Paris: With Pen and Pencil Part 5

THE MADELEINE.

[Ill.u.s.tration: Eglise de la Madeleine.]

The Madeleine looks little like a church to the stranger, but more like a magnificent Grecian temple. Its impression upon me was by no means a pleasant one, for the style of its architecture is not sufficiently solemn to suit my ideas of a place where G.o.d is publicly wors.h.i.+ped. It is, however, one of the finest specimens of modern architecture in the world, and is so widely known that I can hardly pa.s.s it over without a slight sketch of it.

An edifice was erected on the spot where the Madeleine stands, in 1659, by Mademoiselle d'Orleans. That building was soon found to be too small for the accommodation of the people in its neighborhood, and in 1764, the present building was commenced by the architect of the duke of Orleans. The revolution put an end for a time to the work upon the church, but Napoleon, after his Prussian campaign, determined to dedicate the Madeleine as a Temple of Glory, "to commemorate the achievements of the French arms, and to have on its columns engraved the names of all those who had died fighting their country's battles." The necessary funds were given and architects were set at work immediately upon it. But Napoleon's plans were frustrated, and in 1815 Louis XVIII.

restored the building to its original destination, and ordered that monuments should be erected in it to Louis XVI., Marie Antoinette, Louis XVII., and Mme. Elizabeth. The revolution of 1830, however, interrupted this work, and it was not till the reign of Louis Phillippe, that it was completed. The entire cost of the Madeleine was two millions six hundred and fifteen thousand and eight hundred dollars. It stands on a raised platform, three hundred and twenty-eight feet long and one hundred and thirty-eight broad, and has at each end an approach consisting of twenty-eight steps, the entire length of the facade. The architecture is Grecian, a colonnade of fifty-two Corinthian columns entirely surrounding the building, giving to it a grandeur of appearance to which few structures in Europe attain. Between the columns there are niches, and a row of colossal statues stand in them. They represent St. Bernard, St. Raphael, and a score of others. The colonnade is surmounted by a beautiful piazza, and a cornice adorned with lion's heads and palm leaves.

The pediment of the southern end contains a large altorelievo by Lemaire. It is one hundred and twenty-six feet long and twenty-four feet high. In the center is a figure of Christ; the Magdalene is beneath in a suppliant att.i.tude; while HE is pardoning her sins. On the right hand the angel of Pity gazes down upon the poor woman, with a look of deep satisfaction. On the other hand is the figure of Innocence, surrounded by the angels, Faith, Hope, and Charity. In the angle of the pediment is the figure of an angel greeting the new-born spirit, and raising his hand, points to the place prepared for him in heaven.

On the left of the pediment the angel of Vengeance is repelling the Vices. Hatred is there with swollen features; Unchast.i.ty, with disheveled hair and negligent dress, clings to her guilty paramour; Hypocrisy, with the face of a young woman, a mask raised to her forehead, looks down upon the spectator; and Avarice is represented as an old man clinging to his treasures.

The pediment is filled completely by the figure of a demon, which is forcing a d.a.m.ned soul into the abyss of woe. This is the largest sculptured pediment in the world, and occupied more than two years in its execution. The figure of Christ is eighteen feet in length, which will give the reader an idea of the size of the sculpture.

The doors of the Madeleine are worthy of particular notice. They are of bronze, measuring more than thirty feet by sixteen. They are divided into compartments each of which ill.u.s.trates one of the Ten Commandments.

In the first, Moses commands the tables to be obeyed; in the second, the blasphemer is struck; in the third, G.o.d reposes after the creation; in the fourth, Joshua punishes the theft of Acham, after the taking of Jericho, etc. etc. The doors were cast in France, and are only surpa.s.sed in size by the doors of St. Peter's.

On entering the Madeleine, the magnificent organ meets the eye of the visitor. On the right, there is a chapel for marriages, with a sculptural group upon it, representing the marriage of the Virgin. On the left, there is a baptismal font, with a sculptured group, representing Christ and St. John at the waters of the Jordan. There are twelve confessionals along the chapels, which, together with the pulpit, are carved out of oak. The walls of the church are lined with the finest marbles, and each chapel contains a statue of the patron saints. The architecture of the interior it is useless for me to attempt to sketch, it is in such a profusely ornamented style. Fine paintings adorn the different chapels. One represents Christ preaching, and the conversion of Mary Magdalene; another the Crucifixion; still another, the supper at Bethany, with the Magdalene at the feet of her Lord. Over the altar there is a very fine painting by Ziegler, which intends to ill.u.s.trate, by the representation of persons, the events which, in the world's history, have added most to propagate the christian religion, and to exhibit its power over men.

