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Maps, plates, charts, etc.. may be filmed at different reduction ratios. Those too large to be entirely included in one exposure are filmed beginning in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method: Les cartes, planches, tableaux, etc., peuvent dtre filmAs A des taux de reduction diffArents. Lorsque le document est trop grand pour dtre reproduit en un seul clichA, il est filmA A partir de Tangle supArieur gauche, de gauche d droite, et de haut en bas, en prenent le nombre d'images nAcessalre. Les diagrammes suivants iliustrent la mAthode. ita ilure. 3 I2X \ 1 2 3 1 2 3 4 5 6 1 ] PARIS GRANT ALLEN'S HISTORICAL GUIDE BOOKS t6 the PRINCIPAL CITIES OF EUROPE TREATING CONCISELY AND THOROUGHLY OF THE PRINCIPAL HISTORIC AND ARTISTIC POINTS OF INTEREST THEREIN NEW YORK A. WESSELS COMPANY 1900 **J.. f» '* .4 VS INTRODUCTION THE object and plan of these Historical Handbooks Is somewhat different from that of any other guides at present before the public. They do not compete or clash with such existing works ; they are rather intended to supplement than to supplant them. My purpose is not to direct the stranger through the streets and squares of an unknown town towards the buildings or sights which he may desire to visit ; still less is it my design to give him practical information about hotels, cab fares, omnibuses, tram- ways, and other every-day material conveniences. For such details, the traveller must still have recourse to the trusty pages of his Baedeker, his Joanne, or his Murray. I desire rather to supply the tourist who wishes to use his travel as a means of culture with such historical and antiquarian in- formation as will enable him to unders^i^a, and therefore to enjoy, the architecture, sculpture, painting, and minor arts of the towns he visits. In one word, it is my object to give the reader in a very compendious form the result of all those inquiries which have naturally suggested themselves to my own mind during thirty-five years of foreign travel, the solution of which has cost myself a good deal of research, thought, and labour, beyond the facts which I could find in the ordinary handbooks. For several years past I have devoted myself to collecting and arranging material for a set of books to embody the idea 4 INTRODUCTION I had thus entertained. 1 earnestly hope they may meet a want on the part of tourists, especially Americans, who, so far as my experience goes, usually come to Europe with an honest and reverent desire to learn from the Old World whatever of value it has to teach them, and who are prepared to take an amount of pains in turning their trip to good account which is both rare and praiseworthy For such readers I shall call attention at times to other sources of information. These guide-books will deal more particularly with the Great Towns where objects of art and antiquity are numerous. In every one of them, the general plan pursued will be some- what as follows. First will come the inquiry why a town ever gathered together at all at that particular spot— what induced the aggregation of human beings rather there than elsewhere. Next, we shall consider why that town grew to social or political importance and what were the stages by which it assumed its present shape. Thirdly, we shall ask why it gave rise to that hiRher form of handicraft which we know as Art, and towards what particular arts it especially gravitated. After that, we shall take in detail the various strata of its growth or develop- ment, examining the buildings and works of art which they contain in historical order, and, as far as possible, tracing the causes which le^'tpjtbeir evolution. In particular, we shall lay stress upon thtf'origin and meaning of each structure as an organic whole, and upon the allusions or symbols which its fabric embodies. A single instance will show the method upon which I intend to proceed better than any amount of general description. A church, as a rule, is built over the body or relics of a particular saint, in whose special honour it was originally ei*,cted. That saint was usually one of great local importance at the moment of its erection, or was peculiarly implored may meet n ts, who, so far irith an honest Id whatever of ed to take an Kcount which rs I shall call with the Great ire numerous. I will be some- hy a town ever -what induced lian elsewhere, cial or political 1 it assumed its ave rise to that rt, and towards After that, we wth or develop- ■ art which they ble, tracing the icular, we shall ch structure as symbols which which I intend ;ral description. f or relics of a. : was originally local importance uliarly implored INTRODUCTION .ngainst plague, foreign enemies, or some other pressing and dreaded misfortune. In dealing with luch a church, then, I endeavour to show what were the circun>stances which led to its erection, and what memorials of these circumstances it still retains. In other cases it may derive its origin from some special monastic body— Benedictine, Dominican, Franciscan— and may therefore be full of the peculiar symbolism and his- torical allusion of the order who founded it. Wherever I have to deal with such a church, I try as far as possible to exhibit the effect which its origin had upon its architecture and decora- tion ; to trace the image of the patron saint in sculpture or stained glass throughout the fabric ; and to set forth the con- nection of the whole design with time and place, with order and purpose. In short, instead of looking upon monuments of the sort mainly as the product of this or that architect, I look upon them rather as material embodiments of the spirit of the age— crystallizations, as it were, in stone and bronze, in form and colour, of great popular enthusiasms. By thus concentrating attention on what is essential and important in a town, I hope to give in a comparatively short space, though with inevitable conciseness, a fuller account than is usually given of the chief architectural and monumental works of the principal art-cities. In dealing with Paris, for example, I shall have little to say about such modern con- structions as the Champs Elys^es or the Eiffel Tower; still less, of course, about the Morgue, the Catacombs, the waxworks of the Musde Grdvin, and the celebrated Excursion in the Paris Sewers. The space thus saved fnm vulgar wonders I shall hope to devote to fuller explanation of Notre- Dame and the Sainte Chapelle, of the mediaeval carvings or tapestries of Cluny, and of the pictures or sculptures in the galleries of the Louvre. Similarly in Florence, whatever I save from descnp- 1". 1 ■ I I INTRODUCTION tion of the Cascine and even of the beautiful Viale del Coin (where explanation is needless and woid-painlins superfluous), I shall Rive up to the IJarKello, the Uffi^i, and the I'itti I'alace. The passing life of the moment does not enter into my plan ; I regard each town 1 endeavour to illustrate mainly as a museum of its own history For this reason, too, I shall devote most attention in every case to what is locally illustrative, and less to what is merely adventitious and foreign. In Paris, for instance, 1 shall have more to say about truly Parisian art and history, as embodied in St. Denis, the lie de la Cit^, and the shrine of Ste. Ceneviive, than about the Egyptian and Assyrian collections of the Louvre. In Florence, again, 1 shall deal rather with the Etruscan re- mains, with Giotto and Fra Angelico, with the Duomo and the Campanile, than with the admirable Memlincks and Rubenses of the Uffi^i and the Pitti, or with the beautiful Van der Goes of the Hospital of Santa Maria. In Bruges and Brussels, once more, I shall be especially Flemish ; in the Rhine towns, Rhenish ; in Venice, Venetian. I shall assign a due amount of space, indeed, to the foreign collections, but I shall call attention chiefly to those monuments or objects which are of entirely local and typical value. A, regards the character of the information given, it will be mainly historical, antiquarian, and, above all, explanatory. I am not a connoisseur-an adept in the difficult modern science of distinguishing the handicraft of various masters, m painting or sculpture, by minute signs and delicate mferent.al processes. In such matters. I shall be well content to follow the lead of the most authoritative experts. Nor am 1 an art- critic-a student versed in the technique of the studios and the dialect of the modelling-room. In such matters, again, I shall attempt little more than to accept the general opinion of the mos the read x%i\ reco a Si lege indii judg sent attai F< scul] touri Jam* Mad in It an i abou local ticuh I I a ma missi those unnei and i r«»- L INTRODUCTION ale del Coin superfluous), I'itli Talace, ito my plan \ mainly as a tion in every lat is merely 1 shall have as embodied te. Ccncviive, 3f the Louvre. Etruscan re- lomo and the \nA Rubenses '^a.n der Goes and Brussels, Rhine towns, I due amount it I shall call which are of ven, it will be , explanatory, fficult modern >us masters, in :ate inferential ntent to follow r am 1 an art- studios and the i, again, 1 shall opinion of the . most discriminative judges. What I aim at rather is to expound the history and meaning of each work— to put the intelligent reader in such a position that he may judge for himself of the assthetic beauty and success of the object before him. To recognise the fact that this is a Perseus and Andromeda, that a St. Barbara enthroned, the other an obscure episode in the legend of St. Philip, is not art-criticism, but it is often an almost indispensable prelude to the formation of a right and sour d judgment. W« must know what the artist was trying to repre- sent before we oan feel sure what measure of success he has attained in his representation. For the gem ral study of Christian art, alike in architecture, sculpture, ami pai.itin.';, no treatises are more useful for the tourist to carry with nim for constant reference than Mrs. Jameson's Sacred and Legendary Art, am. Legends of the Madonna (London, Longmans). For works of Italian art, both in Italy and elsewhere, Kugler's Italian Schools of Painting is an invaluable vade-mecum. These books should be carried about by everybody everywhere. Other works of special and local importance will occasionally be noticed under each par- ticular city, church, or museum. I cannot venture to hope that handbooks containing such a mass of facts as these will be wholly free from errors and misstatements, above all in early editions. I can only beg those who may detect any such to point them out, without unnecessary harshness, to the author, care of the publisher, and if possible to assign reasons for any dissentient opinion. J.' t% •;i.^ ■i ! I N'T] Ork I II III iV V VI VII A. ,- ? ^g;y5,^ . *r» ny CONTENTS In'troduction How TO Use these Guidb-Books . , Origins of Paris I The hi de la CiTi .... A. The Palais de Justice and the Sainte Chapelle B. Notre-Dame Map of Historic Paris .... H The Left of South Bank . A. The Roman Palace and the Af us^e de CI B. TheHillofSte.Geneviive . ni Renaissance Paris (The Loovre) A. The Fabric B. The Collections .... I. Paintings .... II. Sculpture .... 1. Antique .Sculpture . 2. Renaissance Sculpture . 3. Modem Sculpture . HI. The Smaller Collections. iV The North Bank (Rive Droite) A. The Core of the Right Bank . B. The Outer Ring of Louis XIV. V The Faubourg St. Germain VI St. Denis VII The Outer Ring, Etc. PAOB 3 10 II 16 17 22 33 34 35 55 62 64 71 72 'S3 '54 168 187 189 '97 198 208 213 230 246 ■\ 1 f HOW TO USE THESE GUIDE- BOOKS rHE portions of this book intended to be read at leisure at home, be/ore proceeding to explore each tojvn or monument, are enclosed in brackets \thus\ The portion relating to each principal object should be quietly read and digested before a visit, and re- ferred to again aftenvards. Tlie portion to be read on tlie spot is made as brief as possible, and is printed in large legible type, so as to be easily read in the dim light of churches, chapels, and galleries. TV/f lfl ORIGINS OF PARIS 13 Parisiorum ' in an island ed the tie de al type have Durth, the tie 'the northern IS conquered remained at > of Gaul at K, and Lyons. It. Towards ems to have >m the island no doubt, to wo branches lodem Petit- its highway. 292 to 306, is »uth side the the Museum in 360. The loman power n late Roman f the ancient itronghold of IS gave their '. Senones to :), Paris sank town. The :s of Clovis, ''rankish em- (the Karlings irt at Aix-la- ely neglected re practically len from 841 ut its count, Eudes, defended it so bravely from the northern pirates, that he became the real founder of the French State, the first in- HUgurator of France as a separate country, distinct from the Empire. His provincial city grew into the kernel of a mediaeval monarchy. From his time on, Paris emerges as the capital of a struggling kingdom, small in extent at first, but gradually growing till it attained the size which it now possesses. The Teutonic King of the Franks was reduced for a time to the i-ocky fortress of Laon ; the Count of Pari* became Duke of the French, and then King of France in the modern accepta- tion. As the kingdom grew (absorbing by degrees Flanders, Nor- mandy, Aquitaine, iProvence, Champagne, and Burgundy), the capital grew with it ; its limits at various times will be more fully described in succeeding pages. From first to last, how- ever, Paris preserved its character as rather the official and administrative centre than the commercial emporium. Never- theless, even under the Romans, its symbol was a ship. Its double debt to the river and the monarchy is well symbolised by its mediaeval coat of arms, which consists of a vessel under full sail, surmounted by Xhcfleur de lis of the French kings, and crested above by a mural crown. So few remnants of Roman Pari* exist at our day, that we will begin our survey with the fie de la Clti, the nucleus of the mediaeval town, leaving the scanty earlier relics to be noted later on in their proper places. But before we pro« eed to this detailed description, two other facts of prime importance in the history of old Paris must be briefly mentioned, because without them the character of the most ancient buildings in the city cannot be properly understood. These two facts— even if mythical, yet facts none the less— are the histories of the two great patron saints of the early burghers. It is not too much to say that to the mediaeval Parisian, Paris appeared far less as the home of the kings or the capital of the kingdom than as the shrine of St. Denis and the city of Ste. Qeneviive. Universal tradition relates that St. Denis was the first preacher of Christianity in Paris. He is said to have suffered martyrdom there in the year 270. As the apostle and evange- list of the town, he was deeply venerated from the earliest I K iMttUi fl M PARIS t times ; but later legend immensely increased his vogue and his sanctity. On the one hand, he was identified with Dionysius the Areopagite ; on the other hand, he was said to have walked after his decapitation, bearing his head in his hand, from his place of martyrdom on the hill of Montmartre (Mons Martyrum), near the site from which the brand-new churcl. of the Sacrd Cceur now overlooks the vastly greater modern city, to a spot two miles away, where a pious lady buried him. On this spot, a chapel is said to have been erected as early as a.d. 275, within five years of his martyrdom ; later, Ste. Genevieve, assisted by the people of Paris, raised a church over his remains on the same site. In the reign of King Dagobert, the sacred body was removed to the Abbey of St. Denis (see later), which became the last resting-place of the kings of France. It is probable that the legend of the saint having carried his head from Mont- martre arose from a misunderstanding of images of the decapi- tated bishop, bearing his severed head in his hands as a symbol of the mode of his martyrdom ; but the tale was universally accepted as trre in mediaeval days, and is still so accepted by devout Parisians. Images of St. Denis, in episcopal robes, carrying his mitred head in hie hands, may be looked for on all the ancient buildings of the city. St. Denis thus represents the earliest patron saint of Paris — the saint of the primlvive Church and of the period of persecution. The second patron saint of the city — the saint of the Frankish conquest — is locally and artistically even more important. Like Jeanne d'Arc, she touches the strong French sentiment of patriotism. Ste. Qenevi^vei a peasant girl of Nanterre (on the outskirts of Paris), was born in 431, during the stormy times of the barbarian irruptions. When she was seven years old, St. Germain, of Auxerre (of whom more will be said under the church of St. Germain I'Auxerrois), on his way to Britain, saw la pucellette Genevieve, and became aware, by divine premoni- tion, of her predestined glory. When she had grown to woman's estate, and was a shepherdess at Nanterre, a barbarian leader (identified in the legend with Attila, King of the Huns) threatened to lay siege to the little city. But Genevieve, warned of God, addressed the people, begging them not to leave theii homes, and assuring them of the miraculous protection of heave any ol Paris. city, Then up St frequ< vision carrie instru when by th( willb IheS may I of a d extin{ Chris Fran! Ro of eai simpl large! shrin Ha comr readc here allusi orgai Lou^ they the Qall ORIGINS OF PARIS 16 lis vogue and vith Di&nysius } have walked land, from his ns Martyrum), of the Sacrd f, to a spot two n this spot, a D. 275, within e, assisted by mains on the cred body was ivhich became [t is probable id from Mont- ofthe decapi- is as a symbol as universally ) accepted by iscopal robes, >ked for on all represents the mivive Church f theFrankish )ortant. Like sentiment of mterre (on the )rmy times of years old, St. lid under the > Britain, saw nne premoni- vn to woman's barian leader f the Huns) ivifeve, warned to leave theii protection of heaven. And indeed, as it turned out, the barbarians, without any obvious reason, changed their line of march, and avoided Paris. Again, when Childeric, the father of Clovis, invested the city, the people suffered greatly from sickness and famine. Then Genevieve took command of the boats which were sent up stream to Troyes for succour, stilled by her prayers the frequent tempests, and brought the ships back laden with pro- visions. After the Franks had captured Paris, Sle. Geneviiive carried on Roman traditions into the Frankish court ; she was instrumental in converting Clovis and his wife Clotilde ; and when she died, at eighty-nine, a natural death, she was buried by the side of her illustrious disciples. The history of her body will be given at length when we come to examine her church on the South Side, commonly called the Panthdon ; but her image may frequently be recognised on early buildings by the figure of a devil at her side, endeavouring in vain (as was his wont) to extinguish her lighted taper— the taper, no doubt, of Roman Christianity, -vhich she did not allow to be quenched by the Frankish invaders. Round these Iwo sacred personages the whole art and history of early Paris continually cluster. The beautiful figure of the simple peasant enthusiast, Ste. Genevi6ve, in particular, has largely coloured Parisian ideas and Parisian s/mpathies. Her shrine still attracts countless thousands of the faithful. Having premised these facts, we are now in a position to commence our survey of the city. I strongly recommend the reader to visit the various objects of interest in the exact order here prescribed. Otherwise, he will not understand the various allusions to points already elucidated. But no necessary organic connection exists between the collections of the Louvre and the town in which they are housed. Therefore, they may be visited off and on at any time (see Introduction to the Collections in Part HI). Utilize rainy days In the Qalleries of the Louvre. JmaiL- «•] I THE IlE DE la CITfi rnpHE lie de la Cit^, the oldest Paris, consisted in the L X Middle Ages of a labyrinth of narrow and tortuous lanes, now entirely replaced by large and stately modern official buildings. In Roman and Frankish times, it com- prised the whole of the town, save a small suburb extend- ing as far as the present Museum of Cluny, on the South Side. Among its sunless alleys, however, in later medi- aeval days, numerous churches raised their heads, of which Notre-Dame and the Sainte Chapelle alone now remain ; while others, dedicated to the oldest local saints, such as Ste Genevi^ve-des-Ardents, St. iSloy, and St. Germain-le-Vieux, have been entirely destroyed. The west extremity of the island was formerly occupied by the old Royal Palace, parts of which still survive, included in the buildings of the modern Palais de Justice. On the east end stood the cathedral of Notre-Dame, with the episcopal palace in its rear ; while, close by, rose the earliest hospital in Europe, the H6tel-Dieu, said to have been originally founded by Clovis, and now represented by a vastly larger modern building on a different site. As the burgesses began to shift their homes to the quarters north of the Seine, in the twelfth and thirteenth centuries, the Cit^ was gradually given over to the clergy. The kings also removed from the Palace of the Capets to their new residences on the North Bank (Bastille, H6tel Saint-Paul, old castle of the Louvre), and gave up their island mansion to the Parlement or Supreme Court, since which time it has been commonly known as the Palais de Justice, and extensively m jdernised. At the present day, the Cite has become the head-quarters of Law, Police, and Religion, and is almost entirely occupied by huge official struc- tures, which cover enormous areas, and largely conceal its M THE IlE DE la CITt «7 nsisted in the and tortuous lately modern times, it com- uburb extend- on the South n later medi- :ads, of which now remain ; i, such as Ste -le-Vieux, have the island was )arts of which lern Palais de '. Notre-Dame, se by, rose the i to have been ed by a vastly the burgesses )f the Seine, in was gradually oved from the ^e North Bank ivre), and gave upreme Court, as the Palais [e present day, IV, Police, and e official struc- ly conceal its primitive character. It still contains, however, the most pre- cious mediaeval monuments of Paris. At least two day* should be devoted to the lie de la Cit«5; one to the Palace and the Sainte Chapelle, another to the Cathedral. Do not attempt to see them both together.] *. THE PALAIS DE JUSTICE AnD THE SAINTE CHAPELLE Go along the Rucde Rivoli as far as the Square of the Tour St. Jacques. If driving, alight here. Turn down the Place du Chatelet to your right. In front is the pretty modem fountam of the Chatelet : right, the Theatre du Chfttelet ; left, the Op^ra Comique. The bridge which faces you is the Pont-au-Change, so-called from the money-changers' and jewellers' booths which once flanked its wooden predecessor (the oldest in Paris), as they still do the Rialto at Venice, and the Ponte Vecchio at Florence. Stand by the right-hand comer of the bridge before crossing it. In front is the lie de la Cit(J. The square, dome- crowned building opposite you to the left is the modem Tribu- nal de Commerce ; beyond it leftward lie the March^-aux-Fleurs and the long line of the H6tel-Dieu, above which rise the towers and spire of Notre-Dame. In front, to the right, the vast block of buildings broken by towers forms part of the Palais de Justice, the ancient Palace of the French kings, begun by Hugues Capet. The square tower to the left in this block is the Tour de I'Horloge. Next, to the right, come the two round towers of the Conciergerie, known respectively as the Tour de C^sar and the Tour de Montgomery. The one beyond them, with battlements, is the Tour d'Argent. It was in the Conciergerie that Marie Antoinette, Robespierre, and many other victims of the Revolution were imprisoned. These mediaeval towers, much altered and modernized, are now almost all that remains of the old Palace, which, till after the reign of Louis IX (St. Louis), formed the residence of the Kings of France. Charles VII gave it in 1431 to the Parle- ment or Supreme Court. Ruined by fires and rebuilding, it now consists for the most part of masses of irregular recent M I) m- i8 PARIS ['. V ±a edifices. The main modern faqads fronts the Boulevanl du Palais. Cross the bridge. The Tour de I'Horloge on youi right, at the corner of the Boulevard du Palais, contains tJie oldest public clock in France (1370), The figures of Justice and Piety by its side were originally designed by Germain Pi'.on, but are now replaced by copies. Walk round the Palais by the quay along the north branch of the Seine till you come to the Rue de Harlay. Turn there to your left, towards the handsome and imposing modern facade of this side of the Palais de Justice. The interior is unworthy a visit. The Ruede Harlay forms the westernmost end of the original lie de la Citd The prow- shaped extremity of the modern island has been artificially produced by embanking the sites of two or three minor islets. The Place Dauphine, which occupies the greater part of this modern extension, was built in 1608 ; it still affords a character- istic example of the domestic Paris of the period before Baron Haussmann. Continue along the quay as far as the Pont-Neuf, so as to gain an idea of the extent of the tie de la Cit^ in this direction. The centre of the Pont-Neuf is occupied by an equestrian statue of Henri IV, first of the Bourbon kings. Its predecessor was erected in 1635, and was destroyed to make cannon during the great Revolution. Louis XVIII re-erected it. From this point you can gain a clear idea of the two branches of the Seine as they unite at the lower end of the tie de la C\i6. To your right, looking westward, you also obtain a fine view of the Colonnade of the Old Louvre, with the south- western gallery, and the more modern buildings of the Museum behind it. (See later.) Now, walk along the southern quay of the island, round the remainder nf the Palais de Justice, ai far as the Boulevard du Palais. There turn to your left, and go in at the first door of the Palace on the left (undeterred by sentries) into the court of the Sainte Chapelle, the only important relic now remaining of the home of Saint Louis. Yom may safely neglect the remainder of the building. [The thirteenth century (age of the Crusades) was a period of profound religious enthusiasm throughout Europe. Conspicu* ie Boulevard yout right, nt IS ttie oldest tier and Fiety Pi'.on, but are s by the quay to the Rue de andsome and lis de Justice, rlay forms the i. The prow- len artificially e minor islets. :r part of this Is a character- before Baron he Pont-Neuf, la Cit^ in this cupied by an on kings. Its oyed to make III re-erected ;a of the two end of the tie I also obtain a vith the south- »f the Museum ind, round the Boulevard du le first door of to the court of 10-JV remaining y neglect the vas a period of >e. Conspicu* >} THE tLE DE LA Clli ous among its devout soldiers was Louis IX, aftc.wards canonized as St. Loul*. The saintly king ,,urcha;;ed from Baldwin, Emperor of Constantinople, the veritable Crown of Thorns, and a fragment of the True Cro»»-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 en- trusted one Pierre de Montereau with the task of building a splendid chapel (within the precincts of his palace), begun in IJ45, 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 conse- crated in 1248, in the name of the Holy Crown and the Holy Cross, by Eude» de Chateauroux, Bishop of Tusculum and papal legate. „^ » Three things should be noted about the Sainte Chapelle. (i) It is a chapel, not a church ; therefore it consists (practi- cally) of a choir alone, without nave or transepts. (2) It is the domestic Chapel of the Roysl Palace. (3) His, 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 j. 'VJously restored by Viollet-le-Duc and others. The " Messe kouge," or " Messe du St. Esprit," is still celebrated here once yearly, on the re-open- ing 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 ao I'AUtS part of lofty windows. Ai in most French Gothic buildin((s, the choir terminates in a round apse, whereas Enijlish cathe- drals have usually a square end. The beautiful light flAch* or spire in the centre has been restored. Observe the graceful leaden angel, holding a cioss, on the summit of the cktvtl or round apse. To see the facade, stand well back opposite it, when you can observe that the chapel is built in four main •torics,~those, namely, of the Lower Church or crypt, of the Upper Church, of the great rose window (with later flamboyant fracery), 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 Low«r 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 lilanche of Castille, the mother of St. Louis. Mount to **the Upper Chapel (or Sainte Chapelle proper) by the small spiral staircase in the comer. 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 app/oached 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. :a^ THE tLE PE LA CITA Kxtreme L kneels the BleMed Virgin; extreme R, Sainte Genevi6vc. 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 signifi- cantly substituted for the three nails and spear. The small loienge reliefs to R and L of the portal are also interesting. Those to the l. represent in a very naive 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 win- dows, with magnificent stained glass, in large part ancient. The piers which divide the windows and alone supiwrt 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 repre- senting 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 c he True Cross, and other relics. Amongst them in later t: les 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 baldac- chino, 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 them- selves once a year to the faithful. The golden reliquary in which the sacred objects were contained was melted down in the mU w 22 PARIS [I. Revolution. The small window with bars to your n, 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 decor- ation, render this the most perfect ecclesiastical building m Paris. In returning from the chapel, notice on the outside, from the court to the s., the apparently empty and useless porch, sup- porting a smal. 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 lie de la Cit^ 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 Elys^es, etc. B. NOTRE-DAME [In very early times, under the Prankish monarchs, the prin- cipal church of Paris was dedicated to St. Stephen the Proto- luartyr. 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 re- solved to erect a much larger cathedral on the tie de la Cit^, 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 there- fore cleared away by degrees, and in 1 163 the work of erectin? [I. jr R, as you rstitious and • elevation of }osed to the notice the of the fleur- he mysticism height of the of the decor- 1 building in side, from the ;s porch, sup- whose grated ime from this de la Cit^ in ar idea of the ng to examine in the Bois de rchs, the prin- en the Proto- red by Notre- he churches of blessed Virgin ting cathedral, ver, it was re- tle de la Cit^, as France had nee the cult of ng, it was also ly alone, to the les were there- ork of erectini? '•] THE tLE DE LA CIT± I' the present church was begun under Bishop Maurice de Sully, the first stone being laid by Pope Alexander III, in persou. The relics of St. Stephen were reverently conveyed to a new church erected in his honour on the hill of Ste. Genevieve, south of the river (now represented by St. Etienne-du-Mont, to be described hereafter), and Our Lady was left in sole possession of the episcopal edifice. Nevertheless, it would seem that the builders feared to excite the enmity of so powerful a saint as the Protomartyr ; for many memorials of St. Stephen remain to this day in the existing cathedral, and will be pointed out during the course of our separate survey. Notre-Dame de Paris is an edifice in the Early French Gothic style, the first great church in that style to be erected in France, and the model on which many others were after- wards based. Begun in 1163, it was consecrated in 1182, but the western front was not commenced till 1218, and the nave was only finished towards the middle of the 13th century. Much desecrated in the Revolution, the cathedral has been on the whole admirably restored. It stands at present lower than it once did, owing to the gradual rise of the surrounding ground ; formerly, it was approached by thirteen steps (the regulation number, imitated from the Temple at Jerusalem). It has two western towers, instead of one in the centre where nave and transepts intersect, as is usual in England ; so have all the cathedrals in France which imitate it. This peculiarity is due to the fact that French Gothic aims especially at height. and, the nave being raised so very high, a tower could not safely be added above it. Other differences between English and French '^othic will be pointed out in detail in the course of our survey. . . Though Notre-Dame was the first great building in Paris proper, ?t must be borne in mind that the magnificent Basilica of St. Denis, four miles to the north, and also the Abbey Church of St. Germain-des-Prds, in the southern suburb, ante- dated it by several years. Recollect three things about Notre-Dame. (i) It is a church of Our Lady: therefore, most of it bears reference to her cult and legends. (2) It is the cathedral church of Paris: there- fore, it is full of memorials of local saints— St. Denis, Ste, J I i J mmmmmmm mJ 34 PARIS [I. «•] Genevieve, St. Marcel, Bishop of Paris, etc., rmongst whom must also be classed St. Stephen. (3) It is a royal church: therefore it contains many reminders of the close alliance of Church and State. Thus understood, Notre-Dame becomes an epic in stone. Open daily, all day long, free. Take your opera-glasses.] Go along the Rue dc Rivoli as far as the Square of the Tour St. Jacques. Walk through the little garden. Notice, in pass- ing, *the tower — all that now remains of the church of St. Jacques-de-la-Boucherie — used at present as a meteorological observatory. Turn down the Rue St. Martin to the Pont Notre- Dame. In front, L, stands the HdtelDieu ; R, the Tribunal d^ Commerce ; centre, the Marchd-aux-Fleurs ; at its back, the Prdfecture de Police. Continue straight along the Rue de la Cit^, passing, R, the main faqade of the modern Palais de Justice (with a glimpse of the Ste. Chapelle) till you come to the broad and open Place Notre-Dame (generally known by its mediieval name of the Parvis). Take a seat under the horse- chestnuts on the north side of the Place, opposite the equestrian statue of Charlemagne, in order to examine the facade of the cathedral. The **west front, dating from the beginning of the 13th century (later than the rest), consists of two stories, flanked by towers of four stories. The first story contains the three main portals : L, the door of Our Lady ; centre, of her Son ; R, of her Mother. On the buttresses between them stand four statues : extreme L, St. Stephen ; extreme R, St. Marcel, Bishop of Pans la canonized holder of this very see) ; centre L, the Church, triumphant ; centre R, the Synagogue, dejected (representing between them the Law and the Gospel). This first story is crowned and terminated by the Galerie des Rois, containing figures of the kings of Israel and Judah, ancestors of the Blessed Virgin (others say, kings of France to the date of the building), destroyed in the great Revolution, but since restored. On the parapet above it stand, R and L, Adam and Eve ; centre. Our Lady and Child with two adoring angels— the Fall and the Redemption. The second story contains the great rose window and two side-arches with double windows. The third stoi con (wJ the Th by ma ad« mn ] po to do en CI; wJ CO br Lf wi th Al he th of T si< C si re gi b; vi a \.i 01 o F ongst whom yal church: ic alliance of : becomes an i-glasses.] e of the Tour >tice, in pass- hurch uf St. leteorological ! Pont Notre- : Tribunal d^ its back, the he Rue de la rn Palais de you come to known by its er the horse- he equestrian 'acade of the I of the 13th :s, flanked by lie three main ion ; R, of her four statues : ishop of Paris , the Church, (representing first story is lis, containing estors of the le date of the •ince restored, m and Eve ; ?els— the Fall the great rose s. The t/tird story of the towers consists of a graceful open-work screen, continued in front of the nave, so as to hide its ugly gable (which is visible from further back in the Place), thus giving the mail', front a fallacious appearance of having three stories. The final or fourth story of the towers is pierced on each side by two gigantic windows, adding lightness to their otherwise massive block. The contemplated spires have never been added. This piotU has been copied with modifications in many other French cathedrals. Now approach the front, to examine in detail the **Kreftt portals, deeply recessed, as is usual in French cathedrals, owing to the massive masonry of the towers. The left or northet-n doorway— that of Our Lady (by which her church is usually entered) bears on its central pier a statue of the Virgin and Child ; beneath her feet are scenes from the temptation of Eve, who brought into the world sin, and the first murderer Cain, as contrasted with her descendant, the Blessed Virgin, who brought into the world the Redeemer of mankind. Over Our Lady's head, a tabernacle, representing the relics preserved within. In the tympanum, first tier, L, three patriarchs ; R, three kings, typifying the ancestors of the Blessed Virgin. Above, second tier, the Entombment of the Virgin, placed in her sarcophagus by angels, and attended by the apostles with their familiar symbols. Higher still, third tier, the Coronation of the Virgin, in the presence of her Son, with adoring angels. The whole thus represents the Glory of Our Lady. At the sides below, life-size figures ; extreme L, Constantine, first Christian Emperor ; extreme R, Pope Silvester, to whom he is supposed to have given the patrimony of St. Peter— the two representing the union of Church and State. Next to these the great local saints : ^ St. Denis, bearing his head, and guided by two angels ; R, St. John Baptist, St. Stephen, and Ste. Gene- vieve, with the devil endeavouring to extinguish her taper, and a sympathizing angel. The figures on the arch represent spec- tators of the Coronation of the Virgin. Minor subjects-signs of the Zodiac, Months, etc.