes, and several others.
Here is one of the many curious epitaphs:
LE CIEL L'ESTIMENT TROP POUR LA
LAISSER PLUS LONTEMPS MORTELE,
LAISSANT A SON ÉPOUX UNE FILLE
POUR GAGE DE LEUR ÉTROITE ET
INMORTELE AMITIÉ, DANS LAQU'ELLE
IL SURVIT POUR PLEURER LE RESTE
DE SES JOURS SA DURE SEPARATION
D'AVEC CETTE CHERE ÉPOUSE, QUI ÉTOIT
RECOMANDABLE, PAR SA TRES GRANDE
DOUCEUR, SA VIE PURE ET INOCENTE,
ET SA PRUDENCE AU DESUS DE SON
AAGE, QUI LUY ONT OUVERT LE
CHEMIN DE L'IMORTALITÉ.
REQUIESCAT IN PACE.
In the 16th century the acolytes of Notre-Dame celebrated their well-known fêtes at S. Nicolas, performing various antics en route; but as their disorderly conduct was great, and the "facéties" practised led to divers troubles and various abominations, the ceremony resolved itself latterly into a simple Benediction which the enfants de chœur chanted in honour of their patron.
SAINT-NICOLAS DU CHARDONNET
This is an ugly church, with traditions going back to the 13th century, but with nothing thereof now to be seen, in the Rue S. Victor. The present building dates from 1656 to 1709. A picture by Lebrun, of The Miracle of Moses, adorns one of the chapels; and the tomb erected by him to his mother's memory, by Tuby and Callignon, is to be found in another. Lebrun's own tomb is by Coyzevox; Jérôme Bignon's, by Girardon. There are also pictures by Le Sueur, Coypel, Corot, Desgoffes, and Mignard.
Suzanne Butay, widow of Lebrun, was a generous body, and left a number of legacies to the poor of the parish, and divers other church institutions, which are recorded thus:
LADITE DAME SUZANNE BUTAY VEUVE DUDIT FEU SR LEBRUN PAR
SON TETAMT
OLOGRAPHE DE XIII SEPTEMBRE MDCXCVI RECONNU DEVANT VATRY, ET
TORINON NOTRES… A LEGUÉ AUX PAUVRES HONTEUX, ET
AUX PAUVRES MALADES DI CETTE
PARROISSE LA SOME DE DEUX MIL LIVRES UNE FOIS PAYÉ, PLUS A
LEGUÉ MIL LIVRES DE RENTE
À AYDIR À MARIER DE PAUVRES FILLES, ET À METTRE EN APPREN-
TISSAGE DE PAUVRES GARÇONS NÉS DANS LA PARROISSE…
NOTRE-DAME
Sauval likens the island upon which the cathedral stands to a ship: "L'ile de la cité est faite comme un grand navire enfoncé dans la vase et échoué au fil de l'eau vers le milieu de la Seine;" and perhaps the Ship of Paris upon the Gallic sea may have owed its origin as the city arms to some idea of this sort.
The origin of Notre-Dame is enveloped in mystery. Whether its first bishop, S. Denis, or Dyonesius, was the Areopagite converted by S. Paul's preaching at Athens, and sent by S. Clement to preach the Gospel to the Parisians, or whether he was another personage of the same name who was sent into Gaul in the 3rd century and martyred during the persecutions under Decius, it is impossible to say, as there is no evidence of any value. Certain it is, however, that the first bishop of Paris bore the name of Denis, and that he suffered martyrdom with his two companions Rusticus and Eleutherius, on the summit of the hill now called Montmartre. Tradition went so far as to point out the spot where they first gathered their followers together – the crypt of Notre-Dame des Champs; also the prison where Our Lord appeared to them and strengthened them with His Holy Body and Blood, at S. Denis de la Chartre; the place, at S. Denis du Pas, where they suffered their first tortures; and, lastly, Montmartre, where they were beheaded. But, with the exception of the latter, all these holy spots have disappeared. So, too, have the crosses which marked the route taken by the Saint, when he carried his head to the place chosen for his burial, at S. Denis. An ancient church covered the remains of the three Saints until the present splendid building was erected in the reign of Dagobert I.