The Magdalene, in a penitent att.i.tude, stands near Christ, while three angels support the cloud upon which she kneels, and a scroll, upon which is written, "_She loved much_." The Savior holds in his right hand the symbol of redemption, and is surrounded by the apostles. On his left, the history of the early church is ill.u.s.trated. St. Augustine, the Emperor Constantine, and other personages, are painted. Then follow the Crusades, with St. Bernard and Peter the Hermit, with a group of n.o.blemen following, filled with holy enthusiasm.

Near the Magdalene there is a group of men who figured in early French history--the Constable Montmorenci, G.o.defroy de Bouillon, and Robert of Normandy. The struggles of the Greeks to throw off Mussulman rule, are represented by a young Grecian warrior, with his companions in arms.

On the left of the Savior, some of the early martyrs are painted--St.

Catherine and St. Cecelia. The Wandering Jew's ghostly form is upon the canvas, and, to come down to a later day, Joan of Arc, Raphael, Michael Angelo, and Dante each occupies a place in the mammoth picture.

The choir of the Madeleine forms a half-circle, and is very richly ornamented. The great altar is splendidly sculptured. The princ.i.p.al group represents the Magdalene in a rapturous posture, borne to heaven on the wings of angels. A tunic is wrapped around her body, and the long hair with which she wiped her Savior's feet. This group of sculpture alone cost one hundred and fifty thousand francs.

I have thus given the reader a sketch of the most gorgeous church in Paris, that he may get an idea of the style of religion which obtains at present there. It is like this church. It is pretentious, imposing, in bad taste, without simplicity and a real sanct.i.ty. I was disgusted with the Madeleine from the moment I knew it to be a church. At first I saw it only as a fine building--an imitation of the Parthenon--and I was struck with admiration. But when I was told that it was a temple for the wars.h.i.+p of G.o.d, I was shocked, and still more so when I entered it. The interior, as a collection of fine paintings and statues, as a specimen of gorgeous Gothic architecture, is one of the best in the world; but I would as soon think of attending public wors.h.i.+p amid the nakedness of the Louvre, as in the Madeleine. Had Napoleon's idea been carried out, and this modern Parthenon been dedicated to Mars, it would adorn Paris, and add much to the pleasure of the stranger; but as it is now, it only serves to ill.u.s.trate one of the weak points in the French character.

The genuine Parisian is so fond of appearance, that he cares little for the substance. The churches of Paris, therefore, abound with all that can impress the eye, however repugnant to a refined taste. For I dare to hold, that the French love not the true refinement in matters of religion. Having little vital piety, it is impossible for them to judge of church architecture. Solemn old St. Paul's in London, will always linger in my memory as a fit temple of the living G.o.d. Its impressive grandeur contrasts strongly with the rich magnificence of the Madeleine.

The latter inspires only admiration, as the figure of a Greek warrior, but St. Paul's inspires awe; and that is just the difference between them.

CHAPEL OF ST. FERDINAND.

The interior of this chapel is one of the most beautiful in Paris. It was the scene of the death of the duke of Orleans in 1842. He left Paris in the forenoon of the 13th of July, in an open carriage, with but one postillion, intending to call upon the royal family at Neuilly, and proceed to the camp at St. Omer. As he approached Porte Maillot, the horses became frightened. The driver began to lose his control of the horses.

"Are you master of your horses?" asked the duke.

"Sir, I guide them," was the reply.

"I am afraid you cannot hold them," again cried the duke.

"I cannot, sir," was the reply.

The duke then endeavored to get out of the carriage, but his feet became entangled in his cloak, and he was thrown with great force to the ground, his head striking first. It was dreadfully fractured, and he was carried into the house of a grocer near at hand, where he expired at four o'clock the same day, entirely unconscious. The royal family were with him when he died. The house with the adjacent property was bought, and two distinguished architects were commanded to erect a commemorative chapel on the place. In July, 1843, it was consecrated by the archbishop, in the presence of the royal family.

The building is fifty feet long, twenty in height, is built in the Lombard-Gothic style, and resembles an ancient mausoleum.

Opposite the entrance there stands an altar to the Virgin, on the very spot where the duke breathed his last, and over it there is a strikingly beautiful statue of the Virgin and child. Beyond, there is a Descent from, the Cross in marble. On the left, is another altar dedicated to St. Ferdinand, and on the right a marble group, which represents the duke on his death-bed. An angel kneels at his head, as if imploring the Divine Mercy upon the sufferer. It is a fine figure, and is doubly interesting from the fact that the Princess Marie, sister of the duke, with her own hands wrought it, long before he was still in death.