-I leave to the ingenuity and skill of the reader. The * centre doorway (commonly called the Porte du Jugement) is that of the Redeemer, Our Lady's Son ; on its central pier, fine modem figure of Christ blessing ; above, ■A J/ 26 PARIS [I. •1 in the tympanum, the usual Last Judgment. First tiw (modern) the General Resurrection, with angels of the last trump, and kings, queens, bishops, knights, etc., rising from their tombs ; conspicuous among them is naturally St. Stephen. Second tier, St. Michael the Archangel weighing souls, with devils and angels in waitMg, the devils cheating ; p., the wicked (on Christ's left) hauled in chains to hell ; L, the saints (on His right) ascending to glory. On the summit, third tier, the New Jerusalem, with Christ enthroned, showing His wounds in mercy, flanked by adoring angels holding the cross, spear, and nails ; L, the Blessed Virgin, patroness of this church ; and R, Ste. Genevifeve, patroness of Paris, interceding for their votaries. (Last figure is usually, but I think incorrectly, identified as St. John the Evan- gelist, who has no function on a Parisian Cathedral.) This relief, closely copied at the Ste. Chapelle, is itself imitated from one at St. Denis. On the lintels the Wise (l) and Foolish (R) Virgins ; Land Ron jambs, life-size figures of the Twelve Apostles, with their usual symbols. Observe the beautiful ironwork ol the hinges. The third or southern portal, that of St. Anne— the Mother of the Virgin —contains older work than the other two, replaced from the earlier church on the same site. The style of the figures is therefore Romanesque, not Gothic ; so is the architecture represented in them. On the centre pier, St. Marcel, Bishop of Paris. Above, tympanum, history of St. Anne ; first tier, centre, the meeting of Joachim and Anna at the Golden Gate ; L, Marriage of the Virgin ; R, her Presentation by St. Anne in the Temple, etc. Second tier, the Nativity, and the visit of the Magi to Herod ; at the summit, third tier, Madonna enthroned, with adoring angels, a king, and a bishop— Church and State once more identified. The work on this doorway much resembles that at St. Denis. Magnificent iron hinges, brought from old St. Stephen's. Walk round the quay on the South side to examine the body of the church. Notice the lofty Nave, and almost equally lofty Aisles, with (later) side-chapels built out as far as the level of the Transept ; also, the flying buttresses. As in most French churches, the transepts are short, and project but little from the aisles. The South Transept has a good late /a^ade with two rose windows. Its portal— ill visiWe— is dedicated (in •■] THE tLE DE LA ClTt t tier (modern) St trump, and their tombs ; . Second tier, vils and angels n Christ's left) ht) ascending erusalem, with :y, flanked by nails ; L, the Ite. Genevifeve, (Last figure is ohn the Evan- hedral.) This ' imitated from id Foolish (r) welve Apostles, j1 ironwork ol ■ St. Anne— the han the other me site. The Gothic ; so is lentre pier, St. history of St. nd Anna at the Presentation by ativity, and the tier. Madonna ishop— Church 1 this doorway nt iron hinges, mine the body almost equally far as the level n most French but little from ite facade with dedicated (in compensation) to the displaced St. Stephen, and contams on the pier a figure of the saint, robed, as usual, as a deacon ; m the tympanum are reliefs of his preaching, martyrdom, death, and glorification. 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 archevteh^, in order to observe the character- istic French form ol 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, ,1 expiation of his murder of the Duke of Orleans; the donor and his wife kneel on each side of the Coronation of the Virgm in the tympanum. Notice here the gargoyles p.nd the graceful architecture of the supports to the buttresses. The second (larger) door— the Portail du Clottre, 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 Theo- philus, 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/afa*, 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 /tffa/fe-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 sidechapels, each dedicated to a separate saint, contain the altars and statues of their patrons. Notice the shortness of the Transepts, rl 38 PARIS '1 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, /Ae wonder-working mediaeval 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 sur- round 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 Bouteiltier, 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 offer- ing 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 Zacchxus 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 attend after. The little 1 model begin tangei dener] Disci[ Elevei the se Moun Scour; troyed provei XI n. order. The! Thorr Lea seat y Trans and tl Obsei which walls merel glass Left/ Th< lighte cents. inspe( viewh hind i' of the thent the ro toweri [I. the vaulting of ■ main arms of nbulatory is in tr, Notre-Dame I of Our Lady. :hoir, which is Approach the he choir, whose Louis XIV, in '. Chapels sur- . glass windows is that of Our 'ior, however, is painted (on the irly in the 14th de Bouteiltier, ame position in ' animated and s series begins smote from the ng subjects (for comprise the y ; Adoration of le three ages of irn, and is offer- the Flight into lining two odd e of idolatry); I the Doctors ; ding a towel) ; (with Zacchseus it Supper ; the in the Garden, e subjects, the scenes, almost lance at Cluny lical Jordan in a cup, and the '1 THE IlE de la CITA n attendant angel, all of which we shall often recognise here- after. 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 gar- dener) ; the Apparition to the Marys ; to Simon Peter ; to the Disciples at Emmaus (dressed as mediaeval 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 des- troyed by Louis XtV, in order to carry out his supposed im- provements 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 scat 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 borne 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 ; be- hind it, the hill of Montmartre, with the white turrets and cupolas of the church of the Sacrd Cceur ; 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 Trocad&o ; the Eiffel Tower ; the gilded dome of J' 30 PARIS ll. the Invalidcs ; St. Sulpice, etc. The lie de la Citti 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 tie St. Louis), and then pass the modem H6tel-deVille, with St. Gervais behind it, on your way home to the Rue de Rivoli. Cit^ is well seen lize of the open cend to the top. ey. This is the from the Eiffel t a capital notion ! St. Louis), and Gervais behind i I I J Q MAP OF HISTORIC PARIS. This Map represents approximately the growth oj Paris, out- side 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 j it merely illustrates this Guide: thus, the original Chdteau of the Louvre is marked in black j the later Palace is dotted; whereas the Madeleine, a much more modem building than the Louvre of Francois I, is again inserted in black, be- cause it does not inter/ere 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 wall* are marked approximately on the Map, with the chief edifices enclosed by them. The fortifica- tions of Louis XIII were demolished by Louis XIV, who sub- stituted for them the broad streets still known as the Boulevard* This Map shows, roughly speaking, the extent of Paris under Louis XIV; by comparing it with Baedeker's Map of Modem Paris, the small relative sise of the ijth-century town will be at once appreciated. Nevertheless, the inner nucleus here mapped out contains almost everything worthy of note in the existing city. ttM THE LEFT OR SOUTH BANK T'TpHE earliest overflow of Paris was from the tie de la L l Citd to the Lett 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 ; it guarded the passage of the Seine by the double bridge. Naturally, however, at a time when all civilization lay to the south, as the town began to grow, it spread southward, towards Rome, Lyons, Marseilles, Bordeaux, Toulouse, Aries, Nimcs, and the Roman culture. To the north at that time lay nothing but comparative barbarism— the Dritons and the Germans ; or later, the English, the Normans, and the Teutonic hordes. Hence, from a very early date, Paris first ran aouthward along the road to Rome. Already in Roman times, here stood the palace of Constantius Chlorus and Julian, now the Thermes— the fortress which formed the tite du pont for the city. Later, the southern suburb became the seat of learning and law ; it was known by the name which it still in part retains of the University, but is oftener now called the Quartier Latin. At first, however, only a small portion of the Left Bank was built over. But gradually the area of the new town spread from the immediate neighbourhood of the old Hotel-Dieu, with its church or chapel of St. Julien-le-Pauvre, to the modern limit of the Boulevard St. Germain ; and thence again, by the time of Louis Quatorze, to the further Boulevards just south of the Luxembourg. It is interesting to note, too, that all this southern side, long known as the UniversittS, still retains its position as the learned district. Not only does it include the students' region— the Quartier Latin— with many of the chief artistic studios, but it embraces in particular the Sorbonne, or 14 u L( i': F til s s< si tl c^ tl si o b ( / c s a I the tie de la ' Gauche). ty was situated n ; it guarded ^e. Naturally, I the south, as towards Rome, i, Nimes, and lie lay nothing the Germans ; eutonic hordes. an aouthward lan times, here Julian, now the iu pont for the eat of learning it still in part :d the Quariier >f the Left Bank ew town spread iotel-Dieu, with he modern limit kin, by the time jst south of the I, that all this , still retains its !s it include the any of the chief the Sorbonne, or II.l THE LEFT OR SOUTH BANK 35 Ifr University, the Institute of France, with its various branches (Acaddmie Franqaise, Acad«5mie des Inscriptions et Belles- Lettres, Acadt'mie des Sciences, des Beaux-Arts, etc.), the tcole des Beaux-Arts, the I^cole de Mddicine, the College de France, the Lycces St. Louis, Louis-le-Cirand, and Henri IV, the tcole Poly technique, the Nicole des Mines, the Bibliothique Ste. Geneviive, the Jardin des Plantes, and the Luxembourg Museum of Modern Paintings. In short, the Left Bank repre- sents literary, scientific, artistic, and educational Paris -the students in law, arts, and medicine, with their own subventioned theatre, the Odcon, and their libraries, schools, laboratories, and y cafi's. It is further noticeable that these institutions cluster thickest round the older part of the southern suburb, just oppo- site the Citd, while almost all of them lie within the limits of the outer boulevards of Louis XIV. The Quartler Latin surrounds the Sorbonne, and is traversed by the modern Boulevard St. Michel. The Faubourg St. Qemialn, immediately to the west of it (surrounding the old Abbey of St. Germain-desPrds) is of rather later date ; it owes its origin in large part to the Renaissance spirit, and especially to Marie de Mddicis' palace of the Luxembourg. It is still the residence of many of the old nobility, and is regarded as the distinctively aristocratic quarter of Paris, in the restricted sense, while the district lying around the Champs itlysdes is rather plutocratic and modem than noble in the older signifi- cation of the word. The visitor will therefore bear in mind distinctly that the South Side is the Paris of the Students.] A. THE ROMAN PALACE AND THE mus6e de CLUNY [The primitive nucleus of the suburb on the South Side con- sists of the Roman fortress palace, the iiU du pont of the Left Bank, now known as the Thermes, owing to the fact that its principal existing remains include only the ruins of the baths or therma. This colossal building, probably erected by Con- stantius Chlorus, the father of Constantine, covered an enormous •li! 36 PARIS Ih area south of the river. After the Prankish conquest, it still remained the residence of the Merwing and Karling kings on the rare occasions when they visited Paris ; and it does not seem to have fallen into utter decay till a comparatively late date in the Middle Ages. With the Norman irruptions, how- ever, and the rise of the real French monarchs under Eudes and the Capets, the new sovereigns found it safest to transfer their seat to the Palace on the Island (now the Palais de Justice), and the Roman fortress was gradually dismantled. In 1340 the gigantic ruins came into the hands of the powerful Bene- dictine Abbey of Cluny, near Micon, in Burgundy ; and about 1480, the abbots began to erect on the spot a town mansion for themselves, which still bears the name of the Hdtel de Cluny. The letter K, the mark of Charles VIII (1483-1498). occurs on many parts of the existing building, and fixes its epoch. The house was mostly built by Jacques d'Amboise, abbot, in 1490. The style is late Gothic, with Renaissance features. The abbots, however, seldom visited Paris, and they frequently placed their town house accordingly at the disposi- tion of the kings of France. Mary of England, sister of Henry VIII, and widow of Louis XII, occupied it thus in 1515, soon after its completion. It was usual for the queens of France to wear white as mourning ; hence her apartment is still known as the Chambre de la nine blanche. At the Revob't^on, when the property of the monasteries was confiscated, the Hotel de Cluny was sold, and passed at last, in 1833, into the hands of M. du Sommerard, a zealous antiquary, who began the priceless collection of works of art which it contains. He died in 1842, and the Government then bought the house and museum, and united it with the Roman ruin at its back under the title oi Musie des Thermes et de PHdtel de Cluny. Since that time many further objects have been added to the collection. At Cluny the actual building forms one of the most interesting parts of the sighi, and is in itself a museum. It is a charming specimen of a iate medieval French mansion ; and the works of art it contains are of the highest artistic value. I am able briefly to describe only what seem to me the most important out of its many thousands of beautiful exhibits. At least two whole :onquest, it still arling kings on nd it does not nparatively late irruptions, how- is under Eudes ifest to transfer alais de Justice), ntled. In 1340 powerful Bene- ndy ; and about town mansion )f the H6tel de III (1483-1498), \g, and fixes its ques d'Amboise, ith Renaissance Paris, and they ' at the disposi- , sister of Henry us in 15 1 5, soon ;ns of France to It is still known monasteries was passed at last, in salnus antiquary, of art which it ent then bought Roman ruin at ei de PHdtel de tiave been added e most interesting It is a charming ; and the works due. I am able lost important out .t least two whole days should be devoted to Cluny —one to the lower and one to the upper floor. Much more, if possible.] Go to the Place du Ch&telet ; cross the bridge, and the !le de la Citd; also, the Pont St. Michel to the South Side. Good view of Notre-Dame to L. In front lies the modern Boulevard St. Michel, with the Fontaine St. Michel in the foreground (statue by Duret). Continue along tha Boulevard till you reach the Boulevard St. Germain, another great modem thoroughfare which cuts right through the streets of the old to V. "1- Jill y. ^^OBRIDOR III MUSltE DE CLUNY GROUND FLOOR Faubourg and the narrow alleys of the Latin Quarter. Th? Garden at the corner contains all that remains of the Roman Palace. Notice its solid masonry as you pass. Then, take the first turn to the L, the Rue du Sommerard, which leads you at once to the door of the Museum. Notice the late semi-Gothic Gateway, resembling that of an Oxford college. Pass through the flat-arched gate into the handsome courtyard. To the L is a late Gothic loggia, con- taining a few antiques. In front stands the main building, with square windows and high dormers, bearing the stafTand pilgrim's 38 PARIS [11. scallop, the symbol of St. James, with the cardinal's hat and scutcheons and devices of the family D'Amboise, thus indicat- ing the name of Jacques d'Amboise, the abbot who built it. Entrance to the R. Open free, daily, 1 1 to 4 or 5, except Mondays. The first suite of rooms which we enter form some of the apartments of the original building. Observe the fine timbered ceilings. Room I.— Panels, etc., in wood-carving. Room II.— *Fine French chimney-piece, by Hugues Lalle- ment, dated 1562, representing Christ and the Woman of Samaria at the well, brought from a house tt ChAlons-sur- Marne. R and L of entrance (wall A on plarO 'den seats, with canopy, holding good Gothic wood-carvings. Notice L of door, a Deposition in the Tomb; (801) Madonna and Child ; then. Birth of the Virgin, with St. Anne in a bed ; and below, head of a Saint, hollow, intended to contain her skull or relics. Near it (762), decapitation of St. John Baptist, German, i6th century ; and (789) Death of the Virgin. R of doorway, three reliquary heads, and (783 and 784) two groups of the Education of the Virgin. Above, several representations of the Circum- cision. Wall B, between the windows, (745) quaint reliquary head of St. Mabile, one of St. Ursula's 11,000 virgins, the hair gilt, Italian, 15th century ; near it. Angel of the Annunciation ; Madonna and Child ; and Flight into Egypt. Fine wooden chests. In the cases, collections of siioes, uninteresting. Room III.— Wood-carvings, more or less Gothic. Wall A, (788) Madonna supporting the dead Christ, under a canopy, 16th century ; (816) Holy Women, with small figure of thi. ■ )uor, kneeling. (709) large carved altar-piece, end of 15th cf ti v. - in the centre. Crucifixion, with quaintly brutal Roman soldicf , fainting Madonna, and Holy Women in fantastic head-dressr. of the period ; below. Nativity, and Adoration of the Magi ; L side, above. Flagellation, with grotesquely cruel soldiers; beneath it, angels displaying ihe napkin of St. Veronica ; R side, above. Deposition in the Tomb ; beneath it, angels sup- porting the instruments of the Passion— a splendid piece of Flemish carving. Above, two statues of St. George. Further on (712), votive triptych against the plague, Flemish, carved, wi th at in K th ki E c< i< S V tl o U a d « C c ( s 1 t / ] i 1 i ( ( al's hat and thus indicat- t who built or 5, except some of the fine timbered fugues Lalie- ! Woman of Ch&lons-sur- . oden seats, Notice L of a and Child ; ; and below, ikull or relics. German, i6th oorway, three he Education ■ the Circum- aint reliquary gins, the hair Annunciation ; Fine wooden :eresting. lie. Wall A, ler a canopy, eof thi. 'nior, 15th Cf-tlVUiV ; 3man soldiet-, : head-dresso . F the Magi ; L ruel soldiers; Veronica ; R it, angels sup- indid piece of )rge. Further emish, carved, ffi!*' II.] THE LEFT OR SOUTH BANK 39 with painted flaps on the doors ; L, St. Sebastian, with arrows of the pestilence ; R, St. Roch exhibiting his plague-spot, with angel who consoled him and dog who fed him (see the legend in Mrs. Jameson) ; centre. Adoration of the Magi ; the Three Kings represent (as usual) the three ages of man, and also the three old continents, Europe, Asia, Africa ; hence the youngest king is represented as a Moor. Other episodes (Flight into Egypt, Return of Magi, etc.), in the background— late 15th century. Wall B, first window, stained glass, German panes, 15th century. Annunciation, in two panels (i960 and 1957)- Beyond it (830), in woodwork, i6th century. Coronation of the Virgin by Christ and God the Father— a somewhat unusual treatment. Above (7 58). Stem of Jesse, representing the descent of Christ ; notice David with his harp and other kings of Israel ; late isth century. Second window (1958 and 1959), St Hubert and St. Lambert, companions to the Annunciation; (721) dainty little Crucifixion (i6th century), in coloured German wood-carving ; (i686) Flemish painting, school of Van Eyck, Crucifixion. Wall D, windows (1961 and 1962), St. Peter and St. George ; (1963 and 1964) St. Hubert, and St. Antony Abbot (with his pig, staff, and bell). Wall C, altar-piece, unnumbered ; subjects much as opposite ; centre, Crucifixion ; beneath it. Nativity, Adoration of Magi. L, Way to Calvary (with gro- tesquely bruul soldiers) ; beneath it. Annunciation (notice the prie-dieu, book, and bed in the background), and Visitation ; R, Descent from the Cross, with St. John and the Marys ; beneath it, Circumcision, and Presentation in the Temple. (710) Deposition from the Cross, very good, with painted wings from the Passion. All the wood-carvings in this room deserve careful attention. Inspect them all, and, as far as possible, discover their subjects. ROOM IV.— Fine Renaissance chimney-piece, by Hugues Lallement, 16th century, representing Actaeon transformed into a stag by Diana, whom he has surprised in the act of bathmg. (Subjects from the myth of Diana are favourites with the French Renaissance artiste, owing to the influence of Diane de Poitiers.) From Chaions-sur-Mame, same house as that in Room II. Wall A (1779 and 1778), Renaissance classical paint- ings, part of a large series continued elsewhere; (1428) fine 40 PARIS III. Renaissance carved cabinet (Diana and Chimneras) ; contrast this and neighbouring Renaissance work with the mediaeval carvings in adjacent rooms. Wall B (6329), quaint old Flemish tapestry, representing the Angels appearing to the Shepherds ; the Nativity ; the Adoration of the Magi ; and the Agony in the Garden. Study the arrangement of all these figures, which are conventional, and will reappear in many other examples of various arts. Wall C, r and L of fireplace, good Renaissance wood-carving. Wall D, fine cabinets. In the cases, medals. Room V, to the side. Deba«ed Italian and SpanUh work of the 17th and i8th centuries. Centre, Adoration of the Magi, a meretricious Neapolitan group of the 17th century, intended to place in a church as a Christmas berceau. The costumes of the Three Kings, representing the three continents, the ruined temple in which the action takes place, and the antique statue in the background of the Madonna and St. Joseph, should all be noticed. Contemptible as a work of art, this florid composi- tion of dolls is interesting and valuable for its spirited arrange- ment, and for the light it casts on the conception of the subject. The room also contains other similar church furniture of the 17th and 1 8th centuries. Observe their theatrical tinsel style and their affected pietism, as contrasted with the simplicity, naivete, and truth of earlier periods. Take, as an extreme example of this tendency, the relief of the Annunciation on Wall D, to the R of the entrance door, and compare it with examples of the same subject in other rooms of the collection. Wall B, facing the entrance, good case of miscellaneous wood- work containing excellent Spanish art of this bad period — a Last Supper, a St. Francis receiving the Stigmata, a Massacre of the Innocents, the Faint of St Catherine, St. Antony the Abbot, St. Antony of Padua carrying the infant Christ, and other figures. A large gilt Ubemacle, on Wall C, also contains a debased figure of St Anthony of I'adua, from an altar dedi- cated tr the Saint Identify as many of these saints as possible, and iemember their symbols. We now quit the older suite of apartments, and enter a large central glass-covered court— Room VI, entirely modern. The Corridor is occupied by early altar paintings, for the most part of little value. Notice on the L, by the staircase (1701)1 n. a N di til P< m s) st pi tc a tl A \ J a tl tl ii \ a s c G c c t t « f ( f A ] ■i^' JW F?^ III. r.'is) ; contrast the mediaeval It old Flemish le Shepherds ; : Agony in the ires, which are ■ examples of d Renaissance ises, medals. (panish work in of the Magi, itury, intended le costumes of Its, the ruined antique statue !ph, should all lorid composi- irited arrange- of the subject, trniture of the :al tinsel style the simplicity, is an extreme inunciation on impare it with the collection. Ilaneous wood- bad period — a ta, a Massacre St. Antony the nt Christ, and '', also contains an altar dedi- nts as possible, d enter a large nodern. The , for the most taircase (1701), "•] THE LEFT OR SOUTH BANK 41 a Giottesque Madonna and Child— Florentine, 15th century. Near it (1666), two ova! panels, representing the Annunciation, divided (as frequently happens with this subject) into two dis- tinct portions, and probably flanking a doorway in their original position— Italian, 14th century. All the paintings on this wall, mostly unsatisfactory as works of art, are valuable for their symbolism and the light they throw on the evolution of their subjects. For example : (1676), between the Annunciation pictures, represents the distribution of holy wine which has touched the relics (I think) of St, Hubert. Further on, we have a group of six Apostles ; beginning from the R, St. Peter with the keys, St John Evangelist with the cup and serpent, St Andrew with his cross, St. Bartholomew with his knife, St James the Greater with the pilgrim's staff and scallop, and St. James the Less with a crosier and book. R of the staircase is a stone figure of St Denis bearing his head, French, 1 5th cen- tury ; also, a good statue of the Madonna, a little later. Above the doorway, R, are portions of a large Spanish altar-piece ; in the centre, the Crucifixion ; extreme R, Assumption of the Virgin, etc. Beyond it comes the continuation of the tabernacle already noticed, containing the six remaining Apostles, with the symbols of their martyrdom. Next, a fine Spanish altar-piece of the 15th century, from a church of St. Martin ; in the centre, St. Martin dividing his cloak with the beggar ; round it various other subjects, among them St. Antony with his pig, St. Stephen, in deacon's robes, with the stones of his martyrdom, St. Jerome in the desert beating his bosom with a flint before the crucifix, St. Francis displaying the stigmata or five wounds of Christ, St. Paul the hermit with his lion, etc. R, towards the courtyard, a fine figure of Adam from St. Denis, a splendid example of the best French nude sculpture of the 14th century. We now enter the covered courtyard or Room VI proper, filled with fine examples of French mediaeval sculpture. Several of the objects bear labels sufficiently descriptive. I will there- fore only call attention to a few among them. Wall D, two wooden Flemish statues (Our Lady and St John at Calvary), R and L of the doorway ; (417) carved marble monument of the loth or iith century; very fine workmanship, with distinct reminiscences of the antique. Wall A, ^Magnificent stone fe^Sstei^ **"* Jw mm 42 PARIS [II. 11.1 frieze or reredos, originally gilt and coloured, representing the History of St. Benedict, from St. Denis ; in the centre. Baptism in Jordan (compare the relief of the same subject in Notre- Dame) ; R and :., preaching and miracles of St. Benedict (over- throw of idols, cure of a dying woman). Middle of wall (6328), fine Italian tapestry, i6th century, representing the Adoration of the Magi ; observe the attitude of the kings, together with the ox and ass in the background, invariable concomitants of the Nativity in art. Beneath (728), early wooden Madonna (13th century, Auvergne), with Byzantine aspect. Beautiful Romanesque capitals— Creation of Eve, etc. Wall B *(237), exquisite stone frieze or reredos from the church of St. Gemier, about 1259, much mutilated, but originally one of the most perfect specimens of French 13th century carving ; it still be- trays traces of colour. In the centre. Crucifixion, with Virgin and St. John : on either side (as at Notre-Dame), the Church, with cross and chalice, and the Synagogue, with eyes blinded : then, R and L of cross, St. Peter and St. Paul : beyond them, Annunciation and Visitation : finally, L, St. Ouen, uncle of St. Germer, cures a wounded warrior ; R, St. Germer asks leave of King Dagobert to found the Abbey from which this came. Above it (509), exquisitely grotesque relief of the Resurrection with sleeping Roman soldiers, one of a set in alabaster, French 14th century (500 to 512), all of which deserve to be inspected ; meanings of all are obvious except (501) St. Ursula. Still higher, fragment cf the original Last Judgment on the central west door of Notre-Dame, Paris, before the restoration— inter- esting as showing the grounds on which VioUet-le-Duc pro- ceeded ; (6322), tapestry. Arras, isth century, various scriptural subjects, confused, but decipherable. Beneath it, L, ♦beautiful stone relief (reredos) of the legend of St. Eustace, from the chuich of St. Denis— a fine French work of the 14th century. In the centre. Crucifixion ; extreme L, St. Eustace, hunting, is converted by the apparition of the Christ between the horns of the st.ig he is pursuing ; further R, his baptism, nude, in a font, as in all early representations ; still further R,his trials and history; while he crosses a river with one of his children, a wolf seizes one, while a lion devours the other ; last of all, reunited miraculously with his family, he and they are burned alive as martyrs by the Emp lows. Next subjc thes Gyre inH reali mon tecti und( rere( and inti and Flot scri] (S«3 Utt iStI witl the for relii thei full mo' cen am ox mo a 1 car Be Ex (A Se al j.ifes^S-Steii mi.^m:-- t^" •*^m [n. •resenting the ntre, Baptism ect in Notre- encdict (over- »f wall (6328), the Adoration together with icomitants of [en Madonna ct. Beautiful ^all B *(237), )f St. Germer, of the most g ; it still be- ll, with Virgin , the Church, eyes blinded : beyond them, I, uncle of St. asks leave of :h this came. ; Resurrection }aster, French be inspected ; Ursula. Still >n the central >ration — inter- et-le-Duc pro- ious scriptural , L, '^beautiful ace, from the 14th century, ce, hunting, is in the horns of ie, in a font, as Is and history; volf seizes one, d miraculously martyrs by the 11] THE LEFT OR SOUTH BANK 43 Emperor Trajan, in a brazen bull. Observe naif boy with bel- lows. The whole most delicately and gracefully sculptured. Next, coloured stone relief of the Passion-French 14th century ; subjects, from R to L : the kiss of Judas (observe Peter drawmg the sword) ; Flagellation ; Bearing of the Cross, with Sinum of Gyrene ; Deposition in the Tomb ; Resurrection ; and Christ in Hades, delivering Adam and Eve from the jaws of death, realistically represented here and elsewhere as the mouth of a monster ; notice in this work the colour and the Gothic archi- tecture and decoration of the background, which help one to understand features that are missing in many other of these reredoses. Then, stone relief of the Annunciation, Visitation, and Nativity, very simply treated : notice the usual ox and ass in the manger. Above it, •(4763), good mosaic of the Madonna and Child with adoring angels, by Davide Ghirlandajo, of Florence, placed by the President Jean de Ganay (as Ae m- scription attests) in the church of St. Merri at Pans. Wall C (S13-518), interesting alabaster reliefs of the Passion, French, 14th century. Between them. Coronation of the Virgin, French, icth century. (725) Good wooden figure of St. Louis, covered with fleur-de-lis in gold, from the Sainte Chapelle. [Here is the door which leads to the Musde des Thermes. Pass it by for the present.] Beyond it, continuation of the alabaster reliefs (514 and 517). etc. : examine them closely. Between them (435), Circumcision, in marble, early iSth century, French full of character. Beneath it (429, etc.), admirable figures of mourners, from the tomb of Philippe le Hardi, at Dijon, 14th century. Wall D. again (1291), terra-cotta, coloured : Madonna and St. Joseph, with angels, adoring the Child (child missing), ox and ass in background ; R, Adoration of Magi ; notice once more the conventional arrangement ; l, Marriage of the Virgin, a high priest joining her hand to Joseph's, all under Gothic canopies, 15th century, from the chapel of St. Eloy, near Bemay, Eure. I omit many works of high merit. The centre of this room is occupied by several good statues. Examine e xh ; the descriptive labels are usually sufficient. (A noble *St. Catherine ; St. Barbara with her tower ; St. Sebastian, pierced with the holes where the arrows have been ; a beautiful long-haired wooden Madonna ; a fine [Pisan] Angel #*»■ tmmmaiiUA I it » 44 PARIS [II. t of the Annunciation, in wood, etc.) Also, several excellent figures of Our Lady. The large part played by the Madonna in this Room, indeed, is typical of her importance in France, and especially in Paris, from the 13th century onward. The church of Notre-Dame is partly a result, partly a cause, of this special cult of the Blessed Virgin. Room VII (beyond the corridor, a modern covered court- yard).