Under the Roman dominion, Paris was comprised in the fourth Lyonnaise division, of which Sens was the metropolis. Hence the bishops of Paris acknowledged the archbishop of Sens as their primate, until 1622, when, at the request of Louis XIII., Pope Gregory XV. raised the see to an archbishopric. The succession has consisted of one hundred and nine bishops and fifteen archbishops, eight of whom have been raised to the dignity of Cardinal. Besides S. Denis, six have been venerated as Saints: Marcel, in the 5th century; Germain, in the 6th century; Céran, Landry, and Agilbert in the 7th, and Hugues in the 8th century. No less Saints, although uncanonized, are the three martyrs of our own time – Sibour, who was stabbed by a discontented priest in the church of S. Étienne-du-Mont; Affre, who was shot upon a barricade in 1848, while negotiating with the insurgents, and whose last words pronounced him a true follower of his Master: "Puisse mon sang être le dernier versé!" and Darboy, the liberal-minded and large-hearted, who was shot as a hostage by the fanatics of his own party. In former times the entry of the new bishop into his episcopal city was accompanied by much gorgeous ceremonial. All the municipal officers, mounted on horses, went to meet him at the Abbey of S. Victor. Thence they processioned, accompanied by the bishop, seated on a white palfrey, to the church of S. Geneviève, from which he was chaired by his vassals to the Rue Neuve-Notre-Dame, where he was met by the dean and canons of the cathedral, and after taking an oath upon the Gospels to uphold the privileges of the church, and to observe the engagements entered into by his predecessors, he was installed, and received the homage of the chapter. Mass was then said, and at the conclusion, the prelate was conducted to his palace, where he gave a sumptuous entertainment to all who had assisted at the ceremonies.
In 1674 Louis XIV. conferred the lands of S. Cloud, Creteil, d'Ozouer-la-Ferrière, and d'Armentières upon the archbishopric, a donation which was valued in the last century at a revenue of 140,000 livres. The old episcopal palace was situated between the cathedral and the river, and the whole must have been an imposing mass of buildings; but what remained of it twenty years ago was mostly 18th-century work, with the exception of a fragment of the chapel which was consecrated by bishop Maurice de Sully at the end of the 12th century.
The chapter of Notre-Dame was one of the most important in the Kingdom. Its revenue amounted to 180,000 livres, and its jurisdiction extended beyond its own clergy and officers, to the Hôtel-Dieu, and the churches which were called les filles de Notre-Dame. These were the collegiate bodies of S. Merry, the Holy Sepulchre, S. Benoit, and S. Étienne-des-Grès. Four other colleges, S. Marcel, S. Honoré, and S. Opportune, bore the title of filles de l'Archevêque.
Of the cloisters not the slightest vestige remains to determine their position or size. What was latterly termed the cloître was only a collection of narrow tortuous streets, with two or three houses and doorways which may have dated from the 15th century. One of these houses bore the reputation of having been the abode of Canon Fulbert, the uncle of Héloïse; but it could only have been built upon the site of the original one, which may possibly have existed in the 12th century, as some Roman foundations were discovered when it was demolished a few years ago. The enceinte of the cathedral enclosed two churches, S. Aignan and S. Jean-le-Rond, and a garden at the eastern end of the church, which the chapter called Le terrain, but to which the people, in their original lingo, gave the name of Motte aux Papelards.
The cathedral is now open on all sides, and the coup-d'œil is fine when seen from the Place du Parvis-106 Notre-Dame, or from the garden at the east end; but to obtain these fine views many buildings of interest have been sacrificed, – the cloisters, the churches of S. Jean-le-Rond and S. Christophe, the episcopal palace, the oldest parts of the hospitals of the Hôtel-Dieu and Les Enfants-Trouvés, and the chapel constructed in the 14th century by Oudart de Mocreux.