Beneath this marble group there is a bas-relief, representing France leaning over, and near, the French flag drooping at her feet. There are four circular windows of stained gla.s.s, with St. Raphael, Hope, Faith, and Charity, upon them. There are fourteen pointed windows, stained with the patron saints of the royal family. Behind the altar the very room is preserved in which the duke died--the sacristy of the chapel now. The oaken presses, chairs, and prayer-desk are all clothed in black, giving an air of gloom to the whole apartment. Opposite the entrance there is a large painting by Jacquard, representing the death of the duke. He is lying upon a couch with his head supported by physicians; his father is opposite, apparently stupefied by his deep emotions. On the left is a group, consisting of the queen and Princess Clementine, the Dukes Aumale, and Montpensier, Marshals Soult, Gerard, and the cure of Mery.

The picture is a touching one. There is a small apartment detached from the chapel, which was fitted up for the accommodation of the royal family--the family now exiled from the land. In another room there is a clock with a black marble case, on which France is represented as mourning for the death of the duke. The hands of the clock mark ten minutes to twelve, the exact moment when the prince fell; and in another apartment there is a clock with the pointers at ten minutes past four, the moment when he died.

The interior of this chapel impressed me as the saddest I ever was in.

Everything in it was in perfect keeping with the sentiment of complete melancholy, though it was rather too luxurious to express deep grief.

Sorrow which is poignant, is not expressed in so sensuous a manner. But the chapel is unique; there is nothing else like it in the world, and that is quite a recommendation.

ST. VINCENT DE PAUL.

In my enumeration of the splendid churches of Paris, it would never do to omit that of St. Vincent de Paul. It is in the Rue Lafayette, and is now a Protestant church.

The approaches to the building are fine, and the structure forms a parallelogram of two hundred and forty-three feet by one hundred and eighty. At the southern end, there are two large towers with Corinthian pilasters. The church stands upon the brow of a hill, and presents a striking appearance from the streets Lafayette or Hauteville.

The interior of this church is profusely decorated, and is, in fact, so richly ornamented as to detract from its beauty. Over the portal, there is a stained window representing St. Paul surrounded by the sisters of charity. The choir is semi-circular, and has a fine skylight. A richly sculptured arch, over sixty feet in height, gives access to it. The altar-piece is a crucifix on wood. Behind it is a stained window, representing the Virgin and the Savior. The chapels have also beautifully stained windows. There are no oil-paintings in St. Vincent de Paul, but in other respects it is as faulty as the Madeleine. It may be the result of early education, but I sickened of this excess of ornament. It was too forced--too unnatural. If I had never entered the church I should have received a good impression, for its exterior is everything of which the Ionic order is capable, and its situation is the finest of any church in Paris.

I will simply allude to a few of the other churches in Paris. The _Notre Dame de Lorette_, is a very beautiful church in the street _Fountain St. George_. It is built in the renaissance style, and the sculptures of the interior are of the highest order. The gorgeous decorations of the church are unsurpa.s.sed. The interior is one blaze of splendor, and the feelings inspired by a contemplation of it, are not the ones appropriate for a place of wors.h.i.+p. The choir of the church is fitted up with stalls, a gilt bal.u.s.trade separating it from the rest of the nave. The walls are adorned with rich marbles. The altar is executed in the highest style of magnificence. Behind it is a piece ent.i.tled "The Crowning of the Virgin," wrought on a background of pure gold. The Parisians boast a great deal of this church, as a gem of the renaissance style, and with reason, when it is regarded simply as a work of art, but the less they boast of it as _a church_, the better. The cost was one million eight hundred thousand francs.

_St. Roch_, in the _Rue St. Honore_, was built under the patronage of Louis XIV. and Anne of Austria, in 1653. The renowned financier, Law, gave one hundred thousand livres toward its completion. The steps are high, and from them crowds of people during the revolution saw the executions which took place but a short distance away. A mob once filled the steps, and were cleared away by Napoleon's cannon. The duke of Orleans, and Corneille, the poet, lie buried in it, together with other distinguished persons. St. Roch is not beautiful in its architectural decorations, but is, nevertheless, the richest church in Paris.

_St. Eustache_ is the largest church, except Notre Dame, in Paris, and is very old. The style is a mixed Gothic.

The _St. Paul et St. Louis_, is a church built in the Italian style, and is a fine edifice.

All the churches of Paris are open every day of the week, from early in the morning till five or six o'clock. They have bare pews or slips, and no seats. There are a plenty of chairs which may be had on Sundays and festival days, for two cents each, of an old woman who attends them.

This custom is a singular one to the American, accustomed as he is to well-cus.h.i.+oned, and even luxurious pews. The pulpits, too, are nothing but upright boxes, with a spiral stair-case leading to them--not like our broad platforms, with rich sofas and tables in front.

[Ill.u.s.tration: Church of St. Eustache.]

CHAPTER V.

LAMARTINE--HORACE VERNET--GIRARDIN--HUGO--JANIN

LAMARTINE