— Tapestries and textile fabrics, interesting chiefly to ladies. On Wall A, and others, Flemish tapestry, representing die History of Bathsheba, much admired and very ugly ; com- pare it v/ith the tapestry of the Lady and the Unicorn, to be visited later in Room III, upstairs, contrasting them as models of what such work should and should not be. Wall B, admir- able Renaissance relief of the Cardinal Virtues. Above it, a good Madonna, and figures of Grammar and Astronomy. Wall C, Caryatid of inferior art, French, i6th century. ''^(448), Admirable group of the Three Fates, attributed to Germain Pilon, the great French sculptor of the i6th century, whom we shall meet again at the Louvre — a fine specimen of the plastic art of the Renaissance, said to represent Diane de Poitiers and her daughters. Below **(447), exquisite Renaissance bas-relief of the huntress Diana, of the School of Jean Goujon, again in allusion to Diane de Poitiers. (478) Good mask of the same epoch. (251) Virgin and Child, meretricious ; in the decadent style of the i6th century ; very French in type, foreshadowing the Louis XV spirit — the Madonna resembles a little-reputable court lady. Wall D (463, etc.). Judgment of Solomon, Solo- mon and the Queen of Sheba, Annunciation, and other reliefs in the florid and least pleasing French style of the i6th and 17th centuries. Table by the doorway **(449), exquisite small marble statue of the Deserted Ariadne (perhaps Diane de Poitiers), in the best Renaissance manner, probably by Germain Pilon : found in the Loire, near Diane's chdteau of Chaumont. Beside it, three sleeping Venuses, one of which is also said to be Diane de Poitiers, the goddess of the Renais- sance in Paris. L of doorway (457), singular marble relief of Christ and the Magdalen after the Resurrection (Noli me tangere) ; the Saviour strangely represented (as often) in a gardener's hat and with a spade; in the background, angels II.] by tl centi relief ment Josej duno R( I. of Cupi natic (459; i6th men smal daB of tl Ado Fret dale -h« and chui tatic com shei bacl St.] the the 155! the and On tap* mo£ R turj [11. several excellent by the Madonna ance in France, ^ onward. The ^ a cause, of this 1 covered court- esting chiefly to try, representing very ugly ; com- Unicorn, to be them as models Wall B. admir- es. Above it, a ind Astronomy, entury. **(448), ited to Germain :ntury, whom we len of the plastic : de Poitiers and Issance bas-relief joujon, again in ask of the same in the decadent ;, foreshadowing I little-reputable ' Solomon, Solo- md other reliefs of the i6th and I, exquisite small haps Diane de -, probably by Diane's chAteau es, one of which )s of the Renais- marble relief of iction (Noli me (as often) in a kground, angels >•■] THE LEFT OR SOUTH BANK 45 "'; t by the empty sepulchre ; Flemish, florid style of the i6th century. Beside it (467 and 468), two exquisite Renaissance reliefs of Venus. In front of it, on the table ♦(479). Entomb- ment, with the body of Christ placed in the sarcophagus by Joseph of Arimathea and Nicodemus— portraits, I think, of the donors. Room VIII —Textile fabrics and ecclesiastical robes. Wall B, 1. of door (487), pretty but meretricious little group of Venus and Cupids, with grapes, French style of the 17th century ; the national taste still more distinctly showing itself. R of door (459). in two separate figures, a quaint Annunciation— French, i6th century, frankly anachronistic. Close by (464), the Judg- ment of Solomon, same school and period. Above (563), clever small alabaster group of the Rape of the Sabines, after Giovanni da Bologna. These all stand on a handsome French carved chest of the i6th century. Wall C, greatly worn altar-relief of the Adoration of the Magi, from the chapel of the Chateau d'Anet, French Renaissance, 16th century. Above it (446), Mary Mag- dalen, kneeling, with long hair and the alabaster box of ointment —her symbol in art— 15th century, curious. At the back, gilt and painted figures of the Holy Trinity, from the demolished church of St. Marcel at Paris, 17th century. Similar represen- tations of the Trinity, showing the three Persons thus, are common in Itali n art. Further on (493). good figure of a shepherd, French, i6th century. Wall A (266), curious altar back, Herod ordering the Massacre of the Innocents. (267) St. Eustace crossing the river (see Room VI) with the lion and the wolf seizing his children. A very different treatment from the previous one. (291) A lintel of a chimney, Flemish, dated 155s ; centre, a river god ; L and R, pelican and eagle ; between the figures, Faith, Hope, Charity and Prudence. (273) Madonna and Child (Notre-Dame de I'Esp^rance, throned on an anchor). On the wall, far L, interesting piece of French 14th century tapestry, with a legend of St. Marcel and St. John Evangelist, most naively represented. Room IX.— State coaches and Sedan chairs of the 17th cen tury, as ugly as can be imagined. They need not detain you. The staircase to the first floor is in the Corridor to Room 46 PARIS [II. II. VI. Oljserve the staircase itself, in carved wood, bearing the arms of France and Navarre, and also the crowned initials of Henri IV and Marie de Mddicis. It was formerly in the old Chambre des Comptes of Paris, and was re-erected here at the installation of the Museum. __ comnDOR , .1 MUSEE DE CLUNY FIRST FLOOR The corridor above contains arms and armour. At the head of the staircase (742), very quaint Magdalen in wood with the box of ointment ; German in style, 15th century ; observe her long hair, here twisted and plaited with German neatness. (1466 and 1468) Renaissance cabinets in ebony. Room I. —Gallery, looking down on the courtyard of Room VI, below. Wall D, by which you enter ; tiles, French Renais- sance. Wall C : first case, blue Flemish stoneware. Fine wrought-iron gates, gilt. In front of them, female Satyr, French, i8th century, very characteristic of the national taste ; opposite it, male Satyr, the same. Second case : Palissy ware, French 1 6th and 17th centuries. This fine ware is full of Renaissance feeling. Notice particularly (3140). a Sacrifice of Abraham ; (3145) the Baptism in Jordan, conventional treatment ; (3139) Judith ind Holofemes, with several other scriptural scenes in th< th( ob di! El sii sc N nt H of L sa S< fa fil w E E si b ti ii P « I J P n t I ii ( t ( I < #^ [II. kkI, bearing the iwned initials of iierly in the old cted here at the 11.] THE LEFT OR SOUTH DANK CLUNY OR ur. At the head n wood with the jry ; observe her srman neatness. irtyard of Room ;, French Renais- toneware. Fine le Satyr, French, 1 taste ; opposite 5sy ware, French I of Renaissance ce of Abraham ; reatment ; (3'39) iptural scenes in .#»■ the older spirit ; intermingled with these are classical and my- thological scenes, displaying the growing love for the nude ; observe particularly (31 19). a Venus with Cupids ; and anolher dish below it, unnumbered, same subject ; also, a Creation of Eve; (3131) Susanna and the Elders, and other scenes of similar character. Observe that while the early work is purely scriptural or sacred, the Renaissance introduces classical subjects. Note too the frequent scenes of the Baptism in the same con- nection. Centre (3102), beautiful vase with lid, of the period of Henri II. Study all the Palissy ware. Wall B, French pottery of the 1 8th century, exhibiting the rapid decline in taste under Louis XIV and XV, especially as regards colour. The most satisfactory pieces are the blue and while dishes with royal mono- grams, arms, etc. Second case : Rouen ware of the i8th century, far superior in style and tone to the preceding. Good nude figure of Venus. Wall A, Nevers pottery, delicate blue and white ; (3338) figure of a page, to support a lamp. Last case : Dutch pottery, Delft, i8th century, exhibiting the strong domestic Dutch tendency. ROOM H.-Also galleries, surrounding a courtyard. Exqui- site Italian Renaissance pottery. Wall B, R of entrance, beautiful Italian specimens of Faenza ware, isth and 16th cen- turies (whence the word /«>««) ; these should be closely studied in detail. (2811) Quaint dish with Diana as archer ; beside it, portraits. (2824 and 2825) Decorative plaques with heads of women. (3949) St. George and the Dragon in green pottery. Behind it, plate with admirable portrait. In the same case, Judith receiving the head of Holofernes ; (3024) Hercules playing the lyre to entice Auge. Wall C, first case, Deruta and Chaflfagiolo ware of the 16th century. Exquisite decora- tive dishes and plaques ; (2814) Actteon changed to a stag by Diana. (2849) Susanna and the Elders. (2887) St. Jerome in the desert, with his lion. (2895) The doubting Thomas. (2823) Another Actaeon. Observe frequent repetition of cer- tain scenes. Fine plates with arms of Medici Popes, etc. Second case : Deruta ware, still more splendid specimens, many of them with remarkable lustre. (2894) Madonna and Child, with infant St. John of Florence. Other plates with Mercury, a sphinx, a lion, the huntress Diana, a Moor's head, J 4« IRAKIS [II. portraits and decorative designs. Examine in detail. Wall D, first case, Casteldurantc pnd Gubbio ware, i6th century ^3007) Manius Curtius leaping into the Forum. (3015) Cru- cifixion, with the sun and the moon darkened. (3004) Da'da- lus and the Minotaur. (3008) Fine conventional design. Other plates have heads of St. Paul and mythological persons. (2803) a quaint Temptation of St. Antony. (j8i8) Leda and the Swan, etc. Second case : Urbino ware, 17th century. Head of Raphael, and delicate Raphaelesque scenes, instinct with the later Renaissance feeling. (2961 ) Ferseus and Andromeda. (3064) Expulsion from Paradise ; on either side. Temptation, and Adam eating the fruit. (2872) a Baptism in Jordan. Notice again the mixture of religious and mythological scenes, with a preference for those where the nude is permissible- Judith and Holofernes, Orpheus, etc. Wall A, fine Florentine terra-cotta bust of the young St John, patron saint of the city. More Urbino ware, to be ca '"jlly examined. The greater part of this wall, however, cupied by »*Dell« Robbia ware, glazed Florentine maj the isth and i6th centuries. (2794) Fine figure of St Michael. (2799) Martyr- dom of St Catherine, the wheels of her torture broken by angels. Above it. Madonna adoring the Child ; observe in this and many other cases the beautiful setting of fruit and flowers, characteristic of the Delia Robbias. Beneath, no number, the Beheading of St Catherine ; in the background, angels conveying her soul to Heaven. (2795) The Infant St. John, patron Saint of Florence. (2793) Temperance, with flagon and patera. Then, more Urbino ware, very fine examples of the end of the i6th century ; above them, touching Ma- donna and Child, Delia Robbia. Wall B, again, Castello ware, and Venetian pottery, 15th, 16th and 17th centuries. Apothe- cary's jars, plaques, etc., extremely beautiful. Room III.— A long corridor. Wall A, is entirely occupied by the **magnificent suite of six early French tapestries, known as " The Lady and the Unicom " (symbol of chastity), the finest work of its sort ever executed. They come from the Chateau de Boussac, and belong to the second half of the i sth century. The Lady is represented engaged in various domes- tic pursuits of a woman of rank of her time, always accom- n] pan l()V( St. R ( Cat wh( L Cat thin som hen th9 its I ceil stai ate! Pre to 1 woo cem dre! peri woe thei (82i croi the tast Cuj caft Ara car^ liefs wor Rer Lint tail, con CM. [Ictnil Wall i6th century (3015) Cru- 3004) Dxda- esign. Other ■sons. (2803) ;.eda and the ntury. Head instinct with 1 Andromeda. I, Temptation, n in Jordan, logical scenes, permissible — ine Florentine 1 saint of the .mined. The by **Della iSth and i6th 2799) Martyr- re broken by ; observe in ; of fruit and Deneath, no : background, 'he Infant St. iperance, with r fine examples touching Ma- Castello ware, ries. Apothe- iirely occupied ich tapestries, >1 of chastity), come from the df of the 15th rarious domes- Uways accom- 1.1 THE LEFT OK SOUTH BANK 49 p.nnied by the beast of chastity. The colour is inexpressibly lovely. AlK>ve it, similar tapestry representing the History of St. Stephen, and the Discovery of his Relics. Along Wall A, R of entrance door (774), crowned wooden figure of St. Catherine, holding the sword of her martyrdom, her broken wheel at her feet, and trampling upon the tyrant, Maximian. L of door, good early Madonna and Child ; another St. Catherine ; and (760) Magdalen, described (erroneously, I think) as Pandora. Wall B is mostly occupied by a hand- some French Renaissance chimney-piece( 16th century), brought here from a house at Rouen, and representing the history of th9 Casa Santa at Loreto, — its transport over the sea by angels, its reception by the Faithful, and worship in front of it. The ceiling above also comes from the same room. Wall C, small stained-glass windows of various ages. Examine them separ- ately. Wall D, large enamelled plaques brought from Francois Premier's Chateau of Madrid, in the Bois Ic Boulogne, stated to be the largest enamels in existence. Beneath them, fine wooden statue of the Virgin and infant Christ, German i sth century, very characteristic in its flat features, as well as in the dress, and treatment of the hair, of the German style of the period. Compare it with French Madonnas below. The Mreens towards Wall A contain specimens of fine Renaissance wood-carving. Contrast the finish and style of these with their Gothic predecessors. Notice, near the chimney-piece (838), an Annunciation, with God the Father, wearing a triple crown (like the Pope), and the Holy Spirit descending upon the Madonna. Next screen, various classical scenes in the taste of the Renaissance— Judgment of Paris, Venuses and Cupids, etc. Much fine nude Renaissance detail. Centre case, old glass ; notice, in particular (4763), fine 13th century Arab mosque-lamp. Further on, more Renaissance wood- carvinjj— Leda and the Swan in very high relief: low re- liefs of classical subjects and decorative panels. All these works should be closely studied as typically illustrative of Renaissance feeling. Ca«e» by the window (wall C ), Limoges and other enamels, too numerous to treat in full de- tail, but many of them, at least, should be closely inspected and comprehended by the visitor. Case next the chimney-piece, i \ \\\ _jt^-- 50 PARIS [11. old raised enamels (nth and 13th centuries), enamelled gold reliquaries for containing bones of Saints ; fine crucifix, etc. Notice on 4497, the Flight into Egypt, Peter walking on the Sea, the Adoration of the Magi, and the Presentation in the Temple ; on 4498, the Crucifixion, and the Twelve Apostles ; beneath, 4514, enamelled book-cover; near it. Crucifixion, Adoration of the Magi, and other figures. Identify as many of these as possible, and observe their archaic striving after effects too high for the artist. S»!Cond case : Limoges enamels, more modern in type (15th century) : Madonna holding the dead Christ, Crucifixion, Bearing of the Cross, and other scenes. Notice particularly (4575). l'"le triptych with a Nativity, Adora- tion of the Magi, and Circumcision, in all of which observe the conventional treatment. Third case : Limoges enamels of the High Renaissance (i6th and 17th centuries), Raphaelesque in spirit, better in execution, but far less interesting ; good por- traits in frames ; a fine Flagellation, and other scenes from the Passion ; above, delicate Tazzas. Observe in particulai (4628), the Descent into Hell, Christ rescuing Adam and Eve and the other dead from Hades, typically Renaissance. On the far side of the case, remote from window, a good series of the Gospel history,— Marriage of the Virgin, Annunciation, Birth of the Virgin (incorrectly labelled Nativity), etc. Last cases: more recent enamels. Among the best are, in the last case of all, the Expulsion from Paradise, and a series of the Gospel History ; observe particularly (4650), Christ and the Magdalen, with the usual curious disguise as a gardener. I recommend to those who can spare the time, most attentive detailed study of the subjects and treatment in all these enamels, many of which throw much light on similar themes treated by other arts in the same collection. Several hours should, if possible, be devoted to them. Room IV contains various ** Mohammedan potteries, ex- quisitely decorative, but (owing to the general absence of figure subjects, prohibited by Islam) requiring comparatively little explanation. Occasional animal forms, however, occur in the midst of the usually decorative arabesque patterns. Wall C, L of entrance, charming Rhodian pottery (made by Persian workmen), in prevailing tones of blue and green, with the [11. enamelled gold le crucifix, etc. walking on the >entation in the welve Apostles; it, Crucifixion, itify as many of Ang after effects s enamels, more Dlding the dead d other scenes. Nativity, Adora- if which observe oges enamels of >), Raphaelesque sting ; good por- • scenes from the particulai (4628), and Eve and the ice. On the far tod series of the nunciation. Birth tc. Last cases : n the last case of !s of the Gospel id the Magdalen, r. I recommend ve detailed study inamels, many of ited by other arts Id, if possible, be tn potteries, ex- absence of figure mparatively little ;ver, occur in the ittems. Wall C, made by Persian green, with the ".] THE LEFT OR SOUTH DANK 51 wonderful Persian feeling for colour. Wall B, Hispano- Moorish lustre ware, the most exquisitely beautiful ever manu- factured. The second case contains several lovely specimens. Wall A, Rhodian ware again. Wall D, Persian. The reader must examine these minutely for himself. It is impos- sible to do more than point out their beauty. Room V.— Jewish works of art of the Middle Ages, interest- ing as showing the wealth ; id artistic taste of the mediaeval > Hebrews— phylacteries, seven-branched candlesticks, gold- I smiths' work, etc. (188; Chimney-piece (Christian) from an - old house at Le Mans. The groups represent the three ages of life : right and left, the two sexes— man, armed ; woman, with a ball of wool. Room VI.— Wall C, opposite windows, carved chest (1360), French, 17th century, with figures in high relief of the Twelve Apostles. The paintings above it (1704, 1707, 1714), etc., are the fronts of similar chests, Florentine, 15th century. Such boxes were commonly given to a bride to contain her trousseau and household linen. For instance, one (1710) contains the mythical history of a betrothal and wedding (/lineas and Lavinia). The others have in many cases similar appropriate subjects from classical story. (14SS) Florentine mosaic cabinet, in the worst taste. Beyond it, other cabinets and fronts of wedding chests. This room also contains musical instruments, interesting as illustrating the evolution of modern form<: Also, florid Italian inlaid tables, in the bad expensive tasie of the 17th century. In the windows, stained glass. Room VII.— Carved oak cabinets. (1435) Good Flemish work of the 17th century. Room VIII.— (189) Carved chimney-piece, similar to that in the Jewish room, and from the same house ; marriage scene, allegorical. Carved wooden cabinets and portals, all interest- ing, but requiring little description. (1431) Again the favourite Renaissance device of Actaeon and Diana. Carved oak bed, of age of Francois I", with hangings of the same period. (1509) Good panel of a chair, with the Presentation of the Virgin in the Temple by Saints Joachim and A;ina ; above. Nativity ; then Adoration of the Magi, and Flight into Egypt ; on the front, patron saints of the owners. 1|i Lm^ 52 PARIS [n. Room IX.— **Magnificent collection of ivories and ebonies, all of which the spectator should examine in detail. Nothing in this museum is more interesting. Notice, for example, the beautiful triptych** (1081) in the centre of the first caM by the window of Wall D; lower tier, Annunciation ; Shepherds ; Joseph and the Madonna, with the babe in the manger ; and Adoration of the Magi ; upper tier, Kiss of Judas, Crucifixion, and Christ and the Magdalen in the Garden ; beautiful Italian work of the 14th century. L of it •*(io88), exquisite coloured triptych with Madonna and Child ; L, St. Paul (with his sword) and St. Catherine ; R, St. Peter and the Magdalen ; notice their symbols. Several small ivories in the same case should be observed carefully. Below the large triptych, for example, are scenes from the Passion (noi chronologically arranged in their existing order), namely, from L to R, Crown of Thorns, Scourging, Resurrection, Ascension, Disciples at Emmaus, Apparition to the three Marys, Peter on the Sea, and Christ with the Magdalen ; very naive French work of the 1 5th century. (718) Exquisite little wood-carving of the Crucifixion, with scenes from the Passion ; Spanish, i6th century. Above it (7227), comb, with Adoration of the Magi ; 14th century, very curious. The next case contains still earlier and more interesting work. In the centre, a triptych ; lower tier. Adoration of the Magi, Madonna with angels. Presentation in the Temple ; upper tier. Bearing the Cross, Crucifixion, and Descent from the Cross ; exquisite French work, in high relief, of the 14th century. L of it (1082), Scenes from the Passion, Last Supper, Agony in the Garden, Kiss of Judas (with Peter cutting off Malchus's ear), Flagellation, etc. Each compartment here consists of two subjects, which identify ; charming French work of the 14th century. Above it (1085 ^^^ '°86)» secular sc«.aes, life in a garden— 14th century. R of the triptych (1065, 1063, 1066, 1064), legends of saints ; St. Denis beheaded and bearing his head ; Flagellation of an unknown Martyr, who takes it most comfortably ; St. Peter, crucified, head downward ; and other episodes— charming French 14th century work. Examine all the pieces in this case carefully. In the first case, towards the centre of the room, early ivory carvings, a •consular diptych of the 5th or 6th century, very interesting ; and other works [II. I and ebonies, ail. Nothing example, the first case by ; Shepherds ; manger ; and ,s, Crucifixion, iautiful Italian jisite coloured ■ith his sword) rdalen ; notice le case should 1, for example, ly arranged in wn of Thorns, at Emmaus, iea, and Christ e 1 5th century, on, with scenes )ove it (7227), fy very curious, teresting work. 1 of the Magi, (le ; upper tier, jm the Cross ; century. L of , Agony in the Malchus's ear), onsists of two rk of the 14th L«. lies, life in a 65, 1063, 1066, ind bearing his takes it most ird ; and other . Examine all ise, towards the onsular diptych nd other works II.] THE LEFT OR SOUTH BANK 53 still displaying classical influence. (1035) Byzantine, Christ and Saints. (1049) Death of the Virgin ; fine work showing Byzantine influence; 12th century. (1054) Extremely rude Northern nth century ivory, representing scriptural scenes, mingled with decorative animals treated in withy-band fashion. (1038) Fine Italo-Byzantine plaque with Crucifixion and Saints, the name of each inscribed beside him. Central case: Ivory statuettes, all deserving close attention. (1032) Antique Roman goddess. (1037) Fine early French Madonna ; loth century. Behind her (1052), beautiful ivory reliquary, French, 12th century, with figures of Saints ; L, the personages of the Adora- tion (/.ft, the Three Kings) bearing their gifts, and with their names inscribed above them ; r, the personages of the Pre- sentation—Madonna, Joseph, Simeon. Further side (1060), beautiful coloured ivory coffer, 14th century, with numerous scriptural scenes, easily recognisable ; identify them Inspect also the ebony cabinets, of which 1458, time of Henri IV. with classical scenes, is a magnificent Renaissance example. By Wall A, more ebony cabinets and carvings, and exquisite ivory statuettes, of later date, among which notice particularly (114O a Portuguese Madonna; (1163) a Spanish St. Peter; (1164) Spanish St. Antony of Padua ; and (i 167) a very curious Peruvian Good Shepherd, showing distinct traces of native art, influenced by introduced Spanish feeling. Further to the R, good classical figures of the later Renaissance. I have only indicated a few of the most interesting among these exquisite carvings ; but many hours may be devoted to this room, by those who can afford the time, with great advantage. Room X.— Bronzes and Renaissance metal work, mostly self-explanatory. (193) Chimney-piece from a house in Troyes— French, i6th century; Plenty, surrounded by Fauns and trophies. Good collection of keys, knives, etc. Room Xl.-aoidsmith's work and objects in the precious metals. Wall A (4988), gold altar-piece of the Emperor Henry II, of Germany, with Christ, and figures of Saints, bearing their names above them, given by the Emperor to Bale Cathedral in the beginning of the i ith century. Central case, the Querrazar find : votive offerings of crowns of the eariy Gothic kings of Spain, the largest one being that of Reccesvinthus (died 672), > ' n 34 PARIS [II. discovered near Toledo. The rrowns are rude Byzantine work of the 7lh century, inlaid with precious stones. The names inscribed below them were probably added when they were made into votive offerings. Uninteresting as works of art, these curious relics possess great value as specimens of the decadent workmanship of their period. Most of the other ob- jects in this room derive their importance more from the material of which they are composed than from artistic beauty, or even relative antiquarian importance. Of these (4994), in the case near Wall D, represents the Last Supper, with the fish which in very early Christian work is a symbol of Christ. Near it, quaint figures of the four Evangelists, writing, with their symbols. Other symbols of the Evangelists in the same case. Quaint Nuremberg figure of St. Anne, holding on her knee the crowned Madonna, and a little box to contain a relic. (5008) Reliquary foot of a Saint, to enclose his bones ; it bears his name- Alard (4995) Curious figure of the Madonna, Limoges work, very Byzantine in aspect. Other cases contain crucifixes, monstrances, and similar articles of church furniture m the precious metals, mostly of early date. The case by Wall B has CiUic torques and Merovingian jewellery. Return to Room VIII, and enter Room XII to the R. It contains bed furniture and book-bindings. (782) Fine Renais- sance Flagellation, after Sebastiano del Piombo. From this room we enter The Chapel, a small apartment, with roof sustained by a single pillar. Good niches, now destitute of their saints ; church furniture of the Middle Ages, much of which deserves close attention. (708) Fine wooden altar-piece, Flemish, 15th century : centre, the Mass of St. Gregory, with Christ appearing bodily in the Holy Sacrament ; beneath it, adoring angels ; L wing, Abraham avi Melchisedek, frankly mediaeval ; R wing, the Last Supper ; an excellent specimen. Other objects are: (726) Stiff early wooden Madonna. (723) Crucifix, Auvergne, 12th century. (727) St. John. End wall. Annunciation, with the Madonna separated, as often, from the Angel Gabriel by a vase of lilies. The staircase in the corner leads out to the Qarden, where [11. ; Byzantine tones. The I when they works of art, mens of the le other ob- the material uty, or even in the case tie fish which St. Near it, heir symbols, ase. Quaint ! the crowned 38) Reliquary his name — imoges work, in crucifixes, niture in the y Wall B has to the R. It Fine Renais- 11.] THE LEFT OR SOUTH BANK 55 single pillar, h furniture of Mention. (708) f : centre, the ly in the Holy Abraham a. i 5t Supper ; an 6) Stiff" early 1 2th century. the Madonna vase of lilies. Garden, where are several fragments of stone decoration. Pass through the door, and traverse Room VI ; the opposite door leads to Lea Thermea. the remains of the old Roman palace. The scanty remnant, as its name indicates, consists entirely of the baths attached to the building. The masonry is massive. Fragments of Roman altars and other remains found in Paris are arranged round the room. The descriptive labels are sufficient for purposes of identification. If this brief survey of Cluny has succeeded in interesting you in mediaeval art, buy the official catalogue, come here often, and study it in detail. B. THE HILL OF STE. GENEVlfeVE (PANTHfeON, St. 6tIENNE-DU-M0NT.) [" High places" are always the first cemeteries and holy sites —as at Montmartre and elsewhere. But the nearest rising ground to Old Paris is the slight elevation just S. of Cluny, now crowned by the colossal dome of the Pantheon. In Frankish times, this hill lay quite outside the city ; but on its summit (just behind his Palace of Les Thermes), Clovis, after his conversion by Ste. Genevieve, is said to have erected a church to St Peter and St. Paul. Here Ste. Qeaeviive herself vas buried in 512 ; and the chapel raised over her tomb grew into a church— the favourite place of pilgrimage for the inhabi- tants of Paris. The actual body of the patron sair' was en- closed, in 550, in a magnificent shrine, executed by bt. £loy, the holy blacksmith. Throughout the Middle Ages this church and tomb of Ste. Genevieve, which occupied the site of the existing Pantheon, nearly, were the objects of the greatest devotion. St. Denis was the saint of the kings and nobles ; but Ste. Genevieve was, and stiil remains, the saint of the people, and especially of the women. Miracles were constantly performed at her shrine, and her aid was implored at all moments of national danger or ntisfortune. A great (Augustin) abbey grew up in time behind the church, and was dedicated in honour of the holy shepherdess. The wall of Philippe Auguste bent \% 56 PARIS [". abruptly southward in order to include her shrine and this powerful abbey. In the twelfth century, when the old church of St. Stephen (in French, St. ttiennc), on the site of Notre-Dame, was pulled down in order to make room for the existing cathedral, the relics of St. Stephen contained in it were transferred to a new edifice— St. EtIenne-da-Mont— which was erected by the monks, close to the Abbey of Ste. Genevieve, as a parish church for their servant- .d dependents. In the sixteenth century this second church of St Stephen was pulled down, with the exception of its tower, which is still standing. The existing cliurch of St. ittienne was then begun on the same site in the Gothic style, and slowly completed with extensive Ren- naissanci alterations. Later svill, the mediaeval church of Ste. Genevifeve, hard by, having fal'.en into decay in the middle of the eighteenth century, Louis XV determined to replace it by a sumptuous domed edifice in the style of the period. This building, designed by Soufflot, was not completed till the Revolution, when it was immediately secularised as the PantMon, under circumstances to be mentioned later. The remains of Ste. Genevifeve, which had lain temporarily meanwhile in a sumptuous chapel at St. ^tienne-du-Mont (the subsidiary church of the monastery) were then taken out by the Revolutionists ; the mediaeval shrine, or reliquary (which replaced St. itloy's), was ruthlessly broken up ; and the body of the patroness and preserver of Paris was publicly burned in the Place de Gr&ve. This, however, strange to say, was not quite the end of Ste. Genevifcve. A few of her relics were said to have been preserved : some bones, together with a lock of the holy shepherdess's hair, were afterwards recovered, and replaced in the sarcophagus they had once occupied. Such at least is the official story ; and these relics, now once more enclosed in a costly shrine, still attract thousands of votaries to the chapel of the saint in St. 6tienne-du-Mont. The Panthdon, standing in front of the original church, is now a secular burial-place for the great men of France. The remains of Ste. Geneviisve still repose at St. 6tienne. Thus it is impossible to dissociate the two buildings, which should be visited together ; and thus too it happens that the patroness of ab th( ex St de U ch sit in ga of in til «( th or d( ar m sc St oi it! ar m tti in vi h\ in le F ai [It. rine and this f St. Stephen le, was pulled :athedr.-il, the rred to a new ected by the , as a parish the sixteenth pulled down, anding. The I the same site xtensive Ren- rifeve, hard by, teenth century, ptuous domed J, designed by I, when it was circumstances nevifeve, which I chapel at St. he monastery) edijeval shrine, thlessly broken sr of Paris was jwever, strange A few of her bones, together irere afterwards they had once nd these relics, tract thousands nne-du-Mont. ginal church, is f France. The ienne. Thus it ih\ch should be ,t the patroness II.] THE LEFT OR SOUTH BANK 57 of Paris has now no church in her own city. Local saints are always the most important ; this hill and Montmartre are still the holiest places in Paris.] Proceed, as far as the garden of the Thermes, as on the excursion to Cluny. Then continue straight up the Boulevar<*. St. Michel. The large edifice visible on the R of the Rue des Ecoles to your L, is the new building of the Sorbonne, or University. Further up, at the Place du Sorbonne, the domed church of the same name stands before you. It is the Univer- sity church, and is noticeable as the earliest true dome erected in Paris. The next comer shows one, R, the Luxembourg garden, and L, the Rue Soufflot, leadin^f up to the Panthion. The colossal domed temple which replaces the ancient church of Ste. Genevieve was begun by Soufflot, under Louis XV, in imitation of St. Peter's, at Rome. Like all architects of his time, Soufflot sought merely to produce an effect of pagan or " classical " grandeur, peculiarly out of place in the shrine of the shepherdess of Nanterre. Secularised almost immediately on its completion, during the Revolution, the building was destined as the national monument to the great men of France, and the inscription, " Aux Grands Hommes la Patrie Recon- naissante," which it still bears, was then first placed under the sculptures of the pediment. Restored to worship by the Re- storation, it was again secularised under the Third Republic in order to admit of the burial of Victor Hug t. The building itself, a vast bare bam of the pseudo-classi? al type, very cold and formal, is worthy of notice mersly on .ccount of itp im- mense size and its historic positioii ; but ii may be visited to this day with pleasure, not only for some noble modern paint- ings, but also for the sake of the reminiscences of Ste. Gene- vieve which it till contains. Open daily, free, from lo to 4, Mondays excepted. The tympanum has a group by David d' Angers, represent- ing France distributing wreaths to soldiers, politicians, men of letters, men of science, and artists. The interior is in the shape of a Greek cross (with equal arms). Follow round the walls, beginning from the R. In the R Aisle are paintings (modern) looking like frescoes, and represent- ^1 -, sismmi 58 PARIS [". ing the preaching of St. Denis, by Galand ; and •the history of Ste. Genevifeve— her childhood, recognition by St. Germain I'Auxerrois, miracles, etc., delicate and elusive works, by Puvis de Chavannes, The paintings of the South Transept represent episodes in the early history of France. Chronologically speaking, they begin from the E. central corner. Choir, Death of Ste. Genevifcve, by Laurens, and Miracles before her Shrine. Apse of the tribune, fine modern (archaic) mosaic, by Hubert, representing Christ with the Guardian Angel of France, tne Madonna, Jeanne d' Arc, and Ste. Genevieve. Stand under the dome to reserve the proportions of the huge, bare, unim- pressive building. L, or Northern Transept, E. side, the history of Jeanne d'Arc ; she hears the voices ; leads the assault at Orleans ; assists at the coronation of Charles VII at Rheims ; and is burnt at Rouen. W. side, St. Louis as a child instructed by Blanche of Castille ; administering justice in the Palace ; uad a captive among the Saracens. N. aisle, history of Ste. Genevifeve and St. Denis (suite). The building is thus at once the apo- theosis of patriotism, and the lasting memorial of the part borne by Christianity in French, and especially Parisian, history. As you descend the steps of the Pantheon, the building that faces you to the L is the Mairie of the Sth Arrondissement ; that to the R, the tco\e de Droit. Turn to the R, along the N. side of the Panthdon. The long, low building which faces you is the Bibliothfeque Ste. Genevieve. Nothing now ren ains of the Abbey of Ste. Genevieve except the tall early Gothi.: tower seen to the R, near the end of the Pantheon, and rising above the modern buildingb of the Lyc^e Henri IV. The singularly picturesque and strangely-mingled church across the little square is St. fetlenne-du-Mont, which we now proceed to visit. Stand in the left-hand corner of the Place to examine the /a{M/e. The church was begun (i 517) as late Gothic ; but before it was finished, the Renaissance style had come into fashion, and the architects accordingly jumbled the two in the most charming manner. The incongruity here only adds to the beauty. The quaintly original Renaissance portal bears a dedication to St. Stephen the Protomartyr, beneath which is a relief of his martyrdom, with a Latin inscription, " Stone c«. II.] THE LEFT OR SOUTH BANK 59 •the history ' St. Germain rks, by Puvis ept represent ironologically •ner. Choir, les before her ic) mosaic, by gel of France, Stand under B, bare, unim- ie, the history :he assault at ; I at Rheims ; lild instructed e Palace ; i;ad >te. Genevifeve mce the apo- l of the part risian, history. building that ondissement ; , along the N. hich faces you )w renains of 1 Gothi'.