It may not be uninteresting to give the number of religious institutions in the city of Paris before the end of the last century: 12 chapters; 59 parishes; 4 abbeys for men, and 6 for women; 11 priories; 124 monasteries and communities; 90 chapels (exclusive of those in Notre-Dame); and 5 hospitals; in all, 311 ecclesiastical establishments. When it is considered that all these corporate bodies possessed lands, were all exempt from direct taxation, and enjoyed other privileges, the storm that brought about their suppression is not to be wondered at, however much we may regret the results from an artistic point of view. Even at the commencement of the 18th century the suppression of a certain number of convents and the demolition of several churches was determined upon; but it was not until the Revolution burst that the main destruction took place. Had there been more men of the type of the citoyen Chaumette, who saved the sculptures on one of the doors of Notre-Dame by affirming that the astronomer Dupuis had discovered his planetary system therein, there would have been less loss to art to lament. As it is, the only remnant of all this ecclesiastical wealth besides Notre-Dame is a portion of the priory of S. Martin des Champs (occupied at present by the Conservatoire des Arts et Métiers), 12 parish churches, the Sainte-Chapelle, and the little church of S. Julien le Pauvre, which belonged to the old Hôtel-Dieu. These are the only buildings which have come down to us from the Middle-Age or Renaissance periods.
Some remains of altars dedicated to Jupiter, of the time of Tiberius, which were found under the choir of the cathedral, and are now in the Palais des Thermes, seem to suggest that the Christian church was built upon the site of the Roman temple, or that the latter was converted into a church by the early Christians, as at Rome, Ravenna, and other places.
The earliest authentic record of a Christian church in Paris is in the life of S. Marcel, where it is related that at the end of the 4th century one stood at the Eastern extremity of the island of the Cité. This is supposed to have been rebuilt by Childebert I. at the instance of S. Germain, for it is not probable that the building described by Fortunat, bishop of Poitiers, as rich in marble columns, glass windows, and magnificent ornaments, could have been the original edifice. Indeed, a discovery, made in 1847, seems to prove this. During some excavations which were made in the Place du Parvis it was found that some Roman houses had been demolished to make way for the foundations of Childebert's church; and, together with the Roman remains, were marble cubes which formed the pavement, three columns in Aquitaine marble, and a Corinthian capital in white marble. The Christians of the 5th century adhered in their church architecture to the style of building adopted by the Romans for their basilicas; in fact, in many cases the secular basilica was adapted to the purpose of Christian worship. Hence it is but probable that Childebert looked to Rome for the design of his church. These remains are in the museum and gardens of the Hôtel-Cluny.
From the 6th to the 12th centuries there is no record of Notre-Dame, but Grégoire de Tours and d'Aymoin, towards the end of the 6th century, speak of two churches close together, but distinct from one another – the one, S. Étienne, to the south of the present church; the other, S. Marie, towards the north-east. A rather doubtful tradition attributes certain works of construction in the church to bishop Erchenrad I. during the reign of Charlemagne. But it is known that in 829 the celebrated Council of Paris was held in the nave of S. Étienne; and in 857 the other church, S. Marie, was burned by the Normans, the bishop, Énée, only being able to save the former church. In the 12th century, archdeacon Étienne de Garlande, who died in 1142, made some important restorations to Notre-Dame, and Suger, the great abbot of S. Denis, gave it a stained glass window of great beauty – probably similar to those in his own church. So, too, the early Capétien monarchs frequently visited this nova ecclesia (as it was called to distinguish it from S. Étienne), and presented it with valuable ornaments.
We now come to the building of the present church. Maurice de Sully, the seventy-second bishop (1160-96), had scarcely mounted his episcopal throne when he determined to rebuild his cathedral by joining the two existing churches, and upon his epitaph in the abbey church of S. Victor he was accredited as the builder of Notre-Dame.
Bishop Maurice was the son of a poor woman named Humberge, who lived in a humble cottage on the banks of the Loire, under the shadow of the feudal castle of the Sullys; and, like many of the Churchmen of those times, he seems to have had only one parent; at all events his father was unknown, and consequently Maurice was obliged to go from château to château, and from convent to convent, to beg for bread and alms, for himself and his mother.
On April 21st, 1163, at the instance of Abbot Hugues de Moneçaux, Pope Alexander III. consecrated the recently-constructed apse of S. Germain des Prés; and it is also affirmed that he laid the first stone of the new cathedral in the same year. In 1182, the High Altar was consecrated by Henri, the pope's legate, and three years later, Heraclius, patriarch of Jerusalem, who had come to Paris to preach the third crusade, officiated in the choir. Geoffrey, son of Henry II. of England, and Count of Bretagne, who died in 1186, was buried before the altar of the new cathedral, and towards the end of the century the wife of Philippe-Auguste, Isabelle de Hainault, was laid near the same place. When Maurice de Sully died, the church could not have been completed, as he left 5,000 livres towards the leaden roofing of the choir. Indeed, the western façade was only commenced towards the end of the episcopate of Pierre de Nemours, 1208-19, although the work had been continued during the time of his predecessor, Eude de Sully, 1197-1208. According to l'abbé Lebeuf, the remains of the old church of S. Étienne were demolished towards the end of the year 1218 to make room for the southern part of the façade, and, amongst other finds, were some fragments of the Saint's tomb.