-. tower 1 rising above The singularly oss the little )w proceed to } examine the lie ; but before i into fashion, o in the most r adds to the ortal bears a leath which is ption, "Stone destroyed the temple of the Lord," i.*., Stephen, " Stone re- builds it." R and L of the portal are statues of Sts. Stephen and Genevieve, whose monograms also appear on the doors. In the pediment is the usual representation of the Resurrection and Last Judgment. Above it, the rose window, on either side of which, in accordance with Italian rather than with French custom (showing Italian Renaissance influence) are the Angel of the Annunciation and the Madonna receiving his message. In the third story, a gable-end. Singular tower to the L, wiih an additional round turret, a relic of the earlier Gothic building. The whole /aiode (17th century), represents rather late Renais- sance than transitional architecture. The interior is the most singular, and in some ways the most picturesque, in Paris — a Gothic church, tricked out in Renais- sance finery. The nave is flanked by ais!:s which are divided from it by round pillars, capped by a singular balustrade or gallery with low, flat arches, simulating a triforium. The upper arches are round, and the decorations Renaissance ; but the vaulting, both of nave and aisles, with its pendant key- stones, recalls the Gothic style, as do also most of the windows. Stand near the entrance, in the centre of the nave, and look up the church. The most striking feature is the beautiful Renais- sance y«*/ or **rood-loft (the only one now left in Paris) which •iivides the Choir from the body of the building. This rood-loft still bears a crucifix, for the reception of which it was originally intended. On the arch below are two charmingly sculptured Renaissance angels. The roud-iuft is flanked by two spiral staircases, which are wholly unique architectural features. Notice also the exquisite pendentive of the roof at the point ot intersection of the nave and short false transepts. Now walk up the Right Aisle. The first chapel is the Baptis- tery, containing the font and a modem statue of the boy Baptist. Third chapel, St. Antony of Padua. The fourth chapel con- tains a curious Holy Sepulchre, with quaint life-size terra-cotta figures of the i6th century. Fifth chapel, a gilt chdsse. Notice the transepts, reduced to short arms, sc. ^elv, if at all, project- ing beyond the chapels. From this point examine the exquisite Renaissance tracery of the rood-screen and staircases. Then pass under the fine Renaissance door, with lovely decorative \i^ ♦»■ .5*eKy-«;*9^je bo PARIS [II. II.] work, into tlie •mbulatory. The Choir is in large part Gothic, with late flamboyant tracery. The apparent triforium is con- tinued round the ambulatory. The splendid gilded shrine in the second choir-chapel contains the remain* ol 5te. Qene- vlive, or what is left of them. Candles bum perpetually around it. Hundreds of votaries here pay their devotions daily to the Patroness of Paris. The shrine, containing what is alleged to be the original sarcophagus of the Saint (more probably of the 13th century) stands under a richly-gilt Gothic tabernacle, adorned with figures legibly named on their pedestals. The stained-glass window behind it has a representation of a pro- cessional function with the body of the Saint, showing this ch rch, together with a view of the original church of Ste. Geneviive, the remaining tower, and adjacent houses, histori- cally most interesting. The window beyond the shrine also contains the history of Ste. Geneviiive— her childhood, first communion, miracles, distribution of bread during the siege of Paris, conversion of Clovis, death, etc. Indeed the long sojourn of the body of Ste. Geneviisve in this church has almost over- shadowed its dedication to St. Stephen, several memorials ol whom may, however, be recognised by the attentive visitor— ■ amongst them, a picture of his martyrdom (by Abel de Pujol) near the entrance to the choir. The Protomartyr also stands, with his deacon's robe and palm, in a niche near the door of the sacristy, where L and R are frescoes of his Disputation with the Doctors, and his Martyrdom. The chapel immediately behind the high altar is, as usual, the Lady Chapel. The next con- tains a good modern window of the Marriage of the Virgin. Examine in detail all the windows ; one of the mystic wine-press is very interesting. Votive oflferings of the city of Paris to Ste. Genevieve also exist in the ambulatory. Curious frescoes of the martyrdom of the 10,000 Christians on Mount Ararat on the N side. The best view of the choir is obtained from the N. side of the ambulatory, opposite the shrine of Ste. Genevifeve. In the north aisle notice St. Louis with the Crown of Thorns. Stand again in the centre of the nave, near the entrance, and observe the curious inclination of the choir and high altar to one side— here particularly noticeable, and said in every case to represent the droop of the Redeemer's head on the cross. roll nn the cross. Go out again. As you emerge from the door, observe the I lid and baie hide of the I'anthdon, contrasted with the internal I u iiness of St. Etienne. Curious view of the late Gothic portion of the church from the little Place on the N. side. Return by the Rue Cujas and Rue St. Jacques, passing the Lycde Ste. ISarbe, Lycde Louis-le-Grand, University, and other ■« holastic buildings, which give a good idea of the character of the quarter. tes^giS Sf^ m RENAISSANCE PARIS (THE LOUVRE) r"r)ARIS, which spread rapidly Southward at first, was L 1 somewhat slower in its Northward development. Nevertheless, by thr time of Philippe AuKUSte, the Town La Vin«)- '•"' ' cMiimercial portion N. of the river— more than equalled tti .earned district on the s. side. This central northern reg.on, however, t ntainin^; the H6tel de Ville, St. Eustache, and some other important buildings, I purposely postpone to the consideration of the Louvre and its neigh- bourhood, which, though later in date, form the he.irt and core of Renaissance Paris— the Paris of Framjois I" and his splendour-loving successors. Most of the buildings we have hitherto considered are mediieval and Gothic. The Louvre introduces us at once to a new world— the worUl of the Renaisaance The transition is : jrupt. In Italy, and especially in Florence, tlie Renaissance was a natural growth ; in France it was a fashion. It came in, full-fledged, without history or antecedents. To trace its evolu- tion, one must follow it out in detail in Florence and Venice. There, it grows of itself, organically, by gradual stages. But in France, Gothic churches and mediaeval chAteaux give place at once, with a bound, to developed Renaissance temples and palaces. The reason for this fact is, that the French kings, from Charles VIII onward to Henri IV, were thoroughly Itali- anate. They fought, travelled, and married in Italy, to parts of which they laid claim ; and being closely allied with the Medici and other Italian families,— husbands of Medici wives, sons of Medici mothers,— they introduced at once into France the developed products of the Italian Renaissance. At the same n KENAJSSAXCE PARIS {THE LOUVRE) 63 DUVRE) at first, was development, e, the Town r— more than This central de Ville, St. , I purposely ind its neigh- he he.irt and Kjois I" and >nsidered are is at once to a e transition is E Renaissance 1. It came in, trace its evolu- ce and Venice, itages. But in r give place at : temples and French kings, loroughly Itali- aly, to parts of irith the Medici i wives, sons of to France the At the same time the increased and centralized power of the Crown enabled them to build magnificent palaces, like the Louvre and Fontaine - bleau ; and to this artificial impulse is mainly due the sudden outburst of art in France under Francois I" and his immediate successors. It is impossible to characterize the RenalManc* in a few short sentences. In one aspect, it was a return from Qothlcltm to Clwtlcal u«aa:e, somewhat altered by the new conditions of life. At first you will probably only notice that in architecture it substituted round arches for pointed, and introduced square doors and windows ; while in other arts it replaced sacred and Christian subjects and treatment by mythological and secular. But, in contrast with mediaevalism, it will reveal itself to you by degrees as essentially the dawn of the modern «plrlt. The Louvre is the noblest monument of the French Renals- MHce. From the time of St. Louis onward, the French kings began to live more and more in the northern suburb, the town of the merchants, which now assumed the name of La Ville, in contradistinction to the C'\t6 and the University Two of their chief residences here were the Bastille and the HAtel St. Paul, both now demolished— one, on the Place so called, the other, between the Rue St. Antoine and the Quai des C^lestins. But from a very early period they also possessed a chdteau on the site of the Louvre, and known by the same name, which guarded the point where the wall of Philippe Auguste abutted on the river. Franqois I" decided to pull down this picturesque turreted mediaeval castle, erected by Philippe Auguste and altered by Charles V. He began the construction in its place of a magnificent Renaissance palace, which has ever since been in course of erection. Its subsequent growth, however, is best explained opposite the building itself, where attention can be duly called to the succession of its' salient features. But a visit to the exterior fabric of the Louvre should be preceded by one to 5t. Qermain I' Auxerrol*. the parish church, and practically the chapel, of the old Louvre, to which it stood in somewhat the same relation as the Ste. Chapelle to the home of St. Louis. Note, however, that the church was situated just within the ancient wall, while the chdteau lay outside it. The visitor will doubtless be tolerably familiar by this time with some parts at 64 PARIS [in. least of the exterior of the Louvre ; but he will do well to visit it now aystematlcally, in the order here suggested, so as to gain a clear general idea of its history and meaning.] A. THE FABRIC Go along the Rue de Rivoli, past the Palais Royal, till you reach the Rue du Louvre. Turn down it, with the Louvre on your right. To your left stands a curious composite building, with a detached belfry in the centre, and two wings, as it seems, one on either side. The southernmost wing is the old church ol St. Qermain I'Auxerrols, the sole remnant of the earliest Louvre ; the northernmost wing is the modern Mairie of the I St Arrondissement, unhappily intended to " harmonize " with it. The real result is, that the modern building kills the old one. The belfry was designed to fill up the gap between the two. Its effect is disastrous. The church is older than the oldest Louvre. St. Germanus, Bishop of A. •■'^rre (d. 430), was almost one of the first genera- tion of Gallic saints, celebrated for his visit to Britain, where he assisted in gaining th^ Hallelujah victory over the heathen invaders. A church on this site is said to have been erected in his honour as early as the days of Chilperic. Sacked by the Normans, it was re-erected in something like its present form in the 12th century, but received many subsequent additions. The beautiful porch, which we first examine, is of much Later date, having been added in 1431 by Jean Gaussel, at a time when the old chdieau of the Louvre had become one of the principal residences of the French kings, in order to give greater dignity, and to afford a covered approach for the royal worshippers to what was practically their own chapel. It therefore contains (restored) statues, in niches, relating especi- ally to the royal and local Saints of Paris, whose names are beneath them :~St. Cloud, the Princess Ste. Clotilde, Ste. Radd- gonde of France, St. Denis, St. Marcel, St. Germain himself, St. Landry, Ste. Isabelle, Ste. Bathilde, St. Jean de Valois, and others. The saints of the royal house are distinguished by crowns or coronets. Two of these statues are old : St. Francis, .^t the south end, and St. Mary of Egypt, nude, with her long hair, and the three loaves which sustained her in the desert, on mz till* well to visit stad, so as to loyal, till you he Louvre on isite building, s, as it seems, le old church of the earliest Mairie of the monize " with [ kills the old p between the St. Germanus, le first genera- Britain, where er the heathen leen erected in Sacked by the s present form It additions. 3 of much later issel, at a time me one of the order to give h for the royal m chapel. It elating especi- lose names are ilde, Ste. Rad^- irmain himself, de Valois, and istinguished by Id : St. Francis, , with her long n the desert, on in.] RENAISSANCE PARIS {THE LOUVRE) 65 the second north pillar. The modern frescoes, destroyed, are by Mottez. Observe the congruity of all these saints to the church and the chdieau. St. Landry or Landeric, an early Prankish bishop of Paris, was buried within, and his shrine was a place of pil- grimage. St. Marcel was also a bishop of Paris. St. Cloud was a holy anchorite whose cell was in the wood which occupied the site of the palace (now destroyed) that bears his name. All these saints are therefore closely bound up with the town of Paris and the royal family. You must never forget this near alliance in France between the church and ilie crown : it colours all the architecture of the early period. Within the porch, we come to the main facade, of the 13th century. R and L, two sainted bishops of Auxerre, successors of St. Germain. Central portal, a queen, a king (probably Childebert and Ultrogothe, the original Frankish founders), St. Vincent ; then St. Germain himself, and Ste. Genevi&ve, with the usual devil and candle, and her attendant angel, etc. On the pier. Madonna and Child, under a ca nopy. The tympanum had formerly the usual relief of the Last Judgment, now destroyed, and replaced by a fresco. Reminiscences of its subject still remain in the quaint figures to R and L on the arch, at its base, representing respectively, with childish realism, the Jaws of Hell and Abraham's Bosom, to which the wicked and the just were consigned in the centre. In this church, and in that of St. Germain-des-Pr^s (see later), St. Vincent ranks as a local Parisian saint, because his tunic was preserved in the great abbey church of the other St. Ger- main beyond the river. He bears a martyr's palm and is habited as a deacon ; whence he is often hard to distinguish from his brother deacon, St. Stephen : both are often put together in Parisian church«s. It is probable that St. Germain of Paris consecrated this church to his older name-sake and St. Vincent— for his connection with wtiom you had better wait till you visit St. Germain-des-Pr^s. The interior is low, but impressive. The R aisle is entirely railed off as a separate church or Lady Chapel. It contains an interesting 14th-century Root of Jesse, seldom accessible. Pretty modern font, by Jouffroy, aAw Mme. de Lamartine, «■*- M 6b PARIS [HI. in the South Transept. Walk round the Ambulatory (behind the Choir), and observe the stained glass and other details, which the reader may now be trusted to discover unaided. A mass of the detail is well worthy of notice. The Gothic pillars of the Choir were converted in the i8th century into fluted columns. Over the Sacristy, in the South Ambulatory, is a modern fresco of St. Germain and St. Vincent, Note many other memorials of the latter. When you leave, walk to the south side of the church to inspect the exterior and the aquare ower, from which, as parish church of the Louvre, the bell rang for the massacre of St. Bartholomew, to be answered by that in the Palace on the island. On emerging from the church, contrast its Gothic quaintness and richness of detail with the cold, classical Made of that part of the Louvre which fronts you. This /tifode, known as Perraulfs Colonnade, with its classical pediment and Corinthian columns, was erected by Claude Perrault for Louis XIV, whose LL and crown appear on every part of it. Nothmg could better illustrate the profound difference between Gothic and Classical architecture than this abrupt contrast. The portion of the palace that faces you is the real front door of the Louvre. Notice the smaller barred windows on the ground floor, and the upper story converted into a /og^ta. Now pass in through the gateway, under the Chariot of the Sun— an Apotheosis of Louis— into the First Court, known dis- tinctively as the Cour du Louvre. For all that follows, consult the excellent coloured map in Baedeker, page 86. I advise you to cut it out, and carry it round in your hand during this excursion. Begin by understanding distinctly that this court (le vieux Louvre) is the real and original Louvre: the rest is mere excrescence, intended to unite the main building with the Tuileries, which lay some hundreds of yards to the west of it. Notice, first, that the Palace as a whole, seen from tne point where you now stand, is constructed on the old principle of relatively blank external walls, like a castle, with an interior courtyard, on which all the apartments open, and almost all the decoration is lavished. Reminiscences of defence lurk about the Louvre. It can best be understood by comparison [ni. latory (behind other details, r unaided. A Gothic pillars ry into fluted ibuUtory, is a , Note many re, walk to the nd the aquare Quvre, the bell i answered by :hic quaintnebs fa(;ade of that ^ade, known as and Corinthian •r Louis XIV, of it. Nothing )etween Gothic rast. the real front ed windows on I into a loggia. Chariot of the urt, known dis- foUows, consult £ 86. I advise ind during this court (le vieux he rest is mere ilding with the the west of it. from the point old principle of with an interior and almost all of defence lurk 1 by comparison in.] ^lENAISSANCE PARIS {THE LOUVRE) 67 with such ornate, yet fortress-like, Italian palaces as the Strozzi at Florence. Notice the four opposite portals, facing the car- dinal points, which can be readily shut by means of great doors ; while the actual doorways of the various suites of apartments open only into the protected courtyard. This is the origin of the familiar French parte -cocAire. Again, the portion of the building that directly faces you as you enter th' 'irt from St. Germain is the oldest part, and represents the arly Renaissance spirit. It is the most primi- tive Louvre. Note in particular the central elevated portion, known as a Pavilion, and graced with elegant Caryatides. These Pavilions are lingering reminiscences of the mediaeval towers. You will f iid them in the corners and centres of other blocks in the Louvrv';. They form a peculiarly French Renais- sance characteristic. The Palace is here growing out of the Castle. The other three sides of the square are, on the whole, more classical and later. Now cross the square directly to the Pavilion de I'Horloge, as it is called, from the clock which adorns it. To your L, on the floor of the court, are two circular white lines, enclosed in a square. These mark the site of the original Chdteau of the Louvre, with its Keep, or donjon. Fran9ois I'^'', who began the existing building, originally intended that his palace should cover the same area. It was he who erected the L wing, which now faces you, marked by the crowned H on its central round gable, placed there by his successor, Henri II, under whom it was completed. To the same king are also due the monograms of H and D (for Diane de Poitiers, his mistress), between the columns of the ground " The whole of the Pavilion de I'Horlc^e, and of this \vl wing, should be carefully ex- amined in detail as the finest remaining specimen of highly decorated French Renaissance architecture. (But the upper story of the Pavilion, with the Caryatides, is an age later.) Ob- serve even the decoration lavished on the beautiful chimneys. Pierre Lescot was the architect of this earliest wing ; the ex- quisite sculpture is by Jean Goujon, a Frenchman, and the Italian, Paolo Ponzio. Examine much of it. The crossed K's of certain panels stand for Catheriae d« Medicis. The R wing, beyond the Pavilion, was added, in the same 68 PARIS [III. 'f style, under Louis XIII, who decided to double the plan of his predecessors, and form the existing Cour du Louvre The other three sides, in a more classic style, with pedi- ments replacing the Pavilions, and square porticoes instead of rounded Ws. are for the most part later. The s. side, how- ever as far as the central door, is also by Pierre Lescot. It forms one of the two fronts of the original square first contem- plated. The attic story of these three sides was added under Luis XIV, to whom in the main is due this Cour du Louvre A considerable part of Louis XIV-s decorations bear reference to his representation as /«ww/«/. Now, pass through the Pavilion de I'Horloge (called on its W. side Pavilion Sully) into the second of the three courts of the Louvre. To understand this portion of the b^'W'"/. ^gajn, you must remember that shortly after the erection of the Old Louvre, Catherine de M^dicis began to build her palace of the Taller e». now destroyed, to the w. of it. She (and subsequent ruTers) designed to unite the Old Louvre with the Tu.ler.es by a gallery w4h should run along the bank of the river. Of tha^ ^tZ Catherine de M^dicis herself erected a considerable poS, to be described later, and Henri IV almost completed r La«r on. Napoleon 1 conceived the idea of extending a similar gallery along his new Rue de Rivoli, on the N. side so as to eSlose the whole space between the Louvre and the Tuileries in one gigantic double courtyard. Napoleon III lamTout his idfa! The second court in which you now stand is entirely flanked by buildings of this epoch-the Second Empire. Examine it cursorily as far as the modern statue of Gambetta. . , .._ .^^ Stand or take a seat by the railing of the garden opposite the PaviUon Sully. The part that now faces you forms a portion of the building of Francois I" and Louis XI 1 1, redecorated .„ part bv Napoleon I. The portions to your R and L (consult Baede- ker's map) are entirely of the age of Napoleon III. bu-U so as to conceal the want of parallelism of the outer portions. Observe their characteristic Pavilions, each bearing its own name in- scribed upon it. This recent square, though quite modern in the character of its sculpture and decoration is Renaissance in its general architecture, and, when looked back upon from III th< thi Tl ful en an fig th en ur th pi' is Tl P< S< Ri as ca re Pi th in II of th tu N Fl th wi cc T cc cc in ut [III. 1 the plan of ouvre. e, with pedi- les instead of ; s. side, how- e Lescot. It • first contem- added under xr du Louvre, bear reference ailed on its w. E courts of the uilding, again, on of the Old • palace of the ind subsequent ! Tuileries by a river. Of that a considerable lost completed of extending a I the N. side, so ,ouvre and the Napoleon III vhich you now ch— the Second odern statue of len opposite the rms a portion of ecorated in part (consult Baede- II, built so as to •tions. Observe 3 own name in- [juite modern in , is Renaissance back upon from III.] RENAISSANCE PARIS {THE LOUVRE) 69 the gardens of the Tuileries, affords a most excellent idea of that stately style, as developed in France under Francois I'^ The whole of this splendid plan, however, has been rendered futile by the destruction of the Tuileries, without which the enclosure becomes wholly meaningless. Now, continue westward, pass the Monument of Gambetta, and take a seat on the steps at the base, near the fine nude figure of Truth. In front of you opens the third square of the Louvre, known as the Place du Carrousel, and formerly enclosed on its w. side by the Palace of the Tuileries, which was unfoitunately burnt down in 1 871, during the conflict between the Municipal and National authorities. Its place is now occu- pied by a garden terrace, the view from which in all directions is magnificent. Fronting you, as you sit, is the Arc de Triomphe du Carrousel, erected under Napoleon I, by Percier and Fontaine, in imitation of the Arch of Septimius Severus at Rome, and once crowned by the famous bronze Roman horses from St. Mark's at Venice. The arch, designed as an approach to the Tuileries during the period of the classi- cal mania, is too small for its present surroundings, since the removal of the Palace. The N. wing, visible to your R, is purely modem, of the age of the First and Second Empire and the Third Republic. The meretricious character of the reliefs in its extreme w. portion, erected under the Emperor Napoleon 1 1 1, and restored after the Commune, is redolent of the spirit of that gaudy period. The S. wing, to your L, forms part of the connecting gallery erected by Henri IV, but its architec- ture is largely obscured by considerable alterations under Napoleon III. Its w. pavilion — known as the Pavilion de Flore — is well worth notice. Having thus gained a first idea of the courtyard fronts of the building, continue your walk, still westward, along the S. wing as far as the Pavilion de Flore, a remaining portion of the corner edifice which ran into one line with the Palace of the Tuileries (again consult Baedeker's map). Turn round the corner of the Pavilion to examine the s., or River Front of the connecting gallery — one of the finest parts of the whole build- ing, but far less known to ordinary visitors than the cold and uninteresting Northern line along the Rue de Rivoli. The first «.t^%*^j-^5. i 70 PARIS [III. Ill portion, as far as the gateways, belongs originally to the age of Henri IV ; but it was entirely reconstructed under Napoleon III, whose obtrusive N appears in many places on the gateways and elsewhere. Nevertheless, it still preserves, on the whole, some reminiscence of its graceful Renaissance architecture. Beyond the main gateway (with modem bronze Charioteer of the Sun), flanked by the Pavilions de la Tr^moille and de Lesdigui6res, we come upon the long Southern Qallery erected by Catherine de M^dicis, which still preserves almost intact its splendid early French Renaissance decoration. This is one of the noblest portions of the entire building. The N here gives place to H's, and the Renaissance scroll-work and reliefs almost equal those in that portion of the old Louvre which was erected under Francois I". Sit on a seat on the Quay and examine the sculpture. Notice particularly the splendid Porte Jean Goujon, conspicuous from afar by its gilded balcony. Its crowned H's and coats-of-arms are specially interesting examples of the decorative work of the period. Note also the skill with which this almost flat range is relieved by sculpture and decoration so as to make us oblivious of the want of that variety usually given by jutting portions. The end of this long gallery is formed by two handsome windows with balconies. We there come to the connecting Qalirie d' Apollon, of which these windows are the termination, and Anally reach once more a portion of Perraulf s faqade, with its double LL's, erected under Louis XIV, and closely resembling the intenor /afade of the Cour du Louvre. (The N. side you can examine any day as you pass along the Rue de Rivoli. Vou will now have no difficulty in distinguish- ing its various factors— first, on the E., a part of Perrault's/afa//<-». iil conspicuous. Paolo Uccello xvas one of the group of early scientific artists, who endeavoured to improve their knowledge of optics and of the sciences ancillary to painting. ,99. Benozzo Gozzoli. Glory of St. Thomas Aqumas the great Dominican teacher. This is an apotheosis of scholasti- cism, in the person of its chief representative. R and L stand Aristotle and Plato, the heathen philosophers m deferential attitudes, recognising their master. Beneath h.s feet is Gu.l- laume de St. Amour, a vanquished heretic. Below, the entire Church-pope, cardinals, doctors-receiving instruction from St. Thomas. Above, the Eternal Father signifying His ap- proval in a Latin inscription, surrounded by the Evangelists with their symbols-angel, winged lion, bull, eagle The in- scription imports, "Thomas has well spoken "f Me. The style is archaic : the council is supposed to be that of Agnani, presided over by Pope Alexander IV. Among the celestial Lrsouages, notice St. Paul, Moses, and others. P'ctures of this double sort, embracing scenes in heaven and on earth, are common in Italy. r»on,;nn Beneath it (287), part 2. Pesello. St. Cosmo and St. Damian affixing the leg of a dead Moor to a wounded Christian on whom they have been compelled to practise amputation. The costumes are the conventional ones for these saints. Remem- ber them. This astounding miracle is often represented at Florence : the dead man's leg grew on the living one. **,82 Fra Angelica. A Coronation of the Virgin, painted for a Dominican church at Fiesole. In the foreground, St. Louis of France, with a crown of fleur-de-lis ; St. Zenobms, Bishop of Florence, with the lamb of the Baptist on his crosier (indicating his see) ; St. Mary Magdalen, in red, with long yellow hair (so almost always), and (her symbol) the box of ox^M^Jy Catherine with her wheel ; St. Agnes with her lamb, and others. Above St. Louis stands St. Dominic, founder of Fra Angelicos order, recognisable by his robes, with his red star and white lily (the usual attributes) ; beneath him, a little to the R, St. Thomas Aquinas, with a book sending forth rays of light to signify his teaching function. Near him St. Francis^ Other Saints, such as St. Lawrence w. ;i h.s gridiron, and St Peter Martyr, the Dominican, with his wounded head, must be left to [HI. jroiip of early leir knowledge T >• 3 Aquinas, the iis of scholasti- R and L stand , in deferential lis feet is Guil- ;low, the entire nstruction from lifying His ap- the Evangelists eagle. The in- of Me." The that of Agnani, ing the celestial !rs. Pictures of id on earth, are and St. Damian ed Christian, on nputation. The saints. Remem- 1 represented at ng one. Virgin, painted for [round, St. Louis nobius, Bishop of rosier (indicating ig yellow hair (so of ointment ; S* lamb, and others, of Fra Angelico's id star and white ttle to the R, St. 1 rays of light, to ;. Francis. Other jr, and St. Peter id, must be left to ISS (II.] RENAISSANCE PARIS THE (.LOW RE) 79 the spectator. In the background, choirs of angels. Beneath, in the predella, the history of St. Dominic (marked by a red star) ; Pope Innocent in a dream sees him sustaining the falling Church (a Dominican variant of the story of St. Francis in the Giotto, at rhe end) : he receives his commission from St. Peter and St. Paul ; he restores to life the young man Napoleon, killed by a fall from a horse (seen to left) ; he converts heretics and burns their books ; he is fed with hi? brethren by angels in his convent at Rome ; and his death and apotheosis. This picture deserves most careful study— say two hours. It is one of Fra Angelico's finest easel paintings (his best are frescoes), and it is full of interest for its glorification of the Dominicans. Com- pare the St. Thomas Aquinas with Benozzo Gozzoli's : and remember in studying the predella that St. Dominic founded the Inquisition. The tender painting of this lovely work needs no commendation. 222. School of FiUppo Lippi. Madonna and angels, charac- teristic of the type of this painter and his followers. Above it, Neri di Bicci. Madonna, very wooden. He was a belated Giottesque, who turned out such antiquated types by hundreds in the isth century. School of Benozzo Gozzoli. Madonna and Child. L, St. Cosmo and St. Damian, with pens and surgeons' boxes -, St. Jerome, with stone, lion, and cardinal's hat ; his pen and book denote him as translator of the Vulgate. R, St. John Baptist (representing Florence) ; St. Francis with the Stigmata ; St. Lawrence. The combination of Saints shows the picture to have been painted in compliment to Lorenzo de' Medici. Minor subjects around it are worthy of study. Now cross over tfie room again. You come at once upon four pictures of nearly the same size, painted for the Court of the Gonzaga family at Mantua. Allegorical subjects, intended for the decoration of a hall or boudoir. Most of those pictures we have hitherto examined have been sacred : we now get an indication of the nascent Renaissance taste for myth and allegory. 429. Perugino. Combat of Love and Chastity. A frequent subject for such situations, showing Perugino at his worst. Compare it with the other three of the series. \ 80 PARIS [ill. in 253. Mantegna. Wisdom conquering the Vices. A charac- teristic but unpleasing example of this great Paduan painter. Admirable in anatomy, drawing, and perspective: poor in effect. Observe the festoons in the background, which are favourites with the artist and his school. ♦252. Mantegna. The amours of Mars and Venus dis- covered by (her husband) Vulcan. A beautiful composition. The guilty pair, with a couch, stand on a mountain, represent- ing Parnassus, accompanied by Cupid. Below, exquisite group of the Nine Muses dancing (afterwards imitated by Guido). To the L, Apollo with his lyre, as musician. R, Mercury and Pegasus. In the background, the injured Vulcan discovering the lovers. This splendid specimen of early Renaissance art is one of Mantegna's finest. Study it in detail, and compare with the other three which it accompanies. Observe the life and movement in the dancing Muses : also, the growing Renaissance love for the nude, exemplified in the Venus. 154. Cw/a. The Court of Isabella d'Este. The meaning of the figures is now undecipherable, but the general character indicates peace, and devotion to literature, science and art. A fine example of the Ferrarese master. Between these four, ** Mantegna ; (251), Madonna della Vit- toria, a most characteristic picture, painted for Giovanni Francesco Gonzaga, Marquis of Mantua, to commemorate his victory over Charles VIII of France. The Madonna is en- throned under a most characteristic canopy of fruit and flowers, with pendents of coral and other decorative adjuncts, l, Gonza- ga himself, kneeling in gratitude— a ruffianly face, well-painted. R, St. Elizabeth, mother of the Baptist, with St. John Baptist himself, representing the Marquis's wife. Behind, the patron Saints of Mantua, who assisted in the victory : St. Michael the Archangel (the warrior saint— a most noble figure), St. Andrew (Mantegna's name-Saint), St. Longinus, who pierced the side of Christ, and St. George. The whole is exquisitely beautiful. The detail deserves long and attentive study. The reliefs on the pedestal are characteristic. From the church of the same name, erected in commemoration of the victory (of the Taro), I will return hereafter at greater length to this lovely picture. Above, to the L (*4i8), Cosiino Tura. PictJi, or body of Christ we inj an mi fur { Ro ing 1 rou cha abs the; I Flo pail sam 2: espe the app the Visi r.ic, mea quel the< Bl Chil(f *^ ease and! ally f thei bacli Mar neeo ideal unbq [ill. IS. A charac- iduan painter. poor in effect. are favourites d Venus dis- 1 composition, ain, represent- ixquisite group 5d by Guido). Mercury and m discovering Lenaissance art , and compare bserve the life the growing ! Venus, he meaning of leral character ce and art. A )nna della Vit- for Giovanni mmemorate his [adonna is en- uit and flowers, lets. L, Gonza- e, well-painted, t. John Baptist ind, the patron St. Michael the ire), St. Andrew ;rced the side of sitely beautiful. The reliefs on rch of the same y (of the Taro). lovely picture. ir body of Christ III.] RENAISSANCE PARIS {THE LOUVRE) 8l wept over by the Madonna and angels. In drawing and colour- ing, a characteristic example of this harsh, but very original and powerful, Ferrarese master. You will come hereafter on many Pictks. Compare them all, and note the attitude and functions of the angels. Cross over again to the opposite side. (183), Botticelli. Round Madonna and angels, very characteristic as to the draw- ing, but inferior in technique to most of his works. 121. Filippo Lippi. Madonna in Glory, with angels. The roundness of the faces, especially in the child angels, is very characteristic. At her feet, two Florentine patron saints. The absence of symbols makes them difficult to identify, but I think they represent St. Zenobius and St. Antonine. Very fine. 184. Botticelli. Madonna and Child, with St. John ot Florence. The wistful expressions strike the key-note of this painter. Compare with nameless Florentine Madonna of the same school above it. 220. Fra Filippo Lippi. Nativity. Worthy of careful study, especially for the accessories : St. Joseph, the stall and bottle, the saddle, ox and ass, and wattles, ruined temple, etc., which re- appear in many similar pictures. Not a favourable example of the master. Beneath it, little fragments with St. Peter Martyr, Visitation, Christ and Magdalen, meeting of Francis and Domi- nic, and St. Paul the Hermit. An odd conglomeration, whose meaning cannot now be deciphered. The ruined temple, fre- quently seen in Nativities and Adorations of the Magi, typifies the downfall of Paganism before the advance of Christianity. Beside it, Ghirlandajo. Portrait of bottle-nosed man and child. Admirable and characteristic. ** 202. Ghirlandajo. Visitation. Probably the master's finest easel picture. Splendid colour. Attitudes of the Madonna and St. Elizabeth characteristic of the type. The scene habitu- ally takes place in front of a portal, as here, with the heads of the main actors more or less silhouetted against the arch in the background. At the sides, Mary Salome, and "the other Mary." Such saints are introduced merely as spectators : they need not even be contemporary : they are included in purely ideal groupings. At Florence, in a similar scene, the as yet unborn St. John the Baptist stands by as an assessor. F ,8s. Venus and Cupid, of the school of BoUicelli. Very **' 347"L«>«« Rosselli. Madonna in an almond-shaped glory (Mandorla) of red and blue cherubs. L, the Magdalen ; R. S • Bernard, to whom she appeared, writing down h.s v.s.on ; ab cut adoring angels. A characteristic example of this harsh Floren- ""* rwe'come at once upon the High Renaissance \n Lorenzo di CredPs beautiful Virgin and Child, flanked by St. Juhan and St Nicholas. Observe the three balls of gold in the corner by the lattefs feet, representative of the three purses thrown to he nobleman's daughters. Notice also the R----« ^f^ tecture and decorations. In pictures of th.s class, the samts to accompany the Madonna were ordered \,y the person g.vmg the commission; the artist could only exercise h^ *^r'*'°Ttie the grouping. Notice how this varies with the advance of the Renaissance: at first stiffly placed in pairs, the samts finaUy foTa group with characteristic action. The execution of this Sy work shows Lorenzo as one of the finest art.sts of h.s ^"t^Bianchi, a rare Ferrarese master. Madonna enthroned, with Saints. The angel on the step is characteristically Per- rarese. as are also the reliefs and architecture. 467. Ascetic figure of San Giovanni di Cap.strano. 435. School of Perugino. Little Madorjna, m an almo^d. shtped glory of cherubs. The shape belongs to Christ, or '-t^^T^T^, containing the story of Europa and the Bull. Several episodes are combined in a single picture. To the extreme L, the transformed lover, like the prince in a fairy tale. Most gracefully treated 61 Bellini. Madonna and Child, between St Peter and St. Sebastian ; a plague picture. These half-length Madonnas are very characteristic of Venetian art of the period. The Ma- donna's face and strong neck also very Venetian. Obsen . them as the type on which Titian's are modelled. Look long at this soft and melting picture. The gentle noble face, the dainty dress?the beautiful painting of the nude in the St. Sebastian, are all redolent of the finest age of Venetian painting. id-shaped glory agdalen ; R, St. lis vision ; abc ut, is harsh Floren- sance in Lorenzo ly St. Julian and in the corner by (urses thrown to inaissance archi- ass, the saints to person giving the ! discretion as to e advance of the the saints finally execution of this lest artists of his ionna enthroned, acteristically Fer- strano. a, in an almotid- ngs to Christ, or story of Europa lined in a single ed lover, like the ;d. St Peter and St. igth Madonnas are period. The Ma- ian. Obser'"! them Look long at this le face, the dainty the St. Sebastian, painting. RENAISSANCE PARIS {THE LOUVRE) 83 Above it, a good Tura. Compare with previous one. 60. School of Gentile Bellini. Venetian ambassador re- ceived at Cairo. Oriental tinge frequent at Venice. This gate can still be recognised at Cairo. The figures are all portraits, and the painter probably accompanied the ambassador, Domenico Trevisano. Beneath it (59), two fine portraits by Gentile Bellini. 664. Characteristic little Montagna ; angels at the base of a Madonna now destroyed. Compare the Bianchi almost oppo- site. Such angels are frequent in the school of Bellini. 152. Attributed to Cima. Madonna Enthroned, with St. John Baptist and the Magdalen. These lofty thrones and landscape backgrounds of the Friuli country are frequent with Cima and Venetian painters of his period. 113. Carpaccio, Preaching of St. Stephen. One of a series of the Life of St Stephen, now scattered. The saint is in deacon's robes, as usual ; oriental costumes mark the inter- course of Venice with the East. Observe the architecture, a graceful compound of Venetian and oriental. Over the doorway. Fresco of God the Father, in an almond- shaped glory, from the Villa Magliana. Purchased as a Raphael, probably by Lo Spagna. Return frequently to this room, and study it deeply. It will give you the key to all the others. Now traverse the Salon Carrd and enter the Salle DuchAtel. On the R wall are two exquisite frescoes by Luini, removed entire from walls in Milan. To the l, the Adoration of the Magi, exquisitely tender and graceful ; study it closely as an example both of painter and subject, noting the ages and atti- tudes of the Three Kings, the youngest (as usual) a Moor, and the exquisite face and form of the Madonna. To the R, a Nativity, equally characteristic. Look long at them. Between, Christ blessing, not quite so beautiful ; and Genii with grapes, an antique motive. Above are three other frescoes of the school of Luini, not so fine. Centre, Annunciation, the Madonna separated (as often) from the angel by a lily. The Madonna never approaches the angel, and is usually dividtd by a wall or barrier. I •;( Mi 84 PARIS [III. On the screen by door, good portraits by Antonio Mora. Other side of door (680), Madonna and Child, wUh the donors of the picture, by Hans Memling. This beautiful Flemish picture well represents the characteristics of Flemish as opposed to Italian art. Notice the want of ideality in the Virgin and Child, contrasted with the admirable portraiture of the donors, the chief of whom is introduced by his namesake, St James, recognisable by his staff and scallop-shell. Ihe female donors, several of whom are Dominican nuns, are similarly introduced by their founder, St. Dominic, whose black-and-white robes and star-like halo serve to identify h.m. Observe the exquisite finish of the hair and all the details. Study this work for the Flemish spirit. At the far end of the room are two pictures by Ingres, marking the interval covered by French art during the life- time of thr,t great painter. L, (Edipus and the Sphinx pro- duced in the classical period of the master's youth while he was still under the malign influence of David. R, La Source perhaps the most exquisitely virginal delineation of the nude ever achieved in painting. After having traversed these two rooms the spectator will probably be able to attack the Salon Carr^, which contains what are considered by the authorities as the Ims of the collection, irrespective of period or country (a very feg^ettable jumble). Almost all of them, therefore, deserve auen on. I shall direct notice here chiefly to those which "e some explanation. Begin to the L of the door which leads from the Salle Duchatel. Clo e to the door, Apollo and Marsyas : a delicate 1. tie P^rZno, attributed to Raphael. Good treatment of the nude Ind painted like a miniature. Renaissance feel.ng. Compare it ^ith the St. Sebastian in the Salle des Pr.m.tifs^ Above it, Jehan de Paris. Madonna and Ch, d, with the donors ; a hlracteiistic and exceptionally beautiful exarnple of the eariy French school. Contrast its character with the Italian and Flemish. Extremely regal and fond of tinsel ornament. [HI. mio Moro. Ihild, with the This beautiful tics of Flemish ■ ideality in the : portraiture of his namesake, lop-shell. The lean nuns, are )ominic, whose to identify him. all the details. iires by Ingres, during the life- he Sphinx, pro- youth, while he . R, La Source, tion of the nude he spectator will uthorities as the ir country (a very herefore, deserve r to those which f the door which : a delicate little reatntent of the laissance feeling, ille des Primitifs. d Child, with the autiful example of laracter with the id fond of tinsel li iiiiiiil III.] RENAISSANCE PARIS {THE LOUVRE) 85 20. Correggio. Jupiter and Antiope, a good example of his Correggiosity and marvellous arrangement of light and shade. Very late Renaissance. Perfection of art ; very little feeling. •446. Titian. Entombment. A fine but faded example of the colour and treatment of the prince of the Venetian Re- naissance. 231. Luini. Virgin and Child. Not a pleasing example. •419 and ••417. Two admirable portraits by Rembrandt. ••250. Mantegm. Crucifixion, predella or base of the great picture in San Zeno at Verona. Notice the admirable antique character of the soldiers casting lots for Christ's raiment. The rocks are very Mantegnesque in treatment. One of the artist's finest pictures. Spend some time before it. We will return again to this fine painting. 381. Andrea del Sarto. Holy Family. Showing well the character of this master's tender and melting colour : also, the altered Renaissance treatment of the subject. Beyond the doorway, two dainty little Mendings. Marriage of St. Catherine (the Alexandrian princess) to the Infant Christ ; and, the Donor with St. John Baptist and his lamb. When a saint places his hand on a votary's shoulder, it usually indicates ihe patron whose name the votary bears. Near it, graceful little St. Sebastian of the Umbrian school. Compare with others. This plague-saint is one of the few to whom mediaeval piety permitted nudity. *37o. Raphael. The great St. Michael, painted for Frangois I". Admirable in its instantaneous dramatic action. This pic- ture may be taken, in its spirit and vigour, as marking the cul- minating point of the Italian Renais.'iance as here represented. Near it, Titian. The Man with the Glove : a fine portrait. **I9. Correggio. The Marriage of St. Catherine. This is a characteristic treatment, by the great painter of Parma, of this mystical subject. St. Catherine is treated as an Italian princess of his own time, on whose finger the infant Christ playfully places a ring. The action has absolutely no mystic solemnity. Behind, stands St. Sebastian, with his arrows to mark him (without them you would not know him from a classical figure), looking on with amused attention. His smile is lovely. In the background, episodes of the martyrdom of Tl .ffp 86 PARIS h\ [m. !^5 |i t St. Sebastian, proving this to be probably a plague picture. But the whole work, though admirable as art, has in it nothing of religion, and may be aptly compared as to tone with the Education of Cupid by the same artist in the National Gallery. Nothing could surpass the beauty of the light and shade, and the exquisite colouring. Study it as a type of the last word of the humanist Renaissance against medi.xval spirituality. Com- pare it with the Memling close by ; nnd, if you have been at Milan, with the exquisitely dainty Luini in tha Toldi-Pezzoli Museum. Above it, a Holy Family by Murillo. Spanish and theatrical. The greater part ot this wall is taken up by an enormous canvas (95), by Paolo Veronese, representing the Marriage at Cana of Galilee, from the refectory (or dining-hall) of San Giorgio Maggiore at Venice. Pictures of this subject, or of the Last Supper, or of the Feast in the House of Levi, were constantly placed as appropriate decorations to fill the end wall of monastic refectories (like the famous Lionardo at Mila..), and were often therefore gigantic in size. This mon- strous and very effective composition (proudly pointed out by the guides as " the largest oil painting in the world ") contains nothing of sacred, and merely leflects with admirable skill the lordly character of the Italian Renaissance. In the centre of the table, one barely notices the figures of the Christ and the Madonna. Attention is distracted both from them and from the miracle of the wine by the splendid architecture of the background, the loggias, the accessories, and the gorgeous guests, many of them representing contemporary sovereigns (among them Francois I", Eleanor of Austria, Charles V, and Sultan Soliman). The group of musicians in the centre fore- ground is also composed of portraits — this time of contem- porary painters (Titian, Tintoretto, etc.). As a whole, a most characteristic picture both of the painter and his epoch, worth some study, and full of good detail. **39. Giorgione. Pastoral scene, with nude figures. One of the few undoubted pictures by this master, whose genuineness is admitted by Morelli, though much repainted. Should be studied as an example of the full flush of the Venetian Renais- sance, and of the great master who so deeply affected it. 1 lague picture, in it nothing tone with the tional Gallery, ind shade, and s last word of tuality. Com- u have been at B I'oldi-Pezzoli and theatrical, y an enormous ie Marriage at g-hall) of San 1 subject, or of e of Levi, were to fill the end IS Lionardo at ize. This mon- pointed out by irorld") contains nirable skill the In the centre of » Christ and the them and from :hitecture of the id the gorgeous orary sovereigns I, Charles V, and I the centre fore- time of contem- 5 a whole, a most his epoch, worth : figures. One of hose genuineness inted. Should be Venetian Renais- leeply affected it. RENAISSANCE PARIS {THE LOUVRE) 87 Notice the admirable painting of the nude, and the fine land- scape in the background. Contrast with the Bellinis in the Salle des Primilifs, in order to mark time and show the advance in technique and spirit. Giorgione set a fashion, followed later by Titian and others. Compare this work with Titian's Jupiter and Antiope in the Long Gallery. Above it (*427) /?«*^«J. Adoration of the Magi. A splendid picture. Interesting also as showing how far Rubens trans- formed the conceptions of the earlier masters. Compare it with the Luini in the Salle Duchdtel, and other Adorations in this gallery. Full of gorgeousness, dash, and certainty of execu- tion. 37. Anifltiello (la Messina. Characteristic hard-faced portrait hy this exrellent .Sirilian artist. **459. I imttiio- St. Anne and the Virgin. This great Arlitt can be better studied in the Louvre than anywhere else in the world. This picture, not perhaps entirely by his ow/ hand, is noticeable for th« beautiful and very Ijonardesque face of St. Anne, the playful figU*6 /// the infant Christ, and the admir- able blue-toned landscape in the background. The sjniles are also thoroughly Lionardesque. Notice the excellent drawing of the feet. The curious composition —the Virgin sitting on St. Anne's lap— is traditional. Two or three examples of it occur in the National Gallery. Lionardo transformed it. He is the great scientific artist of the Florentine Renaissance. 208. Hans Holbein, the younger. Admirable portrait of Erasmus. Full of character. Note carefully. The hands alone are worth much study. How soft they are, and how absolutely the hands of a scholar immersed in his reading and writing. 108. Clouet. Elizabeth of Austria. A fine example of the early French school, marking well its hard manner and literal accuracy. It shows the style in vogue in Paris before the School of Fontainebleau (Italian artists introduced by Frangois I") had brought in Renaissance methods. **i62. Van Eyck. Madonna and Child, with the Chancellor Rollin in adoration. Perhaps Van Eyck's masterpiece. Notice the comparatively wooden Flemish Madonna and Child, con- trasted with the indubitable vitality and character in the face of the Chancellor. This picture is a splendid example of the 88 PARIS [Ul. highest evolution of that type in which a votary is exhibited adoring the Madonna— the primitive form of portrait : " paint me in the corner, as giving the picture." Every detail of this finished work deserves long and close inspection. Notice the elaboration of the ornaments, and the delicious glimpse of landscape through the arcade in the background. Compare with the Memlings ; also, with contemporary Italian work m the Salle des Primitifs. ♦•362. Raphael. Madonna and Child, with infant St. John, known as La Belle Jardiniire. To the familiar group of the Madonna and Child, Florentine painters and sculptors early added the infant Baptist, as patron of their city, thus forming a graceful pyramidal composition. This exquisite picture, by far the most beautiful Raphael in the Louvre, belongs to the great painter's Florentine period. It should be compared with the very similar Madonna del Cardellino in the Uffiri at Florence. For simplicity of treatment and beauty of colouring this seems to me the loveliest of Raphael's Madonnas, with the exception of the Granduca. Look at it long, for colour, design, and tender feeling. Then go back to the St. Michael, and see how, as Raphael gains in dramatic vigour, he loses in charm. 407. Rembrandt. Christ and the Disciples at Emmaus. A fine study in light and shade, and full of art, but not a sacred picture. Compare with other pictures of the scene in this gallery. The feeling is merely domestic. 433. Rubens. Tomyris, Queen of the Scythians, with the head of Cyrus. A fine, vigorous painting, with the action frankly transferred to the court of Henri IV. Dash and colour and all the Rubens attributes. 365. Raphael. Small Holy Family. 364. Raphael. Holy Family, known as the "Sainte Famille de Francois I" " : Joseph, Madonna, infant Christ, St. Eliza- beth and the Baptist, and adoring angels. Belongs to Raphael's Roman period, and already vaguely heralds the de- cadence. Admirable in composition and painting, but lackmg the simplicity and delicacy of colour of his earlier work. Com- pare it with the Belle Jardiniisre. It marks the distance traversed in art during his lifetime. The knowledge is far greater, the feeling less. [III. is exhibited rait : " paint detail of this Notice the I glimpse of d. Compare ilian work in ant St. John, group of the ulptors early lus forming a )icture, by far s to the great ired with the . at Florence, ng this seems the exception r, design, and , and see how, iharm. Emmaus. A not a sacred scene in this lans, with the th the action ish and colour Jainte Famille rist, St. Eliza- Belongs to [eralds the de- ig, but lacking r work. Com- 3 the distance owledge is far III] RENAISSANCE PARIS {THE LOUVRE) 89 **i42. Van Dyck. Charles I. A famous and splendid por- trait, with all the courtly grace of this stately painter. ♦♦462. Lionardo. Portrait of Mona Lisa. Most undoubted work of the master in existence. Has lost much of its flesh tints by darkening, but is still subtly beautiful. Compare with any of the portraits in the Salle des Primitifs, in •■ Jer to understand the increase in science which made Lionardo the prince and leader of the Renaissance. The sweet and sphinx- like smile is particularly characteristic. Observe the exquisite modelling of the hands, and the dainty landscape background. Do not hurry away from it. 363. Raphael. Madonna with the infant St. John, known as " La Vierge au Voile." A work of his early Roman period, intermediate in style between the Belle Jardiniere and the Francois I". Compare them carefully. Above it (379) Andrea del Sarto. Charity. A fine example of Andrea's soft and tender colouring. ^523. Portrait of a young man. Long attributed to Raphael. More probably Franciabigio. Pensive and dignified. 452. Titian. Alphonso of Ferrara and his Mistress. A fine portrait, with its colour largely faded. Above it, 1 54. Good portrait by Van Dyck. 539. Murillo. The Immaculate Conception. Luminous and pretty, in an affected showy Spanish manner. Fore- shadows the modern religious art of the people. An immense favourite with the inartistic public. **i2i. Gerard Dou. The Dropsical Woman. A triumph of Dutch painting of light and shade and detail. Faces like miniatures. The lamp and curtain like nature. Illuminated on the darkest day. Examine it attentively. 293. Metsu. Officer and Lady. Another masterpiece of Dutch minuteness, but far less fine in execution. 526. Ter Borch. Similar subject treated with coarse direct- ness. **55J. Velasquez, The Infanta Marguerite — a famous portrait. A little above it (229), Sehastiano del Piombo. Visitation. Compare with the Ghirlandajo in the Salle des Primitifs. A very favourable example of this Venetian master, painted in ^■fl 'm ^ /a / i. o / A \ IMAGE EVALUATION TEST TARGET (MT-S) 1.0 "" IIIIIM |5 == .? IIIIIM I.I i4£ iiiiii 1.8 1.25 U iii.6 Photographic Sciences Corporation fV ^\^^ \\ «^ <^ '^'^ c> 33 WEST MAIN STREET WEBSTER, N.Y 14580 (716) 872-4503 ' H W - 'l' .* ! ' - Ji W" CIHM/ICMH Microfiche Series. CIHIVE/ICIVIH Collection de microfiches. Canadian Institute for Historical Microreproductions / Institut Canadian de microreproductions historiques 90 PARIS [III. rivilrv with Raphael. It v/ell exhibits the height often aualned. even b/n,inor masters, at the culminatmg pent of the Renaissance. ^ K^r(»««^. Above, occupying a large part of the ^a". J" Christ and the Magdalen, at the ^-^F'^ZZ^^'^^L'^Z Another refectory picture, treated m V"^"" 'X We WWings the Venetians ot .his gotseous age chose rathe, fte pSa ot some mighty Renaissance Italian cty. He,., ,hea«hitec.u„™ca)U*e^«,|.^S^».m. ^ ^ ^^^^ ceIt«;'^".,1kirTam"rthL b, conttas. with *e century, '°»"'' ?", a„s of art beneath thern. Return to them CX;;:!: h^e :Smtd th. w„U. ,, the French arUsu in later rooms of this Gallery. Now proceed into the LONG GALLIRY , ,. u- u which contains in its Flr.t Comp. .tment works of the High R.nls°nce masters, transitional rom the conventionality of fhe'^rto the freedom of the .6tl., and the theatrical tendency of the ml centuries. Beg::, on the t. and follow that wall as '"/inl^trSTwith Madonna and St. John, and Job S>-^ti:^^:-:;^S'^»f- jSer,trthe church of San Giobbe. patriarch and plague- "■:S*^«*.^1?rAdoration of the Magi. Note coincidences with °^^S Franda. Madonna. A fair example. S^"". St. Jerome in the Desert I- .resting as ci,„«ina a later treatment of this familiar subjei... , , . ., ^T/«'W' HOI, rami,,. A 8-> J contrast with the ;m. Return to them I the French artists t works of the High e conventionality of e theatrical tendency i follow that wall as id St. John, and Job ly indicating a votive the great Bolognese )atriarch and plague- ote coincidences with pie. iert. !" cresting as subjei-v. specimen of Luini's in the Salle DuchAtel. RENAISSANCE PARIS (THE LOUVRE) 9^ The hair is characteristic, also the ova: face and cast of '"Near it. two works by Marco da O^^giono, a pupil of Lionard- His work and Luini's should be compared with that of the founder of the school. The differences and «g««-«"^J^;^^ be observed. Notice also the surv.vals t.om earlier e^tment 354. Sacchi. The Four Doctors of the Church, attended by the Symbols of the Four EvangeUsts. This .s a composition which frequently recurs in early art. ^^ St. Augustme holding hi. book «De Civitate Dei," with the Eagle of St. John Next, St. Gregory, inspired by the Holy Spirit as a dove, and accom- Lied b7the Bull of St Luke. Then, St. Jerome, jn h.s cTrdinal's hat. with the Angel of St. Matthew. Lastly, St^ Ambrose with his scourge (alluding to his act.on •« jlosmg he door, of the church at Milan on the E-pcrorTheodosms after the mascacre of Thessalonica). --"""P^^, ^^^^'^ " X Lion of St. Mark. An interesting symbolical composition, deserving close study. . , „. 232. Luini. The daughter of Herodias with the head of St John Baptist A favourite subject with the artist, who often repLed it Compare it with his other works in this gallery, till you feel you begin to understand Luini. . Above it, Borgognone. Presentation in the Temple In the paUid CO louring^culiar to this charming Lombard master. Serve the po!i tbns of the High Priest and other personages. 85. Borgognone. St. Peter Martyr introducing or commend- ing a Lady Donor to the Madonna. One panel of a triptych tie rest of it is wanting. Look out for similar figures of s^nts producing votaries. St. Peter Martyr has usually a wound or a knife in his head, to indicate the mode of his martyrdom. Beneath, a quaint little Lionardesque Annunciation. Solano. Calvary, characteristic of the School of L.onardo. Beneath it, 394. ^Solario. Madonna with the Gje^n ^ush.^^^^^ His masterpiece, a graceful and tender work, exhibiting the irrowine taste of the Renaissance. '4IS Attributed to Lionardo. The young St John Bapt.s^. Hair, smile and treatment characteristic ; but PO^'^ly a copy^ You will meet with many similar St Johns in Florentine sculpture below hereafter. ^ 92 PARIS 465. School of nonar^o. Holy Fam.ly. St. M > Jae^ h« ArchanKel oddly introduced in order to permit the Chdd Chnst fo play with the scales in which he weighs souls-a cunous Real's ance conception, wholly out of keeping w.th earher ''TTu!^: "LaViergeauxRochers... A repljcaj the picture in the National GalK y in London Much faded but probably genuine. Examine closely the rocks, the ^^;rXJ;'GoXttraitofCharlesd.Amboise.amemb^^^^ of ihe great French family who will frequently crop up m con- nection with the Renaissance. n^mardino 46.. Attributed to Uonardo, more probably ^^'^'^^^ dd Conti. Portrait of a Lady. Compare w.th the Mona Lisa, as exhibiting well the real advance in portraiture made by "-'Z Aitributed to Lionardo, but probably spurious ; Bacchus, a fine youthful figure, begun as a St. John Baptist, and after wards Iltered. Compare with the other St. John Baptist near "^^Beltraffio. The Madonna of the Casio family. A character- Utic Lionf desque virgin, attended by St. John ^JP- and th^^^ bleeding St. Sebastian. (A votive picture.) By her side kneei Jwo members of the Casio family, one the poet of that name cTowned with laurel. Intermediate Renaissance treatment of the Madonna and donors. 78 and 79. Good Franciscan saints, by Moretto. Between them, 298. Charming Girolamo dai Ubri We now come upon a magnificent series of works by Titian. in whom the Venetian School, ill-represented m its ongin in the Salle des Primitifs, finds its culminating point. ^:1 Titian. The Madonna with the Rabbit. This is one of a group of Titian's Madonnas (several examples here) m Ikh he endeavours to transform Bellini's type (see the speci- men in the Salle des Primitifs) into an ideal of the .6th century. Th: VIL is here attended by St. Catherine of Alexandna, marked as a princess by her coronet and pearls. The child. burS from' her arms, plays with the -bb.t Once more a notion far-removed from primitive piety. Notice the back- [in. St. Michael the t the Child Christ souls— a curious ping with earlier •s." A replica of on. Much faded, the rocks, the mboise, a member ly crop up in con- ibably Bernardino ith the Mona Lisa, rtraiture made by spurious ; Bacchus, Baptist, and after- , John Baptist near mily. A character- >hn Baptist and the By her side kneel poet of that name, ssance treatment of Moretto. dai Ubri. of works by Titian, ited in its origin in 1 point. Rabbit. This is one il examples here) in i type (see the speci- il of the 1 6th century, herine of Alexandria, I pearls. The child, rabbit. Once more y. Notice the back- in.] RENAISSANCE PARIS (THE LOUVR.^) 93 ground of Titian's own country. Landscape is now beginning to struggle for recognition. Earlier art was all figui^s, first sacred, then also mythologies'. 445. Titian. The Crown of Thorns. A powerful but very painful painting. The artist is chiei^y occupied with anatomy and the presentation of writhing emotion. The spiritual is lost in muscular action. , • .u **443. litian. The Disciples at Emmaus. Treated in the contemporary Venetian manner. This is again a subject whose variations can be well traced in this gallery. 451'* Titian. Allegory of a husband who leaves for a cam- paign, commending his wife to Love and Chastity. Finely painted. _ , 450 Titian. Portrait ol Francois I". Famous as having been painted without a sitting-the artist had never even seen the king. He took the face from a medal. 448. Titian. Council of Trent. Very much to order. Above it, *Titian. Jupiter and Antiope. Charming Gior- gionesque treatment of the pastoral nude. Compare with the Giorgione in the Salon Carrd, in order to understand how deeply that great painter influenced his contemporaries. 453. Titian. Fine portrait. 439. Titian. Madonna with St. Stephen, St. Ambrose, and St Maurice the soldier. Observe the divergence from the older method of painting the accompanying saints. Originally grouped on either side the Madonna, they are here transformed into the natural group called in Italian, a " santa conversazi- one." Look at the stages of this process in the Salle des Priinitifs and this Long Gallery. 442 Titian. Another Holy Family. Interesting from the free mode of its treatment, in contrast with Bellini and earlier artists. ♦*455. Titian. Magnificent portrait. Above these are several excellent Bassanos, worthy of study. Compare together all these Venetian xrorks (Bonifazio etc.), lordly products of a great aristocratic mercantile community ; and with them, the Veroneses of the Salon Carre, where the type attains a characteristic development. 94 PARTS [III. Now return to the door by the SaJon Carr^ and examine the R Wall. . „ Poor Pinturicchio, and two inferior Piriigtnos. 403. Lo Spagm. Nativity. Characteristic example of this scholar of Perugino and fellow-pupil of Raphael. Notice its Peruginesque treatment. Examine in detail and compare with the two other painters. As a Nativity, it is full of the conven- tional elements. , . »f •« u« 189. Raffaellino del Garbo. Coronation of the Virgin, be- held from below by four attendant saints of, or connected with, the Vallombrosan order-St. Benedict ^r^^f^'-^Z Giovanni Gualberto, and San Bernardo degli Uberti. These were the patrons of Vallombrosa ; and the picture comes from the Church of St. Salvi, at Florence. 246. Manni. Baptism in Jordan. Observe, as usual, the attendant angels, though the simplicity of early treatment has wholly disappeared. The head-dresres are characteristic of the School of Perugino. Compare with Lo Spagnas Na- *' Abi)ve it (496) Florentine Madonna, with St. Augustine, St. John Baptist, St. Antony and St. Francis. Observe their sym- bols I do not always now call attention to these ; but the more you observe them, the better you will understand each picture as you come to it. . , . a ^ 4o Lvca Signorelli. Adoration of the Magi. A fine ex- ainple of the mode of treatment of this excellent anatomical painter, the forerunner of Michael Angelo. It needs long look- '""VS^ Piero di Cosimo. Coronation of the Virgin, with St. Jerome, St, Francis, St. Louis of Toulouse and St Bonaventura^ Compare with Raffaelino del Garbo. close by. for ^e douWe scene, on earth and in heaven. Notice the crown which Lou.s refused, in order to embrace the monastic profession. This is a Franciscan picture ; you will find it casts much light on assem. Wages of saints if you know for what order each picture was painted. The grouping always means somethtng. 16 Albertinelli. Madonna on a pedestal, with St. Jerome rnd St. Zenobius. Scenes from their legends in the background. A characteristic example of the Florentine Renaissance. The [III. uni and ex&mine vos, c example of this phael. Notice its and compare with full of the conven- of the Virgin, be- ar connected with, Saint Salvi, San [li Uberti. These licture comes from ;rve, as usual, the arly treatment has E characteristic of Lo Spagna's Na- St. Augustine, St. Observe their sym- hese ; but the more rstand each picture i Magi. A fine ex- xcellent anatomical It needs long look- the Virgin, with St. ,nd St. Bonaventura. i by, for the double I crown which Louis irofession. This is a luch light on assem- er each picture was ething. ital, with St. Jerome is in the background. 5 Renaissance. The RENAISSANCE PARIS {THE LOUVRE) 95 grouping is in the style then fast becoming fashionable. Com- pare with Lorenzo di Credi in the Salle des Pr.mit.fs. IXA Pontormo. Visitation. Showing the older Renaissance tendencies. Compare with the Ghirlandajo. and note persist- ence of the arch in the background. •c7 Fra Bartolommeo. Marriage of St. Catherme of S.ena. This is a variant on the legend of the other St. Catherme-of Alexandria. The infant Christ is placing a rmg on the holy nun's finger. Around are attendant sainls-Peler, Vmcent, Stephen, etc. The composition is highly characteristic of the painter and his school. . 380. Andrea del Sarto. Holy Family. Exquisitely soft in outline and colour. . 372. Doubtful. Attributed to Raphael. Charming portrait of a young man. , r, c 1 Beyond it,» two most delicate little pictures of St. George (a man) and St. Michael (an angel, winged) of Raphael very early period. Note the princess in the St. George ; you wil come upon her again. Simple and charming. Trace Raphael s pro- gress in this gallery, by means of Kugler. . • u „ , Beyond them, again, two portraits by Raphael, of which 3/3 is of doubtful authenticity. *366 Raphael. The Young St. John : a noble figure. **367 Raphael. St. Margaret : issuing triumphant from the draeon which has swallowed her. A figure full of feeling and movement, and instinct with his later science. It was painted for Francois I", out of compliment to his sister. Queen Margaret ° Airthese Raphaels should be carefully studied. The great painter began with a certain Peruginesque stiffness, through which nevertheless his own native grace makes itself felt at once • he progressed rapidly in knowledge and skill at Florence and Rome, but showed a tendency in his last works towards the incipient faults of the later Renaissance. By following him here, in conjunction with Florence and Rome, you can gain an idea'of the course of his development. The Second Compartment of the Long Gallery, which we now enter, though containing several works by Titian and other masters of the best period, is mainly devoted to painters of the H 96 PARiS later i6th and 17th century, when the decline in taste was rapid and progrtssive. Notice throughout the substitution of rhe- torical gesture and affected composition for the simplicity of the early masters, or the dignity and truth of the High Renaissance. Begin again on the L wall, containing finer pictures than that opposite. 