It is probable that the West front, as high as the gallery which connects the two towers, was terminated about the time of the death of Philippe-Auguste, 1223; and that the rich appearance of this façade decided the reconstruction of the portals of the transepts.
An inscription at the base of the southern porch attests that on the second day of the Ides of February, 1257, Master Jean de Chelles commenced this work in honour of the mother of Christ, S. Louis being then king of France, and Renaud de Corbeil, bishop of Paris; and, in spite of certain documents amongst the archives, there is no doubt that the little Porte Rouge and the first chapels on both sides of the choir belong to the same period and were the work of the same architect, for they are quite similar in style and are built of the same stone.
The history of Notre-Dame is in a great measure the history of France. It was there that the Te Deum was sung after successful battles, and where the standards which were taken from the enemy were suspended during the continuance of the wars. There, too, in the early part of the 13th century, S. Dominic preached from a book given him by the Blessed Virgin, who appeared to the Saint after an hour's silent meditation, radiant with beauty, and dazzling as the sunlight. Some fifty years ago, the cathedral, and, indeed, all Paris, was stirred by the conférences held there by one of S. Dominic's own children, Père Lacordaire, who, with his friends Lamennais and Montalembert, made an effort to free the Roman branch of the Catholic Church from the fungi which had grown on to it, an effort which was as fruitless as that undertaken by his predecessor Savonarola, 400 years before him.
On Easter Eve, the 12th April, 1229, the Count of Toulouse, Raymond VII., was absolved of the crime of heresy in Notre-Dame. As the old chronicler Guillaume de Puylaurens relates: "Et c'était pitié de voir un si grand homme, lequel par si long espace de temps avait pu résister à tant et de si fortes nations, conduit nu, en chemise, bras et pieds découverts, jusqu'à l'autel."
Here is a pleasant little example of some of the doings of the "good old times": Pierre Bonfons tells us that in 1381 the prévôt of Paris, one Hugues Aubriot, accused and found guilty of heresy and other crimes, was, through the instrumentality of the University, "presché et mitré publiquement au Parvis-Notre-Dame, et après ce, condamné à être en l'oubliette au pain et à l'eau."
On the 27th November, 1431,107 the child, Henry VI. of England, was crowned King of France in the choir of the cathedral. But the pomp of this ceremony was soon effaced, for, on the Friday in Easter week, 1436, a Te Deum was sung to celebrate the retaking of Paris by the troops of Charles VII.
In the 13th century the Feast of the Assumption was celebrated with great pomp; the whole church was hung with valuable tapestries, and the pavement covered with sweet-smelling flowers and herbs; but two centuries later, grass from the fields of Gentilly seems to have sufficed to do honour to Our Lady on her fête day.
The same custom prevailed here as at the Sainte-Chapelle and other churches, of letting fly pigeons, and throwing flowers and torches of flaming flax from the windows in celebration of the descent of the Holy Spirit on the Day of Pentecost; and every year, on the 22nd March, the chapter went in procession to the church of the Grands-Augustins, where a mass was sung in memory of Henri IV.'s entry into Paris in 1594.
The original design of the church did not comprise the chapels which flank the nave and somewhat spoil the effect of the exterior. In this respect, the cathedral of Paris cannot be compared to those of Reims and Chartres, which have no chapels between the buttresses. They were added to Notre-Dame in 1270, Jean de Paris, archdeacon of Soissons, having bequeathed 100 livres for their construction. The chapels of the chevet were finished at the end of the 13th or beginning of the 14th century. An inscription at the entrance of one of them, S. Nicaise, placed upon the pedestal of a statue of Simon Matiffas de Buci, recorded that this chapel and the two next were founded by the bishop in 1296, and that the others were added subsequently. This precious relic was discovered at S. Denis among a number of others from different churches. One of these gives the name of Canon Pierre de Fayet108 as the donor of 200 livres towards the histoires which surround the choir, and some new glass; and another gives the names of the sculptors of these same histoires, the Masters Jean Ravy and Jean le Bouteiller, who carved them in 1351. It must be remembered that the great churches of the Middle Ages were more the work of the people than of the nobility, and thus we find that the armorial bearings upon old glass or upon the pedestals of statues are mostly those of the different trades-guilds, such as the bakers, the butchers, the woollen-drapers, the furriers, the shoemakers, and the like. These, either as individuals or as corporate bodies, enriched the old churches in money or in kind.