441. Ti/iaH. Another Holy Family, with St. Cathenne Both women here are Venetian ladies of high rank and of his own period. Observe, however, the persistence of the Madonna's white head-covering. Also, the playfulness intro- duced in the treatment of St. Catherine's palm of martyrdom, and the childish St. John with his lamb. These attributes would have been treated by earlier painters with reverence and solemnity. Titian transfers them into mere pretty accessories. Characteristic landscape background. (The female saint in this work is usually described as St. Agnes, because of the lamb : I think erroneously. The lamb is St. John's, and the St. Catherine merely plays with it.) 88. Calcar. Fine portrait of a young man. 38. Attributed (very doubtfully) to Giorgione. Holy Family, with St. Sebastian, St. Catherine, and the donor, kneeling. A good example of the intermediate treatment of saints in groups of this character. h\>o\t'\i{<)2) Paolo Veronese. Esther and Ahasuerus. Treated in the lordly fashion of a Venetian pageant. Try now to under- stand this Venetian ideal in style and colour. 91. Paolo Veronese. Similar treatment of Susanni^ and the Elders, a traditional religious theme, here distorted into a mere excuse for the nude, in which the Renaissance delighted. **274. Palma Vecchio. Adorat on of the Shepherds. A noble example of this great Venet.an painter. Observe how he transforms the traditional accessories in the background, and employs them in the thorough Venetian spirit. Beyond it, several small Venetian pictures. Self-explanatory, but worthy of close attention ; especially 94. a delicate Paolo Veronese, on a most unusual scale— a Venetian Dominican nun presented by her patroness, St. Cathciine, and St. Joseph to the Madonna. Also, 93, by the same artist, St. George and St. Catherine presenting a Venetian gentleman to the Madonna in taste was rapid iib&titution of rhe- le simplicity of the High Renaissance, pictures than that th St. Catherine ;h rank and of his ersistence of the : playfulness intro- ilm of martyrdom, These attributes with reverence and pretty accessories. lie female saint in les, because of the St. John's, and the ione. Holy Family, ionor, kneeling. A of saints in groups Vhasuerus. Treated Try now to under- r. if Susann?. and the istorted into a mere ice delighted, he Shepherds. A r. Observe how he he background, and rit. 5. Self-explanatory, 94, a delicate Paolo /^enetian Dominican line, and St. Joseph rtist, St. George and nan to the Madonna RENAISSANCE PARIS (THE LOUVRE) 97 and Child. These two saints were the male and female patrons of the Venetian territory ; hence their frequency in Venetian pictures. 99. The Disciples at Emmaus. Another characteristic transformation by Veronese of a traditional scene. The pre- tence of sacredness is very thin. 98. Psface is French all over (Scenes '-- '^'J^- !ion have often in French art such s.de-scenes f'"-" >'7;j] Hnts Several at Cluny.) This picture has been employed "a basis for the restoration of the reliefs in the portals at St. "iSond a«ain. portraits of the early Renaissance, exhibiting " J^ R :^ !:::iS-ore distinctly character;^ of ?hV::Hooro. .K which ,rew up ro^;^-^^;^^ scholars at FonUlneble.u. Among hem "e a Diana hum 7Z\ri the raw material upon which subsequent French art was developed. Beyond the next archway, we ^7\'« »^* /' ^mTon VIS CI. Juh School which deserve almost equal attention w.tn numbered, good specimens of the frank, un.ae "ts. An exqui^e e.;y Annu^^^ shouldbe compared ^'''^^^^"^^/X^ divergence inspirit, similarity "^ «<^«f "^^^'^j'^j^lt^^^^^ efTecfs of light and the dwelling on detail, the Flemish love i shade on brass-work, f^''^'"' ^'^tC in th "volution of charming picture gives us the ""'V ^'^f ^"^^^^^ Dou in the that type of art which culminates m the Oerara t^o Salon Carr^. *4' [III. the early French iiined. Fouquefs I pie of Ihe older ntury Crucifixion, St, Denis. The les from the Pas- incs from lives of IS been employed the portals at St. lissance, exhibiting nctly characteristic 'rimaticcio and his are a Diana hunt- e of Scipio. They eath the first, two id Peter). All the imined carefully, as sequent French art the pictures of the iqual attention with I, as of less interest more briefly. Begin r. Adam and Eve, un- unidealised northern the spirit of which . Notice the general e divergence in spirit, )r effects of light and tc. Notice that this ;e in the evolution of s Gerard Dou in the mj KESAISSANCE PARIS {THE LOUVRE) lOl Deside it, an exquisitely tender Dead Christ. Remarkable for the finish in the background. The QutHtin Matsys is not a worthy representative of the master. Beside it, a quaint and striking group of Votaries, listening to a sermon. Probably a mere excuse for portrait-painting. The character in the faces is essentially Flemish. Fine portrait of a young man with a pink, in a red cap. Triptych, with the Madonna and Child (who may be well compared with those of the Memling in the Salle Uuchiltcl). On the flaps, the donor and his wife, introduced by their patrons, St. John and St. Christopher. Now cross ov<5r to the L sWe. ♦698. Rogier y,m der Wtyden. Excellent Deposition, with a touching St. John, and a very emaciated Dead Christ. These scenes of death p.re extremely common in Flemish and German art, and resulted in a great effort to express poignant emotion, as contrasted with tht calmer ecstatic character of Italian art. **279- QutntiH Matsys. Banker and his v "fe. An admir- able and celebrated picture, with marvellous detail, of which there are variants elsewhere. Notice the crystal vase, mirror, leaves of book, and objects on shelves in background. The fur is exquisitely painted. *288 and 289. Two beautiful little Memlings. 588. Most characteristic and finifiheJ Holy Family. 699. Memling. St. Sebastian, Resurrection, Ascension. Compare the first with Italian examples. Notice the extra- ordinarily minute work in the armour and accessories, contrasted with the blank and meaningless face of the Risen Saviour. Flemish art, perfect in execution, seldom attains high ideals. 277 and 278. Mabuse. Virgin and donor. Excellent. **596. Gerard David. Marriage at Cana. A splendid specimen of this great and insufficiently recognised painter. Background of buildings at Bruges. Every face and every portion of the decorative work, including the jars in the fore- ground, should be closely noticed. The kneeling donor is an admirable portrait. As a whole, what a contrast to the Paolo Veronese I The pretty, innocent face of the bride, with her air _jj' 102 PARIS [ni. or.utewonder.is excellently renderedjb^^^^^^ this work is a younger P°>^^f ' °^;^;„,^Sery glorious Gerard Javid m the National ^J^^^' ^^^,^^ Skied above all these pictures °l^']^^'J^l,^,,,^ mostly works by Van ^^-. >« ^^^/if ^^i^ goo^ worthy of notice. Among them, 136. I^"" ^J" ' « with the Magdalen and other ^amts. ^^^^^^. We now come^to ^'^^J^^,,'^,",,'^ inflated allegorical the History of Marie de «*»'«"' "1^ . spectator should style of the period. To undersUnd tje-. th^P-^^^ ^.^^^^, first read an account of ^^^"^ ^'^^ '" ^^"J nainted hurriedly, with These great decorative -"--,"=^ "^ J^ teedom to Sarie's even more than Rubens's "-^ ^^^^Jj^^l;;^^^^ order, after her '•e^"'-"/^%^''f ' f ^Jch ^^^^^^^ just erected, at the Luxembourg (-^^^"^^ ^^ "^^te iLge^^^ by Thoujh designed by Ruben , ^^^^^ ^^"^^ 'JiVn.aster's exu- the hands of pupils ; and wh.le ?--"-« f^f^^, f,,o„,able berant artistic quamies-nc^^^^^^^^^^^^^ aTd technique. It specimens of his art, as "8^'^''^ ^ ^ Frenchmen form istoberegrettedthatmost Englishmen and t re their impressions of the Pa-t" from these v gorous P pictures, rather than ^^^^X^^^^^^^ -"^^• ^^flCT^iest^irM^^^^^^^ A small panel for the side of a door. t „rina coddess of birth, 2. Birth of Marie at Florence. Lm:nagoa ^^^^^^ with hertorch. attends the mother. Ge^^^^^^^^^^^ '^^^ ^^ hold her future crown. In ^^^^^°^^f "^^^^ the Arno. with his stream '-75/;°™ ^" 7j,ding the Floren- by the Florentine lion, as well as by ^^^^ f °'%f^3„„ es and tine lily. This curious mixture of allegorical personag realities is continued throughout '^^'^'^ ^.^^ ^^e aid of teacher of the arts C^ose by are t .^^^ figures. Among the accessories, dusi [ni. believe the donor in , who appears in the ery. er side are several ; and others, mostly I 5/t/t, good Madonna y Rubens narrating e inflated allegorical the spectator should [ood French history, linted hurriedly, with 1 freedom, to Marie's jcoration of her rooms she had just erected. ; largely executed by ; all the master's exu- icy are not favourable on and technique. It and Frenchmen form :se vigorous but rapid er works at Antwerp, meaning of the series, iny. A small panel for cina, goddess of birth, i scatter flowers ; others )und, the River God of ^n urn, and accompanied ,ys holding the Floren- igorical personages and ries. Minerva, with the aid of earning), and Apollo, as Graces, admirable nude it of Socrates, painting idance upon Henri IV, lit. The attitude of the III.] RENAISSANCE PARIS {THE LOUVRE) I03 king expresses delight and astonishment. In the clouds, Jupiter and Juno smile compliance. Below, little Loves steal the king's shield and helmet. 5. Marriage of Marie by proxy. The Grand Duke Fer- dinand represents the king. Hymen holds the torch. 6. Marie lands at Marseilles, and is received by France, while Tritons and Nereids give easy passage to her vessel. Above, her Fame. On the vessel, the balls or palli of the Medici family. . 7. Consummation of the Marriage at Lyons. The town itself is seen in the background. In the foreground, the (personified) city, crowned with a mural coronet, and designated by her lions. Above, the King, as Jupiter, with his eagle, and the Queen, as Juno, with her peacocks. 8. Birth of her son, afterwards Louis XIII, at Fontaine- bleau. Health receives the infant. Fortune attends the Queen. 9 The King, setting out to his war against Germany, makes Marie Regent-alh-orically represented by passing her the ball of empire— and confides to her their son. Larger pictures : No. 10, the Coronation of the Queen, and No. n, the Apotheosis of Henri, the painful scene of his death being avoided. He is represented as raised to the sky by Jupiter on one side, and Death with his sickle on the other. Beneath, the assassin, as a serpent, wounded with an arrow. Victory and Bellona mourning. Beyond, the allegorical figure of France presenting the regency to Marie, with the acclama- tion of the nobility and people. 12 The Queen's government approved of by Jupiter, Juno, and the heavenly powers. In the foreground Apollo, Mars, and Minerva (the first copied from the antique statue known as the Belvedere), representing courage, art, and literature, dispel calumny and the powers of darkness. Continue on the opposite side, crossing over directly. 13. Civil discord arises. Marie starts for Anjou, attended by Victory. Military preparations in the background. 14. The exchange of Princesses between allegorical figures of France and Austria-each intended to marry the heir of the other empire. 15. The Happiness of the Regency. The Queen bears fhe 1' ( / j^^ I04 PARTS [ni. scales of justice. Plenty prevails. Literature, ac.ence, art, and beauty predominate over evil, slander, and baseness. i6 Louis XIII attains his Majority (at 14) and mans the shipof State in person, still attended by the counsels of h.s mother. The Virtues row it, „ ,. j • „«• i,„r ,7 Calumny overcomes the Queen. By the advice of her counsellors, she takes refuge at Blois, escorted by W.sdom. 1 8 Mercury, as messenger, brings an olive branch to Mane, as a token of reconciliation from her son, through the interme- diation of Richelieu and the Church party. ,9 Marie enters the Temple of Peace, escorted by Mercury and Truth with her torch, while blind Rage and the evil powers stand baffled behind her. . 20. Apotheosis of Marie and Louis : their reconciliation and happiness. Final overthrow of the demons of discord. ai. Time brings Truth to light. Louis recognises the good influence of his mother. The history, as given in these pictures, is of course envisaged from the point of view of a courtier, who desires to flatter and please his patroness. Beneath this great series of Rubens are a number of Dutch and Flemish Pictures, mostly admirable and well worthy ot attention, but, so to speak, self-explanatory. They belong en- SeTy to modern feelin,. Dutch and Flemish art, in its later form, is the domestic development of that intense love of minute detail and accessories already conspicuous in Van Eyck, Memling, and Gerard David. Sacred subjects almost dis- appear ; the wealthy burghers ask for portraits of themselves their wives and families, or landscapes for their households I would call special notice to the following among many which should be closely examined to show the progress of artj- 5,2, Teniers; 691, Rubens; 518, Ten,''"'. 238 and 239, f^«« N^ysum ; ^ZS, a charming Rudens, in his smaller and more delicate style ; .47. admirable portrait by Van Dyck ; 5.3. a« excellent T'.^/.r. ; •46.. a good portrait by ^f'''";)]%^ quisite, luminous Gerard Don ; next it •*Van der HeUts Four ludges of the Guild of Cross-bow-men deciding on the prues, one of the most perfect specimens of this great portrait painter. [in. ;, acience, art, and seness. 14) and mans the le counsels of his the advice of her d by Wisdom. e branch to Marie, ough the interme- corted by Mercury md the evil powers • reconciliation and of discord, ecognises the good of course envisaged sires to flatter and a number of Dutch and well worthy ot . They belong en- oish art, in its later tense love of minute ous in Van Eyck, ubjects almost dis- traits of themselves, their households. I among many which progress of art : — ; 238 and 239, Van IS smaller and more Van Dyck \ 5i3f an by Rubens ; 125, ex- Van der Helsfs Four ciding on the prizes, jreat portrait painter. ,11.] RENAISSANCE PARIS {THE LOUVRE) I05 Notice the wonderful life-like expressions. Then 123, another exquisite luminous Dou\ 542, Van de Velde; 41, splendid portrait by Bol ; 130, Gerard Dou by himself; ••404, Rt"*- brandt, Raphael leaving the house of Tobias, a master-piece of the artist's weird and murky luminosity-strangely contrasted with Italian examples ; 205, a good Hobbenta ; 133, fine portrait by Duch&tel ; 369, excellent family group by Van Ostade ; next it, 126, a delicious little Dou. But, indeed, every one of these Dutch paintings should be examined separately, in order to understand the characteristic Dutch virtues of delicate handling, exquisite detail, and domestic portraiture. They are the artis- tic outcome of a nation of housewives. On the opposite side the series is continued with admirable flower-pieces, landscapes by Van der Veldt and Karel du Jardin, and several noteworthy portraits, among which notice the famous *Van Dyck (143) of the children of Charles I., most daintily treated. Beyond the Rubenses, again, on this side, 144, two noble portraits by Van Dyck, and several excellent examples of Philippe de Champaigne, a Flemish artist who deeply influenced painting in France, where he settled. **i5i. Van DycKi Duke of Richmond, perhaps his most splendid achievement in portraiture, deserves careful study. I do not further enlarge upon these subjects because the names and dates of the painters, with the descriptions given on the frames, will sufficiently enable the judicious spectator to form his own conceptions. Devote at least a day to Dutch and Flemish art here, and then go back to the Salon Carr^, to see how the Rembrandts, Dous, and Metsus, there unfortunately separ itcd from their compeers, fall into the general scheme of Dutch development. Good view out of either window as you pass the next arch- way. Look out for these views in all parts of the Louvre. They often give you glimpse i of the minor courtyards, to which the general public are not admitted. The next two compartments contain further Dutch and Flemish pictures of high merit-portraits, still-life, landscape, and other subjects. The scenes of village life are highly characteristic. Notice in this connection the growing taste for landscape, at first with a pretence of figures and animals, li: 1^^ io6 PARIS [HI. but gradually asserting its right to be heard on its own account. In Italy, under somewhat similar commercial conditions, we saw this taste arise in the Venetian School, with Cima, Gior- gione, and Titian ; in Holland, after the Reformation put sacred art al a discount, it became almost supreme. And note at the same time how the Reformation in commercial countries has wholly altered the type of northern art, focussing it on trivial domestic incidents. Among the many beautiful pictures in these compartments the spectator should at least not miss, on the l, the very charming ** Portrait by Rubens (not quite finished) oi his second wife and two children, scarcely inferior to the lovely specimen at Munich. Near it, an admirable Crucifixion with the Madonna, St. John, and Magdalen, more remini- scent than is usual with Rubens of earlier compositions. On the R side, notice a portrait of Elizabeth of France (459). J>y Rubetts, in his other, stiffer, and more courtly manner. We may well put down this peculiarity to the wishes of the sitter. His *Kermesse, near it, is an essay in the style afterwards popularized by Teniers, in which the great artist permits his Flemish blood to overcome him, and produces a clever but most unpleasant picture. The numerous admirable fruit and flower pieces works in still life, etc., which these compartments contain, must be studied for himself by the attentive visitor. In Rubens' great canvas of the Triumph of Religion, painted for a Spanish commission, observe his curious external imitation of Spanish tendencies. , . t ^ n.. After having completed his examination of the Long Gallery, the visitor may next proceed to the five small rooms-ix, x, xi, XII, and XIII on Baedeker's map-devoted to THE German, English and Early French Schools. Among the early Qerman work* in the 2nd of these rooms, the visitor may particularly notice (*22), Hans HolbeMs portrait of Southwell, full of character. Above it, a quaint Venus by Cranach, instinc. -ith the northern conception of the crude nude. Next two good portraits by Holbein. In the centre of this wall, * a Descent from the Cross, of the School of Cologne, which should be compared with similar pictures of the Italian and mm tin. . its own account. U conditions, we with Cima, Gior- nation put sacred And note at the ;ial countries has ssing it on trivi.il ;se compartments the L, the very ! finished) oi his rior to the lovely rable Crucifixion ;n, more remini- :ompo3itions. On France (4S9). by rtly manner. We ishes of the sitter. e style afterwards artist permits his s a clever but most )le fruit and flower tpartments contain, Msitor. In Rubens' inied for a Spanish nitation of Spanish f the Long Gallery, 11 rooms— IX, x, xi, RENCH Schools. 2nd of these rooms, IS Holbeiris portrait a quaint Venus by mofthe crude nude. B centre of this wall, 1 of Cologne, which of the Italian and ,„.] RENAISSANCE PARIS {THE LOUVPr^ I07 Flemish Schools. The somewhat exaggerated expression of grief on all the faces is strongly characteristic of German tendencies. The figure of the Magdalen, to the R, strikes the German keynote; so does Joseph of Arimathea receiving the Crown of Thorns. Study this well, for coincidences with and differences from Italian treatment. Beyond it, two fine Holbeim, of the astronomer Kratzer, and *\Varham, Archbishop of Canterbury, the latter a marvellous piece of painting. The opposite wall also contains good portraits and sacred pieces, among which an altarpiece by the "Master of the Death of the Virgin," deserves careful study. (Most early German masters are unknown to us by name, and are thus identified by their most lamous pictures.) The Last Supper in this work, below, is largely borrowed from Lionardo. Compare with the copy of Lionardo's fresco at M.Ian m the Long Gallery, probably by Marco da Oggionno which hangs near the Vierge aux Rochers. The AJ.ration of the Mag. (597). should also be compared with the Italian examples; notice m particular the burgher character of the Three Kings, which .s essentially German. The other works in ^^is room "„ Je sufficiently studied (for casual observers) by the a.d of the ^'^The English Room contains a few examples of English masters of the last and present century, "one of them fi._s t-rate^ The most famous is the frequently reproduced L.ttle Girl with Cherries by the pastellist John Russel. It is a pleasing work, but not good in colour. tL next room, with an admirable view from the window begins the Modern French School(in the wide sense), and cont Jn Le Sueur's History of the Life of St. Bruno, painted for a Carthusian monastery near the Luxembourg-o. which Irder the s^nt was the founder. They are characteristic ex- ample of "e French work of the early .7th century, and they :Sbit the beginnings of the national tendencies mart The legends are partially explained on the frames, and more fully n^Mrs Jameson's "Monastic Orders." On a cursory inspec- L the observer will notice the marked French tendency m the 9th' 7th. 2.st, and 22nd of the series. Cold and li eless m design and colour, these feeble works have now httle more than a historical interest. "li 91 liS ' io8 PARTS [III. Before proceeding to the succeeding rooms of the French School, you had better form some conception of the circumstances and conditions under which that school arose. The artists whom Francois l"' invited to Fontainebleau had little mflu- ence on French art, except in sculpture (w'cre we shall see their spirit abundantly at work when we come to examine the Renaissance sculpture in this collection). Primaticcio and his followers, however, left behind them in France, as regards painting, scarcely more than the sense of a need for improve- ment. Succeeding French artists took up the Italian Renais- sance in the stage represented by the later decadents and the eclectic Caracci. Nicolas Poussin (iS94->665) is »he first Frenchman to attain distinction in this line ; he throws some- thing of French sentimentality into the affected mythological scenes of contemporary Italy. Claude of Lorraine, again, is almost an Italian by training and style ; his artificial landscapes, not copied direct from nature, but built up by arbitrary and often impossible conjunctions, represent the prevailing tendencies of Italian art in the 17th century. On the other hand, the influ- ence of Rubens, many of whose greatest works were painted for French kings, or came early to France, and still more of Philippe de Champaigne, a Brussels master who settled in Paris and painted much for Richelieu and Marie de M^icis, intro- duced into France a strain of Flemish influence. On these two schools-decadent Italian and later Flemish— then, modern French art at first based itself; the final outcome is a resultant of the two, transmuted and moulded in spirit and form by the innate, though at first unrealised, French tendencies. Also, before you proceed to examine the subsequent speci- mens of the development of French art, you had better return to the Salon Carr^ to inspect the portraits by Philippe de Champaigne, as well as the Jouvenet, the Rigaud, and other French works there, which I purposely passed by on our previous visit, as out of harmony with the Italian masterpieces. On your way back, glance at the later Italian pictures in the First Compartment of the Long Gallery (particularly at Bron- zino's odiously vulgar Christ and Mary Magdalen, and Rossi's [III. of the the circumstances irose. The artists ,u had little influ- I'cre we shall see me to examine the •rimaticcio and his France, as regards need for improve- the Italian Renaij- decadents and the -1665) is »he first ; he throws some- ected mythological Lorraine, again, is irtificial landscapes, f arbitrary and often ailing tendencies of ther hand, the influ- works were painted t, and still more of who settled in Paris ie de M^icis, intro- ence. On these two mish— then, modern utcome is a resultant lirit and form by the endencies. [le subsequent speci- ou had better return raits by Philippe de e Rigaud, and other r passed by on our Italian masterpieces, talian pictures in the particularly at Bron- lagdalen, and Rossi's ,„.l RE^AISSA^■CE PARIS (THE LOUVRE) I09 Doubting Thomas, both skied, on your r) as conspicuous examples of the sort of thing admired at the ♦-«-»';"»'; French School took its first flights and made .ts earliest experiences. Then observe once more the works of the School of Fontainebleau; and, finally, '^-^^.f'^^^J^'^'^^^Z Baedeker's Room IX ; after which, you w.ll be m a posU on to start fair in Room XIII, with the French School m the 17th "ThT Small Room beyond the St. Brunos plains more favourable specimens of Le Sueur's faculty (such as 5 9. 5 S^- and 55.), in which a distinctive French tendency st.l more markedly announces itself. The Ganymede m 563..." par^ Ucuiar. flintly foreshadows at a distance the class.c pamters of the Empire. We see in this room, in a very vague way, an early stage in the evolution of a David. staircase Passing through the Landing, at the head of he staircase (with interesting terra-cotta Etruscan ^-P^^^') ^ "j;;.;^^' the Great Gallery of French paintings of the 17th century. These may be examined somewhat in the mass, exhibiting as they do, rather the courtly tendencies of the age of Louis XIV han any great individual artistic faculty. We must understand them in the spirit which built Versailles and conducted the warTon the northeastern frontier. They are painted for the most pa t by the command of His Majesty. Only here and Terl does a faintly individual work, like Le 5«,.«r'. Christ and The Magdalen, and Bearing of the Cross, or £.W.^^^^^^^^^ arrest for a moment one's passing attention. The cnidjness of the colour, and the insufficiency of the composition will be the chief points, in a general survey, to stn!.. the spectator. (On a screen the Ltre, out of proper place among its con - Up^rries. hangs at present/'a«/Z?./ar..A^xfamous Christian ^m student who has courage to attack this mass of un- int^est ngart in detail, should observeparticularly the works of 7Z1, as forming the point of departure for the School .n general His Bacchanal and other mythological works set the ?;sh on of those dreary allegorical sce.es which -er- many yards of ceilings in the Louvre. Observe ^e jn.xt"e oj JeHgious themes, like Leirun's Martyrdom of Stephen, and ■ T* PARIS [m. A''. Poussitis Holy Family, with classical pictures like the Rescue of Fyrrhus, and the Alexander and I'orus, as well as the close similarity of treatment in both cases. Among the best of the lot Are Jouvenet's Raising of Lazarus, and Lesueur's Paul Preaching at Ephesus (partly after Raphael). *Poussin's " Et in Arcadia ego," a rustic morality, is also famous, and is regarded as the greatest achievement of this artificial School. Clauile's landscapes, often with a small inserted mythological story by another painter, deserve attention. (Note that land- scape has hardly yet vmdicated its claim to independent exist- ence.) On the whole, it may be said that this room represents the two prevailing influences in French art of the purely mon- archical period of Louis XIV, — either the pictures are quasi- royal and official, or else they are religious, for church or monastery. The mythological scenes, indeed, have often a royal reference — are supposed parallels of contemporary events ; and even the religious scenes, wholly destitute of spiritual feel- ing, are painted in a courtly, grandiose manner. They are saints as conceived by flunkeys. Not till the Revolution swept away the royal patron did the French spirit truly realise itself. This room reveals the Court, not the nation. The next room, in the Pavilion Denon, a connecting pas- sage, contains Portraits of Painters, chiefly by themselves, a few of which are worthy of attention. Among them is the famous and touching ** portrait by Mme. Lebrun of herself and her daughter, which, in spite of some theatrical sentiment here and there obtruded, is a charming realisation of maternal feeling amply recipiocated. Beyond it we come to the Frencli Qaliery of the i8th century, reflecting for the most part the spirit of the Regency and the Louis XV period. Much of it is meretricious ; much of it breathes the atmosphere of the boudoir. The flavour of Du Barry pervades it almost all. It scents of musk and powder. The reader will pick out for himself such works as he admires in this curious yet not wholly unpleasing mass of affectation and mediocrity. Indeed, as opposed to the purely official work in the preceding French room, the growth of the rococo spirit, to be traced in this gallery, is by no means with- out interest. The one set of works sets forth the ideal of [II.. pictures like the rtis, as well as the kmong the best of id Lesueut's Paul *Poussin's " Et ) famous, and is artificial School, rted mythological (Note that land- ndependent exist- s room represents f the purely mon- ictures are quasi- us, for church or cd, have often a temporary events ; e of spiritual feel- anner. They arc Revolution swept truly realise itself. I. I connecting pas- ly by themselves, tiong them is the Lebrun of herself eatrical sentiment ation of maternal ery of the i8th it of the Regency eretricious ; much r. The flavour of nts of musk and elf such works as npleasing mass of ised to the purely the growth of the by no means with- forth the ideal of III III.] RENAISSANCE PARIS {THE LOUVRE) monarchy as a formal institution i the other displays its actual outcome in roy.il mistresses and frivolous amusements. Here too the ornate French taste— the Dresden china and Sivrcs taste— finds its first faint embodiment. Greuat's famous •Cruche Cassec (263), is the chief favourite with visitors to this room. It has about it a certain false simplicity, a pretended virginal innocence, which is perhaps the highest point of art this school could attain. DrouatVs child portraits (187), are more entirely characteristic, in their red-and-white chubbiness, of the ideas of the epoch. The pastoral scenes by IVat/eau ?.nd Vanho, represent nature and country life, as they en- visaged themselves to the painted and powdered 'sTcat ladies of the Trianon. CoypePs Esther before Ahasuc.us is a not unfavoi- ible specimen of the inflated quasi-sacred style of the period. Some good portraits redeem the general high level of mediocrity in this room, but do not equal those of the daintily aristocratic English School of the end of the i8th century. Two Greuzei (267 and, still more, 266), reveal the essentially artificial methods of this superficially taking painter. Most observers begin by admiring him and end by disliking his ceaseless posing. Boucher's artificial pink-and-white nudities (as in 24 and 26), have the air of a man who painted, as he did, in a room hung round with rose-coloured satin. He is perhaps the most typical of these rococo artists : he imitates on canvas the coquettish ideals of the contemporary china-painters. Fra- gonard, again, throws into this school the love of display and bravado of a southern temperament. At the far end of the room we find in Greus^s later moralising pictures faint indica- tions of the altered and somewhat more earnest feeling which produced the revolutionary epoch, still closely mixed up with the ineradicable affectation and unreality of the painter and his period. Two little stories of a Prodigal Son and his too late return, on either side of the doorway, with their violent theatri- cal passion and their excessive expression of impossible emo- tion, illustrate well this nascent tendency. They are attempts to feel where feeling was not really present. David's Pans and Helen introduces us, on the other hand, to the beginnings of the cold classicism which prevailed under the Empire. In order to continue the chronological examination of the '! ■-"ifrrvi*flpwM» tia PAKIS [III. French School the visitor muHt now return to the Salon Carrii and traverse the vulgarly ornate Galcrie d'Apollon by its side (\vhi( h contains objects of more or less artistic interest in the precious metals and precious stones, many of which, especially those in the two last cases, deserve careful ini.pection. A morning should, if possible, be devoted later lo this collection). A short connecting room beyond (with gold Ktruscan jewe- lery) gives access next to the5alle des Sepi r-h»iriin^es< which contains many stiff but cxiellcnt works of the period of the Empire. The most noticeable of these arc by David, whose formal classicism (a result of the revolutionary revolt ''rom Christianity, with its reliance upon (ireek, and still more Roman, morality and history) is excellently exemplified in his large picture of the * Sabine Women Intervening between their Musbands and their Fathers. This is considered his master- piece. Its frigid style, not very distantly resembling that of a bas-relief, and its declamatory feeling do not blind us to the excellence of its general technique and its real advance on the art of the i8th century. David imitated the antique, but was always sculpturesque rather than pictorial in treatment. Among other fine examples of this cImsIc period — the tran- sitional stage between the i8th century and the distinctively modern spirit — attention may be called to Girartfs Cupid and Psyche, and to his fine portrait of the Marquis Visconti. *Mme. Lebrun's charmingly animated portrait of Mme. Mole- Raymond, the comedian, is full of real vigour. Two good portraits by David, of himself and Pius VII, deserve close inspection. Groins Bonaparte at Areola, is also interesting. Mtne. Lebrutis earlier portrait of herself and her daughter is less beautiful than the one we have already examined. Several military portraits, such as Gros's Fournier-Sarlovize, reflect the predominant militarism of the epoch. Davids huge canvas of the Coronation of Napoleon I in Notre-Dame is typical of another side of the great artist's development. Gradually, the frigidity of the early revolutionary period gave way to the growing romanticism of 1830. GMcaulfs Raft of the Medusa (sighting a sail after twelve days out), strikes the first keynote of the modem romantic movement. It created a great sensation in its own day, and gave rise to [111. le Salon C.irrd Inn by its side interest in the hich, especially inspection. A his collection). Ktrusc.in jewe- •mlnies, 'vhich period of the f DaviiU whDse ry revolt ''rom II more Roman, d in his lar^e between their ed his master- mbling that of blind lis to the advance on the le antique, but I in treatment. riod— the tran- he distinctively 'jirani's Cupid trquis Visconti. of Mme. Mole- ir. Two good , deserve close Iso interesting. 1 her daughter ady examined. rnier-Sarlov6ze, joch. Davids in Notre-Dame s development, try period gave ■icaults Raft of ys out), strikes movement. It d gave rise to ml RENAISSANCE PAKIS {THE LOUVRE) I 13 endless discussion and animadveriion. It marks ihe advent of the •motional in modern art. Groses Bonaparte Vis.tmg the Plague-.tricken at Jaffa, also indicate, in another way a marked modernising tendency. The school of blood and wounds, of the morbid and the ghastly, has here its forerunner. All the works in this room (which modernity forbids me to treat at adequate length) should be carefully studied in detail and comparison by those who wish to understand the various steps which led »o the evolution of modern French painting. Cu.- rin's Return of Marcus Sextus, and Girodtfs Burial of Atala, in particular, mark special phases of transition from the coldly classical to the romantic tendency. This room, in one word, begins with the »evere; it ends with the melodramatic. The room beyond, known as the Salle Henri II. « so nearly modern in tone that the reader may be safely trusted to inspect it on his own knowledge. Girauds Slave-dealer and aass/na,^^ Tepidarium are its most popular pictures. It lies outside the scope of the present handbook. The Salle LaCaze. however, still beyond, contains a collec- tion kept separately apart by the express desire of the donor, and includes many works both of earlier schools and of the French 17th and 18th century, worthy of the greatest attention. It is especially rich in works of the rococo painiers, better ex- emplified here than in the main collection. Beginning on the L I will merely enumerate a few of the most important works. An excellent Hondtkotter, skied. A noble portrait by Tinto- retto of a Venetian magnate. A most characteristic Fragonard, lull of the morganatic sentiment of the i8th century. Portraits by Nattier, iflfording more pleasing examples of the early i8th century style than those we have hitherto examined. Above it, a mediocre Tintoretto of Susanna at the Bath, not good m colour. Centre of the hall, *W^tea^s GiUes, an excellent embodiment of the innocent fool of traditional F -h comedy. *Fram HMs sly figure of a Gipsy Woman is a fii.e piece of vulgar character-painting. A good Greuze, etc. Examine more particularly the works by Watttau, Fragonard, and other boudoir painters, whose pictures on this wall give a more pleasing and fuller idea of the temperament of their school than that which we obtained in other parts of the collection. R wall H ti4 PAHIS [111. returning — icveral kooiI IVa//e(Wf, lioui/iets, Crcuzes, etc. Excellent Hinall Dutch pictures. Fine portrait by Remhrandt. Kembr.indt'ii Woman at the Uath is a characteri^li( example of his strikingly original conception of the nude. Ribera's Club- footed lioy is a Spanish pendant to Krans Hals's (iipsy. 'I'his room, containing as it does very mixed examples of all the schools, should only be visited after the s|)ectat()r has obtained some idea of each in other parts of the collection. Its Dutcii works, in particular, arc admirable. I do not enumerate them, as enumeration is useless, but leave it to the reader to pick out for himself several fine examples. Now traverse the Galerie d'Apollon, Salon Carre', and Long Gallery till you arrive at the Hall ok Fainters or the iqth Century, (Room VIII in Haedeker's plan). This hall contains for the most part the works of artists of the period of Louis Philippe and the early Second Empire— almost our own contemporaries. I will therefore only briefly call attention here to the pictures of the romantic historical achool, then so prevalent in France, of which DeliirocMs Death of Queen Elizabeth and Princes in the Tower and Delacroix's Capture of Constantinople by the Crusaders are conspicuous examples. DevMiis popular Hirth of Henri IV belongs to the same category. These "pic- turesque" treatments of history answer in painting to the malign influence of Walter Scott and Victor Hugo in litera- ture. Contrasted with them are such semi-classical works of the school of David, softened and modernised, as Ingres's Apo- theosis of Homer— the great poet crowned by Fame, with the Iliad and Odyssey at the base of his pedestal, and surrounded by a concourse of ancient and modern singers. It is cold but dignified. Lethiire's Death of Virginia, and Couture's Romans of the Decadence, represent to a certain extent a blending of these two main influences. I will not, however, particularise, as almost every picture in this room deserves some study from the point of view of the evolution of contemporary art. I will merely ask the reader not to overlook Flandriris famous nude tigurc, the typical landscapes by Rousseau and Millet, and Davids exquisite portrait of Mme. R(5camier— sufficient in it- w^ "rsW-*-^^ 1??'"®^'™!!' f* [in. trs, Greuies, etc. lit by KemfirnHiU. icteii^tic example e. Kibera's Club- ils's Gipsy. 'Ihis ample!) of ull the ntor hu!t obtained ction. Its Dutcii enumerate them, reader to pick out Carr«5, and Loni; ^KNTURV, I contains for the .ouis Philippe and ontemporaries. I to the pictures of cvalcnt in France, th and Princes in tantinople by the la's popular Hirth y. These " pic- painting to the r flugo in litera- :lassical works of I, as Ingres' s Apo- y Fame, with the I, and surrounded rs. It is cold but Coutur^s Romans £nt a blending of iver, particularise, i some study from lorary art. I will ■in's famous nude and Millet, and ■ — sufficient in it- III] HENAISSANCE PAHIS (TUk LOUVNE) 11 j •elf to immortalise both artist and sitter, The electric ii tlucnc e of a beautiful and pure-souleu woman has here gal aniscd David for once into full perception and rcprodui tion of truth and nature. Even the severe Empire furniture and background exactly accord with the character of the picture. Ary .S< hclTcr's religious works, in his peculiar twilight style, on a solid blue background, will strike every observer. Millet's Gleaners and Troyoris group of oxen strike each a new note in art at the period when tliey were painted. As a whole this Gallery re- presents all the various strands of feeling which have gone to the production of modern painting. It attains to the threshold of cosmopolitanism in its Arabs, its negroes, and its Algerian women : it is bloodthirsty and sensuous ; it is calm and medi- tative ; it dashes with Courbet ; it refines with Millet ; it oscil- lates between the world, the flesh, and the devil ; it is pious and meretricious ; it sums up in itself the endless contradictory and interlacing tendencies of the Nineteenth Century. As re- gards chronological sequence, one may say pretty fairly that it begins with classicism, passes through romanticism, and ends for the moment in religious reaction. Come back often to the pictures in the Louvre, especially the Salle des Primitifs, the Salon Carrd, and the first two bays of the Long Gallery. Further Hints on the Paintings in the Louvre. The reader must not suppose that these brief notes give any- thing like an adequate idea of the way in which pictures in such a gallery as the Louvre ought to be studied. My object in these Guides being mainly to open a door, that the tourist himself may enter and look about him carefully, I have given first this connected account of all the rooms in chronological order, for the use of those whose time is very limited, and who desire to go through the collection seriatim. But for the benefit of others who can afford to pay many succeMive visits, I will now take one or two particular pictures in detail, suggesting what seem to me the best and most fruitful ways in which to study thtm. Try for yoursel. afterwards to fill in a similar scheme, as far as you can, for most of the finest works in this Gallery. I will begin with No. 251, in the Salle des Primitifs— Man- 1 ^rim tl6 PARIS tegna's beautiful and iilowing Madonna della Vittoria. And I take Mantegna first, because (among other reasons) he is a painter who can be fairly well studied by means of the pictures in this Gallery alone, without any large reference to his remain- ing works in I' ily or elsewhere. Now, first, who and what was Mantegna, and what place does he fill in the history of art in Italy ? Well, he was a Paduan painter, born in 1431, died in 1506— abo-it the time when Raphael was painting the Belle Jardiniiire, in this collec- tion. He was a contemporary and brother-in-law of Giovanni and Gentile Bellini : and if you compare his work with that of the two Bellinis, even as very inadequately represented here, you will see that their art has much in common— that they stood at about the same level of historical evolution, and painted in the same careful, precise, and accurate manner of the second half of the fifteenth century. Contrast them, on the one hand, with their immediate predecessors, such as Filippo Lippi and Benozzo Gozzoli (juniors by roughly about 20 years), in order to mark the advance they made on the art of those who went just before them ; and compare them, on the other hand, with their immediate successors, such as Raphael, and even their more advanced contemporaries, like Lionardo, in order to see what place they fill in the development of painting. Again, Mantegna was a pupil of Squarcione of Padua, who practically founded the Paduan school. Now Squarcione had travelled in Greece and formed a collection of antiques, from which his pupils made drawings and studies. Also Donatello (the great Florentine sculptor of the early Renais- sance, of whose work you can find some beautiful examples in the Renaissance Sculpture rooms of this museum) had executed several bronzes in the church of Sant' Antonio, the great local saint of Padua ; and these likewise Mantegna studied ; so that much of his work bears traces of the influence of sculpture and especially of bas-relief. He is particularly fond of introducing reliefs, festoons of fruit or flowers, and classical detail into the accessories of his pictures : and these peculiarities are well marked in the Mars and Venus, the Crucifixion, and the Ma- donna della Vittoria in this collection. Compare all these closely with one another till you think you have formed a fair [ill. a Vittoria. And r reasons) he is a ins of the pictures nee to his remain- I, and what place Well, he was a 5— aboMt the time ifere, in this collec- In-law of Giovanni work with that of represented here, )mmon — that they lution, and painted nner of the second , on the one hand, Filippo Lippi and lo years), in order art of those who }n the other hand, [Raphael, and even onardo, in order to F painting. ircione of Padua, Now Squarcione ection of antiques, id studies. Also f the early Renais- lutiful examples in eum) had executed nio, the great local la studied ; so that ce of sculpture and snd of introducing ical detail into the :uliarities are well ixion, and the Ma- Compare all these have formed a fair HI.] RENAISSANCE PARIS {THE LOUVRE) II7 idea of Mantegna's powerful drawing, strong realism, love of the antique, solemnity and dignity, clear-cut style, and perfect mastery of anatomy and technique. Notice his delicate, careful, conscientious workmanship ; the precision and perfection of his hands and feet ; the joy with which he lingers over classical costume and the painting of armour. Everything is sharp and defined as in the air of Italy, yet never hard, or crude, or angular. Observe, also, the sculpture-like folds of his carefully arranged draperies, and his love for shot colours and melting tints on metal or marble. The St. Michael in this picture, and the Roman soldiers in the Crucifixion, are admirable examples of this tone in his colouring. If you wished to characterise Mantegna in a single phrase, however, you might fairly say he was the most acalpturesque of painters. As to date, the Crucitixiou (in the Salon Jarr^) which formed one piece only of the predella, or series of small pictures at the base of the great Madonna in the Church of San Zeno at Verona, is the earliest example of Mantegna's work here. It displays the delicate and exquisite finish of his youthful period : but it is much more mediaeval in tone— has far less freedom and conscious artistic power— than the Madonna della Vittoria, which belongs to the latest epoch of the great painter's development. Observe the early severity of the figures in the Crucifixion, and the firmness of the drawing : each personage stands out with statuesque distinctness. But note, too, that at :his early stage, Mantegna's expression of emotion was still inadequate : in his striving to be powerful, he overdid the passions, sometimes almost to the verge of grotesqueness. On the other hand, do not overlook the dramatic force of the picture, as shewn, for example, in the vivid contrast between the anguish of the Madonna, with her attendant St. John, &c., and the callous carelessness of the soldiers casting lots for the Redeemer's raim-nt. The Mars and Venus, once more, of his middle period, represents an intermediate stage between the two styles. What is meant by a predella, again, you can see by looking at Fra Angelico's Coronation of the Virgin, and other similar pictures in this room— the little figures of St. Dominic and his miracles beneath the main altar-piece being examples of this adjunct. The Crucifixion formed the central picture of wi^ ii8 PARIS [III. three such minor episodes : the Agony in the Garden and the Ascension, to right and left of it, are now in the Museum at Tours. Napoleon I had carried off the entire work from Verona : at the Restoration, the Madonna was returned to San Zeno, but the three pieces of the predella were retained in France and thus distributed. If you go to Tours or Verona, recollect the connection of the various fragments. Next, what was the occasion for painting this Madonna delta Vittona? You will remember that in 1494, Charles VIII of France, invited by Ludovico Sforza, Duke of Milan, invaded North Italy, and conquered a large part of it, including Florence, Pisa, and Rome itself. Marching then on Naples, the boy king achieved a further success, which turned his own head and that of his army. (Read up all this episode in any good French history.) But Venice, trembling for her supremacy, formed a league against him ; and soon after, all Italy, alarmed at his success, coalesced to repel the invader. The little Republics united their forces under Giovanni Francesco Gonzaga, Marquis of Mantua, and met Charles, on the 6th of July, 1495, a* the pass of Fornova, on the Tare. The French king, it is true, forced his way through the hostile army, and made good his retreat : but the allies, though baffled, claimed the victory, and, as a matter of fact, Charles immediately concluded a treaty ot peace and returned to Lyons. In commemoration of this event, the Marquis Gonzaga in gratitude erected a church at Mantua as a votive offering to the Madonna, and dedicated it under the name of Santa Maria delta Vittoria. At that time and for some years previously Mantegna had been in the service of the Qonzaga family at Mantua, where he lived for the greater part of his artistic life. In the Castello of that town, he executed several frescoes, illustrating domestic events in the history of the Gonzagas, which are still among the most interesting objects to be visited in Mantua. It was natural, therefore, that he should be invited by Giovanni Fran- cesco Gonzaga to paint the altar-piece for the high altar of the church to commemorate this victory. The picture must have been finished about the year 1498 or 1500. It stood in the building for which it was painted till Napoleon 1 brought it from Italy to Paris, where it has ever since remained. [m. jarden and the n the Museum itire work from returned to San :rc retained in >urs or Verona, s. Madonna delta ;harles VIII of Milan, invaded luding Florence, es, the boy king n head and that ly good French imacy, formed a , alarmed at his little Republics onzaga, Marquis uly, 1495, ^t the king, it is true, made good his the victory, and, ided a treaty ot on of this event, lurch at Mantua ited it under the Mantegna had Mantua, where In the Castello trating domestic are still among Mantua. It was Giovanni Fran- high altar of the cture must have It stood in the on I brought it lained. Ill] RENAISSANCE PARTS {THE LOUVRE) 1 19 These circumstances sufficiently explain the collection of saints who figure in the picture. In the centre is the Madonna of Victory herself, to whom Gonzaga vowed the church in case he should be successful. She is enthroned, as usual. The garlands of flowers and fruit, and the coral over her head, a e favourite accessories with Mantegna : they occur again in the (much earlier) Madonna at San Zeno, Verona, of which the Crucifixion here formed part of the predella. The figures of Adam and Eve, in imitation of relief, on the pedestal, are thoroughly characteristic of Manlegna's style, and recall the Paduan school of Squarcione, and the master's dependence on the work of Donatello. The overloading of the picture with flowers, festoons and architectural decoration is also a Paduan feature of the same school : it comes out equally in the works of Carlo Crivelli— not well seen in this collection. On his knees in the foreground is Qonzasa himself, with his villainous Italian Renaissance face, as of a man who would try to bribe Our Lady with presents. And indeed Our Lady stretches out her friendly hand towards him, as if to assure him of favour and victory. Notice that the Marquis wears his armciir : he is giving thanks, as it were, on the field of battle. As often with Mantegna, the minor characters and saints are fuller of life than the two central divine oersonages : his Madonnas have frequently a tendency to be insipid. On the left of the picture, flanking the Virgin, stands St. Michael the Archangel, the " warrior of God," as representing the idea that the Lord of Hosts fought on the side of the Italian confederacy. This beautiful figure, clad in refulgent heavenly armour, is one of the noblest and loveliest that Mantegna ever painted. Com- pare it with the two St. Michaels by Raphael, the early one in the Long Gallery : the later in the Salon Carrd : note the general similarity of type, with the divergence in treatment. A little behind, again, half seen, stands St. Andrew, who was both Andrea Mantegna's own name-sake, and also one of the patrons of Mantua. He has an important church dedicated in his honour in that town— a Renaissance church, by Leon Battista Albert! : and in this church of his patron, Mantegna himself is buried. For the altar-piece of this same church, which he had doubtless selected beforehand for his own last 130 PARIS [III. resting-place, the great artist also painted a representation of the risen Saviour, with St. Andrew holding the cross of his martyrdom on one side, and St. Longinus (of whom more shortly) with his spear on the other. Thus there was every reason both why St. Andrew should be represented in a picture painted for the Marquis of Mantua, and why he should more particularly appear in a work by Andrea Mantegna. As one of the patron saints of town and painter, he naturally had his share in the thanksgiving for the victory. His features in this picture and in the one at Mantua are closely similar. Mantegna, indeed, imi' ted an older type, which he made his own, and re- produced like a portrait. Note that St. Andrew bears a cross as his symbol. On the other side of the Madonna, 5t. Elizabeth kneels in the foreground, representing, I think, the patron saint of the Marchesa, Gonzaga's wife, who was Isabella d'Este, sister of Duke Alfonso of Ferrara. (Isabella and Elisabeth are always regarded as variants of the same name.) Now in the chapel of St. Longinus in the church of St. Andrea at Mantua, aforesaid, where Mantegna is buried, he also painted a Madonna, with this same St. Elizabeth, holding the infant St. John Baptist, while the child Christ blesses him : no doubt a votive offering from Isabella. Here again we have a type of St. Elizabeth repeated in this picture. Behind St. Elizabeth stands the ex- quisitely wistful St. Qeorse, the patron saint of the Venetian territory, representing the part borne by Venice and her depen- dencies in the war of expulsion : the patron receives the thanks of his faithful votaries. (Mrs. Jameson thinks this figure is St. Maurice, another military saint, and patron of Mantua : com- parison, with various St. Georges and St. Maurices elsewhere makes me disagree with her. Besides, St. George's lance is often broken, as here : you can note it so in the Raphael of the Long Gallery.) In the background stands St. Longinus, a Roman soldier, distinguishable by his lance and antique helmet. According to tradition, Longinus was the centurion who pierced the side of Christ : you see him so in the famous Rubens (called the Coup de Lance) at Antwerp, and in almost every mediaeval Crucifixion or Calvary. (Look out for him in future.) When he saw the wonders which accompanied the Passion, we [III. ipresentation of he cross of his of whom more here was every itsd in a picture lie should more itegna. As one aturally had his features in this ilar. Mantegna, his own, and re- w bears a cross ■beth kneels in on saint of the I'Este, sister of beth are always in the chapel of mtua, aforesaid, Madonna, with t. John Baptist, I votive offering of St. Elizabeth I stands the ex- of the Venetian and her depen- eives the thanks this figure is St. Mantua : com- irices elsewhere Gorge's lance is Raphael of the t. Longlnus, a antique helmet, ion who pierced famous Rubens in almost every r him in future.) the Passion, we III.] RENAISSANCE PARIS (THE LOUVRE) 121 are told in scripture that he exclaimed, " Truly this man was the Son of God." Later legend made him be converted, after being afflicted with sudden blindness, and undergo a singular voluntary martyrdom. His relics were brought to Mantua in the nth century, and he has ever since been the chief patron saint of that city. Mantegna painted him often, and sometimes made a type of him. In the picture already described in the chapel of St. Longinus, he answers, as here, to St. Andrew, and wears a classical costume, on which the painter has lavished his usual care and minute accuracy of drawing. Notice him also in the foreground of Mantegna's Crucifixion in the Salon Carr^, bearing his spear— where, however, the type is not followed as usu&l. Thus not one of the characters grouped around the Madonna in this exquisite picture is without its full relevancy and meaning. Do not overlook in this military votive offering the pre- ponderance of soldier saints, and their appearance under arms, to commemorate the victory. Observe also the way in which St. George and St. Michael hold the Madonna's mantle, so as to enclose or embrace Gon- zaga and his wife's patroness, St. Elizabeth. This is a symbol o^ ;he Madonna's protection : in what is called a Madonna delta Misericordia Our Lady's robe thus shelters numerous votaries. So, at Cluny, you will find a sculptured St. Ursula (in Room VI) sheltering under her mantle as many of the i i,ooo Virgins as the sculptor could manage— as she also does in the Memling at Bruges. On the BSthetic side, note once more the marked distinc- tion which Mantegna draws between the historical portrait of the kneeling Gonzaga— a most ruthless ruffian— and the ideal figures of saints by whom he is surrounded. Remark, again, the angelic sweetness of the round-faced St. Michael, contrasted with the purely human look of longing and strife, and the guarded purity in the countenance of the St. George— who almost foreshadows Burne- Jones and Rossetti. Observe, too, how this romantic saint serves as a foil to the practical Roman Longinus, with his honest and sober face, and his soldierly sense of duty. Study the melting tones of colour throughout, and contrast the simple devotional calm of this religious work I, I 122 PARIS [in. with the rapidity and movement of the mundane Mars and Venus beside it. Do not overlook a single detail ; every hand and foot, every surface of metal, every fruit and flower is worthy of attention. As always, I have only tried here to explain this picture, not to make you admire it. But the longer you look at it the more you will be charmed by its wonderful colour, its poetic grace, and the exquisite beauty of its drawing and composition. Now, still in the same connection, go on into the Long Gallery, and look, near Andrea del Sarto's Holy Family, at a mannered and theatrical picture of the Nativity by Qiulio Romano. This is not a Nativity simple, but one with selected saints look- ing on : it was painted for the altar-piece of the altar of the Chapel of St. Longinus in Sant' Andrea at Mantua— the same in which Mantegna had earlier painted the Longinus pictures noted above. The central portion of this altar-piece consists of a tolerably conventional Nativity, with the adoring shepherds, Kaphaelized by Giulio Romano (who was Raphael's favourite pupil) in accordance with the ideas of the early i6th cent. (It is interesting to note, by the way, the nature of these modifi- cations.) In the background is the herald angel appearing to the shepherds : this scene, prior in time to the other, was often so represented in the same picture or carving : look out for it elsewhere, and also for such non-contemporaneous episodes in general. But the attendant saints, to right and left, looking on at the sacred scene, are St. John the Evangelist (known by his chalice and serpent) and 5t. Longinus. The last-named holds in his hands a crystal vase — a pyx or reliquary, containing the sacred blood of Christ, which Longinus caught as it fell, and which was brought with the rest of the relics to Mantua, and preserved in the very chapel for which this picture was in- tended. Compare this dull Longinus with the two by Mantegna in this collection : and when you visit Mantua, remember that these pictures came from these two churches. By thus inter- weaving your facts, you will get a far clearer conception in the end of tlie connection of art than you can possibly do if you regard the various works in pure isolation. But what was Qiulio Romano doing at Mantua? After Raphael's death, his pupils were dispersed ; and this his favourite [HI. >dane Mars and tail ; every hand , flower is worthy this picture, not lok at it the more its poetic grace, Tiposition. the Long Gallery, ly, at a mannered Hulio Romano. ected saints look- the altar of the itua — the same in ms pictures noted ;ce consists of a oring shepherds, aphael's favourite early i6th cent. e of these modifi- igel appearing to e other, was often g : look out for it leous episodes in d left, looking on ist (known by his last-named holds ■y, containing the ;ht as it fell, and to Mantua, and picture was in- two by Mantegna la, remember that s. By thus inter- conception in the possibly do if you Mantua ? After i this his favourite in.] REXAISSAIVCE PARIS {THE LOUVRE) 123 follower settled down in the service of Duke Federigo Gonzaga (the first Duke— the earlier lords were Marquises), for whom he decorated the Palazzo del T^, with its grotesque Titans. Primaticcio and Niccolo dell* Abbate, pupils again of Giulio's, were educated at Mantua, and afterwards summoned by Fran- cois I" to France, where they became the founders of the School ol Fontalnebleau. They thus passed on the Raphael- esque traditions into the French capital. It is partly for this reason that I have selected for my first examples this particular Mantuan group of paintings, in order that you may realise the close interaction of French and Italian politics, and the con- tinuity of the Italian with the French Renaissance. It is worth while, too, to enquire how the different pictures came Into this collection. The Madonna della Vittoria, we saw, was brought as a trophy of war from Italy by Napoleon. The Giulio Romano, after hanging for some time in the chapel at Mantua, for which it was painted, was shortly annexed by the Duke of Mantua, who sold it to Charles I of England. That king formed a noble collection of Italian and Flemish works, which, after his execution, was sold by the Commonwealth for a very small price to a dealer named Jabach, who in his turn disposed of most of the pictures to Louis XIV ; they formed the nucleus oi the Louvre collection. Look out for these works of which Puritan England thus deprived herself, and see how considerable a portion they form of the earlier treasures of this Gallery. Lastly, return once more to the Mantegnas in the Salle dcs Primitifs, and notice that the so-called Parnassus— that is to say, the Mars and Venus discovered by Vulcan— as well as the Vices conquered by Wisdom, and the companion pieces by Perugino and Costa, were all painted for Isabella d'Este-Qonxaga, to decorate her boudoir at Mantua. Of these works, I think Man- tegna's are the oldest, and struck the keynote for figures and treatment. For after Mantegna's death, the Ferrarese painter, Costa, was invited from Isabella's home to become court-painter at Mantua : and the Perugino is one in that master's latest manner, most tinged with the Renaissance. Giulio Romano, again, succeeded Costa. If you will now compare Mantegna's two works in this series with b's others in this Gallery, you will be able to form a clearer conception of his admirable fancy, his •c»»KMcasaBaF 124 PARIS [111. unvarying grace, and his perfect mastery of execution : while if you contrast them with those by the two contemporary artists— the Umbrian Perugino and the Ferrarese Costa — you will be enabled to observe what was the common note of these early Renaissance masters, and what their distinctive individual char- acteristics. In particular, you may notice in these works, when looked at side by side with those of earlier painters, the enormous .advance Mantegna had made in .inatomy and in perspective. He is the iclentific painter of Upper Italy, as Lionardo is the scientific painter of Florence. These four pictures again made their way to the Louvre by a different route. They were captured at the sack of Mantua in 1630, and originally came to France to decorate the chdttau of Cardinal Richelieu. Once more, Duke Alfonso d'Este. Isabella's brother, is the person whom you see in the portrait by Titian in the Salon Carr^, together with his mistress Laura Dianti, painted about 1520. Familiarity with such facts alone can give you any adequate idea of the extraordinary rapidity in the development of art and the modernization of Italy in the i6th century. For my next example I will take a quite obscure and unnoticed picture, also in the Salle des Primitifs, Qiovan.%i masMne't alter-plece in three compartments, number 261. Savona is an unimportant little town between Nice and Genoa, chiefly noteworthy at the present day as the junction for a branch line to Turin. But in the 15th and i6th centuries it was a flour- ishing place, which gave employment to many distinguished Piedmontese and Lombard artists, the most famous of whom were Foppa and Brea. It also gave birth to two famous popes, Sixtus IV and Julius 1 1, the latter of whom is familiar to most of us from the magnificent portrait by Raphael, three replicas of which exist, in the Uffizi and the Pitti Palace in Florence, and in the National Gallery in London. Sixtus IV erected for himself a superb sepulchral chapel in his native town of Savona : go and see it, if you pass by there, as well as the modem statue of the pope erected by his fellow-citizens. From that chapel this picture, by an otherwise unknown artist, has been abstracted and brought here. We know its author merely by the signature . .. I ■* [III. ecution : while if nporary artists— sta — you will be te of these early ! individual char- lese works, when Ers, the enormous d in perspective. s Lionardo is the I the Louvre by a ick of Mantua in ite the chdttau of I's brother, is the 1 the Salon Carr^, nted about 1520. ou any adequate tpment of art and ire and unnoticed •nisi mUNne's >i. Nice and Genoa, ction for a branch ries it was a flour- iny distinguished famous of whom vo famous popes, 3 familiar to most lel, three replicas lace in Florence, us IV erected for town of Savona : he modem statue From that chapel is been abstracted ' by the signature in,] RENAISSANCE PARIS (THE LOUVRE) 125 he has placed on a carttlltKO or strip of paper in the picture itself : Joh[ann]es Mazonus de Alex[andri]a pinxit— shewing that he was born in the Piedmontese town of Alessandria. For the rest, he is a mere name to us. The picture Itself, by no means a masterpiece, has in its centre the Nativity, designed in the usual conventional fashion, and in a somewhat antiquated Lombard style. The Madonna and St. Joseph have very solid haloes : the action takes place in a ruined temple, as often, symbolising the triumph of Chris- tianity over heathendom. In the background are a landscape, and some pleasing accessories. But the lateral subjects give it greater interest. In the compartment to the L stands St. Francis of Assisi, in his usual brown Franciscan robe, as pro- lector of Sixtus IV, who kneels beside him. Notice this way of marking the name of a donor, for the pope was Cardinal Francesco della Rovere. Observe too the stigmata, as far as visible, and compare this much later figure of St. Francis with those in the picture by Giotto and its two imitators. On the R stands a second Franciscan saint, also in the coarse brown garb of his order— the same in whose church Andrea Mantegna studied Donatello, and whom we have seen more than once during our Parisian excursions holding in his arms the infant Christ— St. Antony of Padua. He lays his hand on the shoulder of a second votary— the Cardinal della Rovere, afterwards the stem and formidable pope, Julius II. If you know the National Gallery and the Vatican, see whether you can recognise an eariier stage of the same features which occur in the famous portrait, and also in the figure of the pope, borne on the shoulders of his stalwart attendants into the temp.c at Jeni-alem, in a corner of the famous fresco of the Expulsion u( Heliodorus. RecolleC again, that it was for the tomb of this same Pope Julius II tliiat Michael Angelo produced the two so-called Fettered Slives, which you have seen or will see in the Renaissance Sculpture Room of this collection. Weave your knowledge together in this way, till it forms a connected whole, which enables you far better to understand and appreciate. I call your special attention to this picture, among other things, for its historical rather than its artistic value. But I li "W 126 PARIS ii ; m [ill. want you also to realise that the man who was painted in this rude and antiquated style in his middle age was painted again in his declining years by Raphael at the summit of his powers, and was a patron of the mighty Michael Angelo at the zenith of his development. This will help to impress upon you better than anything else the necessity for carefully noting chro« nology, and will also supply a needed caution that you must not regard any work as necessarily early on no better ground than because it is comparatively archaic in style and treatment. Next inspect the two little companion pictures of St. Qeorg* and 5t. Michael by Raphael, on the r wall of the First Compartment in the Long Gallery. These two small works are rare examples of Raphael's very earliest pre-I'eruginesque manner. Morelli has shewn that the great painter was first of all a pupil of Timoteo Viti at Urbino, his native town. If you have not visited Bologna and Milan, however, this will tell you little ; for nowhere else can you see Timoteo to any great advantage ; and I may observe here that the best time to visit the Louvre is a/h'r you have been in Italy, where you ought to have formed a clear conception of the various masters and their relations to one another. But you can see at least, on the face of them, that these two simple and graceful little works are quite different in style and manner even from the JBel/e Jardiniere, and certainly very unlike the much later St. Mar- garet which hangs close by them. They are still comparatively mediaeval in tone : they have a definiteness and clearness of outline which contrasts strongly with the softer melting tones of Raphael's later work : they show as yet no tinge of the alTected prettinesses which he learned from Perugino — still les: of his later Florentine and Roman manners. They are painted on the back of a chess or draught board, and were produced for Duke Guidobaldo of Urbino about the year 1 500. Look first at the St. George. The subject here is the Combat with the Dragon ; and Raphael, in representing it, has strictly followed the conventional arrangement of earlier painters. No earlier picture for comparison with his treatment exists in this Gallery, though there are plenty elsewhere : but if you will look downstairs at the majolica relief of the same (III. painted in this i painted again of his powers, o at the zenith ipon