It must not be forgotten that the great churches of the Middle Ages were, in a sense, the schools of the period. The people, not being able to read, were instructed through the medium of sermons and stage plays; they saw the histories of Saints, the story of the Gospel, and legendary and historical matter carved in wood or stone upon all sides of them, and they learnt their moralities by picture tales and clerical discourses. Art was literally the handmaid of Religion, and the great teacher; and being enriched by divers gifts, the churches became receptacles for all kinds of treasures. Guillaume Durand, in his Rational des Divins Offices, speaks of rare things, such as stuffed crocodiles, ostrich eggs, and skeletons of whales, besides gold and silver vessels, intagli, and cameii, as attractions for the people, on the principle that he who comes to see may stay to pray. Churches were, in fact, museums, and places in which to transact business; the naves constantly being thus used.
Notre-Dame has two towers at the west end, and a flèche over the intersection of the nave, choir and transepts. This is modern; and why? Because, in 1787, an architect was found who considered it well to "amputate" the old one. Listen to Victor Hugo: "Un architect de bon gout l'a amputé, et a cru qu'il suffisait de masquer la plaie avec ce large emplâtre de plomb, qui ressemble au couvercle d'une marmite" – doubtless that strange species of turret so common in London, familiarly termed a pepper-box.
The western façade, though not so rich as that of Reims, is nevertheless exceedingly beautiful. It is divided into three parts in its width, and into four stories in its elevation.
Here is what our old friend Dibden says of it in his time: "Of Notre-Dame, the West front, with its marygold windows, is striking both from its antiquity and richness. It is almost black from age" (would it were so now!) – "but the alto-relievos, and especially those above the doors, stand out in almost perfect condition. These ornaments are rather fine of their kind. There is, throughout the whole of this West front, a beautiful keeping, and the towers are here somewhat more endurable, and therefore somewhat in harmony. Over the North transept door, on the outside, is a figure of the Virgin – once holding the infant Jesus in her arms. Of the latter only the feet remain. The drapery of this figure is in perfectly good taste, a fine specimen of that excellent art which prevailed towards the end of the XIIIth century. Above is an alto-relievo subject of the Slaughter of the Innocents. The soldiers are in quilted armour. I entered the cathedral from the Western door, during service-time. A sight of the different clergymen engaged in the office filled me with melancholy, and made me predict sad things of what was probably to come to pass! These clergymen were old, feeble, wretchedly attired in their respective vestments, and walked and sung in a tremulous and faltering manner. The architectural effect of the interior is not very imposing, although the solid circular pillars of the nave, the double aisles round the choir, and the old basso-relievo representations of the Life of Christ upon the exterior walls of the choir, cannot fail to afford the antiquary very singular satisfaction. The choir appeared to be not unlike that of S. Denis." Notre-Dame should be visited by lovers of plain song. To hear forty men and boys chant Gregorian tones, with ad libitum accompaniments upon a small organ, is a treat not to be forgotten. And note, the small organ, for the large one at the end of the nave is only used for voluntaries; thundering accompaniments to the voices being unknown in Paris.
All the six doors of Notre-Dame bear distinctive names – the Porte du Jugement, the Porte de la Vierge, and the Porte Ste. Anne, at the west end; the Porte du Cloître, the Porte St. Marcel and the Porte Rouge, at the east end. Each of these is divided into two openings by a central pier, supporting a figure and surmounted by a tympanum; over which is a deep voussure, peopled with sculptures innumerable. Tradition formerly recorded a flight of thirteen steps rising to the west front; but the excavations made in 1847 proved this to have been a mistake. If steps existed anywhere, they were probably on the side of the episcopal palace near the southern tower and leading down to the river. At the same time there is no doubt that the church would gain in effect were it raised above the roadway as is the case at Amiens. At present it is even a little lower than the place, but allowing for the rising of the ground during seven centuries, it is quite possible that the cathedral originally had not the sunken appearance it has at present. In the niches upon the great buttress are tour figures; S. Denis and S. Étienne at the extremities, and two women crowned in the centre. These represent a very common conceit of the Middle Ages, the Church and the Synagogue, the one triumphant, the other defeated.
Above the portals is the gallery of the Kings of Judah, the ancestors of the Virgin, and perhaps typical of the sovereigns of France. The gallery of the Virgin is still higher, and upon it in the centre stands the queen of Heaven with attendant Angels, Adam and Eve being above the side doors. Higher still we come to the tower galleries presided over by delightful monsters of various zoological tribes. Nothing gives a visitor to Notre-Dame a better notion of the richness of its sculptures than mounting to this gallery, whence he obtains a full view of the roof and the towers, with their numerous pinnacles, crockets, finials, gargoyles and statues.
Unfortunately the great central portal was hopelessly wrecked by Soufflot in 1771 in order to increase its width for processions; it is one of the many examples which prove the fact that the "stupidity of man" has done more harm to old buildings than time or even disastrous riots and revolutions. In 1773 and 1787, so-called restorations, by architects who ought to have known better, still further mutilated the church.
Listen to Victor Hugo once more: "Il est difficile de ne pas soupirer, de ne pas s'indigner devant les dégradations, les mutilations sans nombre, que simultanément le temps et les hommes ont fait subir au vénérable monument, sans respect pour Charlemagne, qui en avait posé la première pierre, pour Philippe-Auguste, qui en avait posé la dernière. Sur la face de cette vieille reine de nos cathédrales, à côté d'un vide on trouve toujours une cicatrice. Tempus edax homo edacior: le temps est aveugle, l'homme est stupide." Sixty years have passed since this was written, but the great poet lived to see a restoration which he probably sighed over as much as over the mutilations of former times. Viollet-le-Duc did his work better than most restorers; but of the old church nothing remains but the shell – even the surface of the stone has been scraped and scrubbed, giving the building as new an appearance as that of the churches of S. Augustin and La Trinité. Hugo's words in 1832, directed against the architects of Louis XIV. and Louis XV., apply equally to those of our time: "Si nous avions le loisir d'examiner une à une avec le lecteur les diverses traces de destruction imprimée à l'antique église, la part du temps serait la moindre, la pire celles des hommes, surtout des hommes de l'art." The great destruction occurred between 1699 and 1753. Louis XIV., the great destroyer of men and of their works, in order to carry out the "Vœu de Louis XIII.", made away with the old carved stalls, the jubé, the cloisters, the high altar with its numerous châsses and reliquaries, its bronze columns and silver and gold statuettes, the tombs, and the stained glass. In 1771, the statues above the great west doors disappeared when Soufflot began his evil work of widening them. Another great loss to the church was the destruction of the statue of S. Christopher, a huge colossal figure as celebrated in the Middle Ages as the relics of the Sainte-Chapelle. It stood at the entrance of the nave, and was the work of Messire Antoine des Essarts in 1443, in gratitude to the saintly giant for having saved him from the Burgundians. Miracle-working Virgins, Philippe-Auguste posing as S. Simon Stylites, and two bishops of Paris, likewise upon columns, were amongst some of the former treasures. Whether three great figures in wax of Gregory XI., his niece, and nephew, which tumbled into decay in 1599, are equally to be regretted, is doubtful; but the description of an equestrian statue which stood in the nave, the man in armour, and the horse in emblazoned trappings, sounds fascinating. It was a Louis VI., or a Philippe le Bel – who knows? Perhaps the latter, erected as a thank offering to Our Lady for the victory at Mons, for Philippe founded solemn commemorations of that battle at Notre-Dame, at Chartres, and at S. Denis. But in spite of this evidence, Père Montfaucon pronounced in favour of Philippe de Valois, who rode into the church equipped and armed to give thanks for the victory of Cassel, and fulfil a vow made in front of the enemy. This same Philippe's effigy also rode a stone horse upon the façade of the Cathedral of Sens.