you better ' noting chro> that you must > better ground : and treatment. s of «t. Qeorg* ill of the First small works are e-Peruginesque nter was first of e town. If you his will tell you to any great est time to visit re you ought to js masters and ! at least, on the ;ful little works from the Belle 1 later St. Mar- II comparatively .nd clearness of r melting tones 10 tinge of the ugino — still les; 'hey are painted I were produced - 1500. set here is the representing it, ment of earlier th his tre ai somewhat to dwarf St. George and his steed, the Italian sculptor, and still more the Italian painter, have shewn greater tact in treating the dragon as a comparative accessory, and concentrating attention upon the militant saint, combating with spiritual arms the evil demon. In this picture, as Mrs. Jame- son well observes, the conception is on the whole serenely allegorical and religious in spirit. But Raphael himself painted a second St. George, at a later date, for the Duke of Urbino to present to Henry VII of England. In this other picture, which is now in the Hermitage at St. Petersburg, St. George is treated rather as the patron saint of England than as the Champion of Right— to mark which fact he wears the Order ot the Garter round his knee, with its familiar motto. As Cham- pion of England, he is rushing on the monster with fiery energy : the picture is in this case more military than spiritual. The moment chosen is the one where he is just transfixing the dragon with his lance : the rescued Princess is here again in the background. Note once more that these various works are pictures of the combat of St. George with the Dragon. In devotional pictures of the Madonna, St. George frequently stands by Our Lady's side, in accordance with the wishes of the parti- cular donor, as patron saint of that person himself, or of his town or family. In Venetian pictures, as we have seen, he is very frequent, being one of the patron saints of Venice, and more particularly of the Venetian army and the conquered territory. You will find it interesting, after you have finished the examination of the two Raphaels, to go round the devo- tional Italian pictures in the Salle des Primitifs, the Long Gallery, and the Salon Carrrf, in order to note his various appearances. He is usually marked by his lance and his armour : the absence of wings (a point not always noticed by beginners) will enable you at once to discriminate him from yt. Michael— as man from angel. The more you learn to look out for such recurrences of saints, and to account for the [m. (na'i Madonna Observe, how- stionable tasle, the field, u> at ed, the Italian e shewn greater accessory, and combating with , as Mrs. Jame- whole serenely himself painted )uke of Urbino s other picture, •g, St. George i» id than as the ars the Order ot •tto. As Cham- nster with fiery y than spiritual. : transfixing the s here again in ! pictures of the In devotional ently stands by les of the parti- limself, or of his have seen, he is of Venice, and 1 the conquered }U have finished round the devo- nitifs, the Long lote his various I lance and his ways noticed by ninate him from ^ou learn to look account for the III.) REXAFSSANCE PARfriTHE LOUVRE) 139 reasons for their appearance, the more will you understand and enjoy picture galleries, !ind the more will you throw yourself into the devotional medixval atmosphere which produced such pictures. Now turn to the second little Raphael. This represents th« closely cognate subject of 5t. Mlchaol and tha Dragon— the angelic as opposed to the human counterpart. The two ideas are at bottom identical— the power of good overcoming evil ; the true faith combating heathendom. It is a world-wide myth, occurring in many forms— as Horus and Typhon, as Perseus, as Bellerophon. Hence Michael .ind (George, the superhuman and the human soldier of right, often balance one another, as in these two pictures : you have seen them doing so already in the Madonna della Vittoria : look out for them elsewhere in this conjunction. Uoth are knights ; both are in armour ; but one is a man and the other an angel. In this second little picture, St. Michael is seen, clad in his usual gorgeous mail, treading on the neck of the dragon and menacing it with his sword. The dark and lurid landscape in the background contains nuuny fearful forms of uncertain monsters : condemned souls are plagued in it by demons, while a flaming town flares murkily towards heaven in the far distance, the details being taken, as in many such works, from Dante's Inferno. Or rather, they and the Inferno represent the same old traditional view of Hades. (The figures weighed down with leaden cowls are the hypo- crites, while the thieves are tormented by a plague of serpents.) Close comparison of these two tittle works will give you a good idea of Raphael's earliest Urbino manner. This fantastic picture, however, though full of imagination, is by no means so pleasing as the dainty St. George beside it. Go straight from this combat to the Great St. Mkhael, also by Raphael, in the Salon Carrtf. It bears date 1518. Pope Leo X commissioned Raphael to paint this picture as a present for Franqois I" : the painter — to whom he left the choice of subject— chose St. Michael, the military patron of France, and of the Order of which the king was Grand Master. (You will find a bronze bust of Francois, wearing the collar and pendant of St. Michael, in the Renaissance Sculpture.) He chose it also, no doubt, because it enabled him to show his I 130 PARTS [III. fiUratlon at the Vatican.) The warnor archangel has just JwoopTd down through the air, and. hovering on po-d w.ngs s clufiht in the very act of setting one foot hghtly on the demonl sioulder. The dragon, writhing, tries in vam to hft Sis head and turn on his conqueror. The noble serenity of the a ciangeJs face, the perfect grace of his form and attuude the brilS panoply of his celestial armour, the sheen of h.s "the TgTtLsses of his hair floating outward behind h.m Tas of one who has traversed space on wings of hghtnmg) cannot :, to be remarked by every spectator. This is Raphae.n he fulness of his knowledge and power, yet far !«" '"^"«^' "« o the lover of sacred art than the boy Raphael of Urbmo, the dreamXhael of the Sposalizio at Milan, the tender Raphae o th^Gran Duca at Florence, or of the Belle Jardm.^re m th s same apartment. Notice that with the progress of Rer>a.ssance eeTngThe demon is now no longer a dragon but a half-human figure! with horns and serpent tail, and swarthy «d m cojo- He is so foreshortened as not to take up any large space m the "mposUion, which is mainly filled by the v.ctonous figure of the triumphant archangel. The more classical ^^^^nrhe- speaks the High Renaissance. The longer you conipare the e ro extreme phases of Raphael's art, the more w.ll you note poLs of advance between them-technical advance, counter- balanced by moral and spiritual retrogression. Sby comparing this St. Michael with Mantegna's, and wifh the playful Lionardesque archangel in the Vrerge aux tlnces, the last point in the degeneracy of a celestial concep- ''°Raphael is one of the painters who can best be studied at the W?e, wi* comparariv^mUej^edfo aid from elsewhere. Pay a special visit to the Louvre one day in order to make a defiled Ldy of Madonn.5. Before doing so however, read anr"gest the following general statement of prmciples on the subject [III. great and noble :ic rapidity ever tantaneous effect oy in the Trans- changel has just on poised wings, ot lightly on the les in vain to lift )le serenity of the » and attitude, the the sheen of his tward behind him f lightning) cannot his is Raphael in far less interesting ael of Urbino, the he tender Raphael ; Jardiniere in this ess of Renaissance n but a half-human irthy red in colour. large space in the victorious figure of issical armour be- you compare these nore will you note advance, counter- n. ;h Mantegna's, and in the Visrge aux i a celestial concep- est be studied at the aid from elsewhere. ^ in order to make a ng so, however, read of principles on the III.] RENAISSANCE PARTS {THE LOUVRE) 13I [People who have not thrown themselves, or thought them- selves, or read themselves into the mental attitude of early art, often complain that Italian picture galleries, and museums like Cluny, are too full of merely sacred subjects. But when once you have learnt to understand and appreciate them, to know the meaning which lurks in every part, you will no longer make this causeless complaint. As well object to Greek art that it represents little save the personages of Greek mythology. As a matter of fact, though the Louvre contains a fair number ot Madonnas, it does not embrace a sufficient number to give a perfectly clear conception of the varieties of type and the development of the subject— not so good a series m many respects as the National Gallery, though it is particularly well adapted for the study of certain special groups, particularly the Lionardesque- Lombard development. The simplest type of Madonna is that where Our Lady appears alone with the Divine Infant. This modification of the subject most often occurs as a half length, though sometimes the Blessed Virgin is so represented in full length, enthroned, or under a canopy. Several such simple Madonnas occur in the Gallery. In the earliest examples here, however, such as Cimabue's, and the cognate altar-piece of the School of Giotto, the Madonna is seen surrounded by angelic supporters. This forms a second group-Our Lady with Angels, '^ery early examples of this treatment show the angels in complete isola- tion, as a sort of framework. (See several parallels in sculpture in Room VI, ground floor, at Cluny.) Grouping as yet is non- existent. No specimen of this very original type is to be found in the Louvre ; but in the Cimabue of this Gallery the angels are superimposed, so to speak, while in the Giottesque example close by an elementary attempt is made at grouping them. In later works, the angels are more and more naturally represented, from age to age, singly or in pairs, or else grouped irregularly on either side of Our Lady. You will note for yourself that as the Renaissance developes, the nature of the grouping, both of angels and saints, deviates more and more from the early strict architectural symmetry. A slight variant on the simple pictures of the Madonna and Child arc those, of Ilorentine origin, in which the Infant St. mm 133 PARIS liu. John Baptlrt. the patron Saint of the City of Florence, is intVra^ed at play with the childish Saviour. Th.s class- he M.do«ol «d Child. ^Ith St.John-is well represented In 2Tneli. Jardiniire, and several other p.ctures m the ^°MoTt often, however, the Madonna is seen enthroned, in the centre of the altar-piece or composition, and surrounded by onr two or three pairs of saintly personages. The Madonna wltn ^°;u thus fSms a separate group of subjects. These samts. ^u will by this time have gathered, are never "b-tranly mtro^ duced They were selected and commissioned, as a rule, by the purchaser, and they are there for a good and sufficient reason^ Often the donor desired to pay his devotioii mth.s fashion to his own personal patron ; often to the pat-on c,^ ■ town or village, of the church in which the picture was to be deposited, o of his family or relations. Frequently, ag-n the p^ture was a votive offering, as against plague or other dreaded ^Uty . in which case it is apt to contain figures of the great ^a^ saints. Roch and Sebastian. Ignorant people often nhiect that such sets of saints are not contemporary. They forge that this is the Enthroned Madonna, and that the action tXs pLe in the Celestial City, where the saints surround ''tZ:!^^^^, in the earlier altar-pieces the selected sain swe« tr^ed in complete isolation. Most often the Madonna and Child occupy in such cases a central panel. Tnder its own canopy ; while the saints are each enclosed .n a Z^ate little alcove or gilded tabernacle. Reminiscences of AUusage linger long in Italy. Later on. as art progre' . .^, inters begaJ to feel the stiffness of such an arrange.. en C placed the attendant saints at first in regularly d.sp ■=. pai« on either side the throne, and afterwards m someth: . ^pp^o^ching a set compo.ltlo«. With the High Renajssance the various figures, instead of occupymg mere posts round the seat of Our Lady, and gazing at her m adoration, began to in- dulge in conversation with one another, or to take part in some more or less animated and natural action. This me hod of arrangement, which culminates for the Florentine school m Fra BanoLme; degenerates with the Decadence mto confused [III. Ill] RENAISSANCE PARIS {THE LOUVRE) I33 of Florence, is This class — (veil represented pictures in the nthroned, in the rrounded by one, Madonna with s. These saints, arbitrarily intro- as a rule, by the sufficient reason, ntliis fashion to n r.t ...- town or s to be deposited, gain, the picture )r other dreaded gures of the great ant people often ;emporary. They nd that the action B saints surround pieces the selected Most often the I a central panel, each enclosed in a Reminiscences of as art progre'-i'fJ, an arrangement •• regularly disp'^sc- ards in somethio^ High Renaissance, re posts round the ration, began to in- take part in some This method of ntine school in Fra ence into confused and muddled groups, with scarcely a trace of symbols— groups of well-draped models, in which it is impossible to see any sacred significance. The Florentine painters preferred, as a rule, such rather complex grouping : the Venetians, influenced in great part by the severer taste of Giorgione and of Titian, usually show a more simple arrangement. Any one of these various types of Madonna may also be modified by the introduction of a Icneeling: donor. Thus, Van Eyck's glowing picture of the Chancellor RoUin adoring Our Lady is an example of the simple Madonna and Child, enthroned, accompanied by the donor; though in this case, the composition is further slightly enriched by the dainty little rioaiing angel in the background, who places an exquisitely jewelled crown of the finest Flemish workmanship on the head of the Virgin. The Madonna della Vittoria, again, which we have so fully considered, is essentially a Madonna and Saints, with the kneeling donor. In very early pictures, you will observe that the donors are often painted grotesquely small, while Our Lady and the Saints are of relatively superhuman stature, to mark their superiority as heavenly personages. In later works, this absurdity dies out, and the figure and face ot the donor become one of the recognised excuses for early portrait painting. Indeed, portraiture took its rise for the modern world from such kneeling figures. Another point of view from which it is interesting to compare these various Madonnas is that of the Nationality or Scliool of Art to which they belong. The early Italian representa- tions of Our Lady are usually more or less girlish in appear- ance, refined in features, and comparatively simple in dress and decoration. The Flemish type is peculiarly insipid, one might often say, even with great artists, inane and meaningless ; in the hands of minor painters, it becomes positively wooden. The face here is long and rather thin ; the features peaky. The Madonna of Flemish art, indeed, like the Christ ot all art, is a sacred type which is seldom varied. Early French Madonnas, once more, are r^rgal and ladylike, sometimes even courtly. They wear crowns as queens, and are better observed in the Louvre in sculpture than in painting. This Gallery hardly suffices to note in full the peculiarities of the stib-types in I li''"' 134 PARIS [111. various lUlian schools; but they may still be recogn.sed Of these, the Florentine are spiritual, delicate and strongly .deal, the l^mbard. intellectual, like well-read ladies ; the Venet »n. stately and matronly oligarchical mothers, degenerating later into the mere aristocratic nobility, soulless and matenahsed, of Titian and his followers. The Umbrians and Slenese are distinguished for the most part by their pure and saintly air of fervent piety. . „ j Do not confound with any of these devotional Madonnas, with or without select groups of saints, various other classes of picture which somewhat resemble them. Each of these has in eariy art its own proper convention and treatment : it was a recognised species. A Holy Family, for example, consists, as a rule, of a Madonna, the Infant Christ, St. Joseph, St. Eliza- beth, and the child Baptist. Like the other subjects, it is sometimes complicated by the addition of selected Samts as spectators or assessors. A Coronation of the Virgin, again, is an entirely celestial scene, taking place in the calm of the heavenly regions. The Madonna is usually crowned by her Son. but sometimes by angels or by the Eternal Father. (Several interesting examples of this, for comparison, occur in Room VI, ground floor, at Cluny.) Nativities, of course, belone rather to the group of pictorial histories, such as the Life of Christ, or the Seven Joys of Mary. The sculptures in the ambulatory at Notre-Dame give one a good idea of such continuous histories. ,.^ . . One interesting set of Madonnas, largely exemplified here, to take a particular example, is the later Lombard type of the School of Llonardo. This type, well distinguished by its reeular oval features, its gentle smile of inner happiness, and its peculiar waving hair with wisps over the shoulders, is usually regarded as essentially belonging to Lionardo himself and his immediate followers. It is fo'eshadowed, however, by Foppa, Borgognone, and other eariy Lombard pamters, speci- mens 0.' whom are not numerous in the Louvre. Lionardo when he came to Milan to Ludovico Sforza, adopted tins local type, which he transfused with Florentine grace and with his own peculiar subdued smile, as one sees it already in the Mona Lisa From Lionardo, again, it was taken, with more or less [HI. recognised. Of i strongly ideal ; ; the Venetian, generating later materialised, of ,nd Slenese are I and saintly air »nal Madonnas, >us other classes lach of these has atment : it was a mple, consists, as Joseph, St. Elira- er subjects, it is elected Saints as he Vli«ln, again, I the calm of the ' crowned by her Eternal Father, nparison, occur in /Itles, of course, ories, such as the The sculptures in good idea of such exemplified here, mbard type of the jtinguished by its ler happiness, and the shoulders, is I Lionardo himself lowed, however, by ird painters, spcci- .ouvre. Lionardo, adopted this local grace and with his Iready in the Mona , with more or less success, by his immediate pupils, Beltraffio, Solario, Cesare di Sesto, and others, as well as by Luini, who was not a pupil of Lionardo himself, but who was deeply influenced by the mas- ter's methods and his works in Milan. The number of these Lionardesque Madonnas in the Louvre is exceptionally great, while Lionardo himself can here be better estimated than in Italy. Nowhere else perhaps, save possibly at Milan, can this type as a whole be compared by the student to so great advantage. While the Madonna herself usually occupies the central panel of votive pictures, it sometimes happens that some other saint is, on his own altar-piece, similarly enthroned ; and in that case he is flanked by brother saints, often more important in themselves, but then and there subordinated to him. This special honour under special circumstances is well seen in the case of the St. Lawrence at the far end of the Salle des Primitifs. Particular local saints often thus receive what might otherwise appear undue recognition. For the same reason, minor saints in the group surrounding a Madonna often obtain local brevet-rank (if ! may be allowed the simile) over others of far greater general dignity, which they could not lay claim to in any other connection. Thus, in the Nativity by Giulio Romano, to which I called attention in connection with Mantegna's Madonna, St. Longinus (with his crystal vase) stood on Our Lady's R, while St. John was relegated to her L— a subordination of the greater to the lesser saint which would only be possible in a chapel actually dedicated to St. Longinus, and where he receives peculiar honour. I now propose to escort you round a few rooms of the Louvre, again calling attention very briefly, from this point of view, to certain special Madonna features only.] Now, go to the Louvre and test these remarks. Begin at the far end of the Salle des Primitifs. The Cimabue and the Giottesque of the Madonna and Angels we have already con- sidered. Compare them again from our present standpoint. Close to them on the R, beneath the large Giotto of St. Francis, are two pretty little Madonnas, 1620 (I now give the large upper numbers alone) and 1667. The first of these M:- I f If .■ by Neri di Bicci, is also a characteristic half-length simple Madonna, with the Child still draped after the earlier fashion affected by this belated follower of Giottesque models. 1345, beneath it, by Filippo Lippi or his school, shows a characteristic type of features which this painter introduced,— a modification of the older Florentine ideal : the face is said to be that of his model Lucrezia Buti, the nun with whom he eloped and whom he was finally permitted to marry. The angels in the back^fround show well the rapid advance in the treatment of these accessories. Observe, as you pass, their Florentine lilies. Their features are like those of the Medici children, as seen in numerous works at Florence. In 1395, by Botticelli, we get that individual painter's pecu- liar mystical and somewhat languid type, while the angels are again like Medici portraits. Study these Botticellis for his artistic personality. 1344, by Filippo Lippi, next to it, exhibits Filippo's very rounded faces, both in Madonna and angels. The type is more human. Here, again, we have the Florentine lily borne by the adoring choir, whose position should be compared as a faint lingering reminiscence of that in the Giottesques ai\d the great Cimabue. Observe, at the same time, the division of the painting as a whole into three false compartments, a suggestion fi-om the earlier type of altar-piece. At the Ma- donna's feet are two adoring saints, difficult to identify — Flor- entine and local, probably. Do not fail to gaze close at the characteristic baby cherubs, perhaps Lucrezia's. This picture should be compared in all its details with earlier pictures of angel choirs. It is a lovely work. Its delicate painting is strongly characteristic. The relief of the faces should be specially notnd. The Botticelli next it, 1296, introduces us to the infant St. John of Florence whom we meet again in the Belle Jardiniire 138 PARIS [III. of Raphael's Florentine period. Another young St. John close by is full of suggestions of DonatcUo in the Sculpture Gallery. 493, above the last but one, is a very characteristic Ma- donna of the Florentine school, closely resembling the type of Botticelli. This once more is a simple Madonna and Child, without accessories. In 1662, the sanctity has almost disappeared and we get scarcely more than a purely human mother and baby. On the opposite side. 4573, » » half-length by Perugino, the affected pose of whose neck and the character of whose face you will now recognise ; the Madonna floats in an almond- shaped glory of cherubs, which indicates her ascent to heaven. Several similar subjects exist in sculpture at Cluny. 1540. Lo Spagna,is again a simple half-length Madonna, whose purely Umbrian type recalls both Perugino and the earlier examples. Compare the Peruginos, Raphaels, and Lo Spagnas here, and form from them some conception of the Umbrian ideal. ~, • ., Of the Bellini beside it I have already spoken sufficiently. Observe, here, the absolute nudity of the Child, and the reduc- tion of the angels to sweet Uttle cherub heads among clouds in the background. The graceful arrangement of the attendant saints strikes a Bellini keynote : it was followed in later developments of this subject by Venetian painters. Such half- lengths are common among the School of Bellini. The treatment by Cima, 1259, introducing landscape, and the peculiarly high Venetian throne, is one of a sort also very frequent for full-length Madonnas at Venice and in the Venetian territory. The grouping of the saints, also, is here transitional Compare it with the exquisite Lorenzo di Credi °Tn the opposite wall, 1367, by Mainardi, shows us a Flor- entine face, the St. John of Florence, and the typical sweet- faced Florentine angels, holding lilies; in the background, a view of the city. , ^, a „i„-. Cosimo Rosscli's, 1482, has again the almond-shaped glory of cherubs, the nude Child, the typical Florentine face (which you may now recognise) and also characteristic Florentine angels • but its St Bernard and the Magdalen are introduced [III. »g St. John close ilpture Gallery, aracteristic Ma- iling the type of onna and Child, ired and we get d baby. by Perugino, the ter of whose face ts in an almond- ascent to heaven. Huny. length Madonna, i>erugino and the Raphaels, and Lo :onception of the poken sufficiently, d, and the reduc- i among clouds in [t of the attendant followed in later nters. Such half- llini. ng landscape, and )f a sort also very 'enice and in the taints, also, is here ; Lorenzo di Credi shows us a Flor- the typical sweet- the background, a mond-shaped glory rentine face (which .cteristic Florentine ilen are introduced II!.] RENAISSAyCE PARIS {THE LOUVRE) 139 on clouds after a somewhat novel fashion. The St. Bernard is writing down his vision of the Madonna. I have already called attention to the beautiful grouping in 1263 by Lorenzo di Credi ; but observe now that the exquisite attendant saints, almost statuesque in their clear-cut isolation, still show a reminiscence of the earlier arrangement in taber- nacles by the Renaissance archways at their back, combined with the niche in which the Madonna is enthroned. Only by the light of Giottesque examples can we understand the composition of this glorious picture. We do not know the circumstances under which it was produced : but St. Julian was the patron saint of Rimini, as St. Nicolas was of Bari. Both these towns were great Adriatic ports : and I believe it was painted for a merchant of the neighbourhood. Do not be content in any of these cases with observing merely the points to which I call definite attention; try to compare each work throughout in all its details with others like it. The evolution of the grouping, in fact, will give you endless hints as to the history and development of the art of composi- tion. This picture of Lorenzo's may be regarded as exemplify- ing the finest stage in such works : those of later date are less pure and severe— show a tendency to confusion. This will be quite enough to occupy you for one day. Another morning, proceed into the Long Gallery, where you can similarly compare the High Renaissance types and the Lion- ardesque Madonnas of the later School of Lombardy. In the little Madonna of the School of Francia, I437i observe the position of the attendant saint, the new type of face proper to the art of Bologna, and the way in which, as often, the infant Christ is poised on a parapet. 1553, by Garofalo, shows a later and softer development of a somewhat similar (Ferrarese) type ; but the Child, instead of blessing with his two fingers as in most early cases, here displays the growing Renaissance love of variety and novelty : he is asleep in his cradle. Observe his attitude in this and other instances. With all these changes, however, you cannot fail to be struck by the fairly constant persistence of the red tunic and the blue mantle of the Madonna, as well as by the nature of her head-dress in each great School Never fail to fW 140 PARIS (III. observe the characteristic head-dresses in the various Schools of Italian art. They will help you, like the faces, to form types for comparison. . t i i 1353, by Luini, introduces us at once to the Lombard- Lionardesjue class of face and hair. Compare it closely wUh the Madonnas in the frescoes in the Salle Duchatel The introduction of Joseph makes this in essence a Holy Family. Note Luini's development of the halo of Christ, cruciform m early cases, or composed of a cross inscribed in a circle, into a cross-like arrangement of rays of light. The two works by Marco da Oggiono, close by, betray similar types, far inferior to Luini's, with further loss of primitive reverence. i^^uarri In 1181, Borgognone's Presentation, an earlier Lonbard work, the Madonna faintly foreshadow- this Lionardesque type, though the Lionardesque features aie far less maikedly present than in many other examples by this silvery painter. , 530 by Solario, the famous Madonna of the Green Cushion, may be compared with those by Marco da Oggiono, which it resembles in motive. In 1599, La Vierge aux Rochers, we get Lionardos own personal type, which is also seen in the Madonna and St. Anne of the Salon Carr«<. Compare all these with the Mona Lisa, for touch and spirit. Then continue your examination through the rest of this room with the Lionardesque types : after which, turn to the School of Venice, beyond them, and note the evolution of the Titianesque types from the primitive Venetians. On the opposite side of the same room, observe, once more, how Fra Bartolommeo and his School arranged their extremely complex groups of saints into a composition resembling a state ceremonial. From this point on in the evolution of the Santa Conversazione you will see that the arrangement of the saints entirely loses all sense of sacred meaning. Artificial ecstasies replace natural piety. An attempt to be artistic, and a desire to introduce a mode of treatment fitter for the theatre than for the church, at last entirely obscure the original meanmg of these groups, which are so full of ardour in Fra Angelico, so full of stateliness in Lorenzo diCredi. Another day may well be devoted to the quaintly girlish [ill. B various Schools ices, to form types lo the Lombard- ire it closely with 5 Duchatel. The e a Holy Family. Iirist, cruciform in . in a circle, into a ,e by, betray similar ■ loss of primitive » earlier Lorrbard Lionardesque type, is maikedly present painter. the Green Cushion, , Oggiono, which it jet Lionardo's own donna and St. Anne th the Mona Lisa, xamination through types : after which, hem, and note the primitive Venetians, observe, once more, nged their extremely n resembling a state olution of the Santa rement of the saints Artificial ecstasies irtistic, and a desire the theatre than for original meaning of r in Fra Angelico, so the quaintly girlish III.] RENAISSANCE PARIS {THE LOUVRE) 14I Madonnas of the Flemish School. Begin by observing care- fully the Van Eyck of the Salon Carr^, which is a Madonna with donor, and the Memling of the Salle DuchAtel, which is a Madonna with donors, not one with saints ; the patrons here being merely brought in to introduce the votaries to Our Lady's notice. From these, proceed to the Early Flemish section of the Long Gallery, and note in detail the evolution of the type in later pictures. I need hardly call attention to the Flemish love for crowns, jewellery, and costly adjuncts. These reflect the wealthy burgher life of Bruges, Ghent, and Antwerp. The translucent colour of the Flemish painters, too, lends itself well to these decorative elements. The best example of an Early French Madonna is the beautiful one which hangs by the R hand side of the door in the Salon Carr^, leading into the Salle Duchfttel. This exquisite figure, a true masterpiece of its School, should be compared with later French developments in painting, as well as with the admirable collection of plastic works of this School in the Renaissance Sculpture Gallery down stairs. With these may also be mentioned, as a typical French example, the famous miracle-working Notre-Dame-de-Paris, a statue of the thirteenth or fourteenth century, which stands under a canopy against the pillar by the entrance to the choir in the south transept of Notre-Dame, and is popularly regarded as the statue of Our Lady to which the church is dedicated. The close connection between royalty and religion in France, well exemplified in the number of saints of the royal house at St. Germain I'Auxerrois, St. Germain-des-Prds, St. Denis, and elsewhere, is markedly exhibited in the extremely regal and high-bred character always given to French Madonnas. The Florentine, which form in this respect the greatest contrast, are often envisaged as idealised peasant girls, full of soul and fervour, but by no means exalted. Finally, note as far as is possible with the few materials in this collection, the round-faced, placid type of the Qerman Madonna— placid when at rest, though contorted (as the Mater Dolorosa) with exaggerated anguish. The fine wooden statue in the room of the Limoges enamels at Cluny will help to strike the key-note for this somewhat domestic national ideal. The early PARIS [III. German Madonna is as often as not just a glorified house- *'Many other subjects for similar comparative treatment may be found in the Louvre. Pick out for yourself a special theme, such as, for example, the Adoration of the Magi, the Nativity, the Presentation in the Temple, or the Agony in the Garden, and try to follow it out through various examples. Choose also a saint or two, and pursue them steadily through their evolution. Do not think that to examine paintings in this way is to be absorbed by the subject rather than by the art of the painter. Only superficial observers fall into this error. You will find on the contrary that the characteristics of each School and of each artist can best be discovered and observed by watching how each modifies or alters pre-existing and conventional con- ceptions. In order to thoroughly understand any early picture, you must look at it first as a representation of such-and-such a Klven subject, for which a relatively fixed and conventional set of figures or accessories was prescribed by tradition. The num- ber and minuteness of the prescribed ac-ssorics will grow upon you as you watch them. You have • to observe how e«ch School as .whole treats sucij works eeling it introduces, towards what sort of modification in sty .. o. tone it usually tends. Next you must consider it relatively to IU age. as exemplify- ing a particular stage in the progress of the science and art of painting. Last of all you must carefully estimate what pecu- liarities are due to the taste, the temperament, the hand, and the technique of the Individual artist. For example, Gerard David's Marriage at Cana is thoroughly Flemish in all its details ; while Paolo Veronese's is thoroughly Venetian. You may notice the Flemish and Venetian hand, not merely in the figures and the composition as a whole, but even m the extraordinarily divergent treatment of such details as the jars in the foreground, which for David are painted with Flemish daintiness of detail, though coarse and rough in themselves; while Veronese approaches them with Venetian wealth of Renaissance fancy, both in decoration and handling. But the David, again, is not merely Flemish : it has the distinctive marks of that particular Fleming, and should be compared with his lovely portrait of a kneeling donor with his three patron ., -l [ill. a glorified house- ve treatment may If a special theme, lagi, the Nativity, ny in the Garden, pics. Choose also igh their evolution. I this way is to be art of the painter. . You will find on School and of each 1 by watching how conventional con- d any early picture, of such-and-such a nd conventional set radition. The num- )rics will grow upon a observe how each eeling it introduces, tone it usually tends. age, as exemplify- 5 science and art of istimate what pecu- nent, the hand, and or example, Gerard Flemish in all its >hly Venetian. You land, not merely in ole, but even in the :h details as the jars ainted with Flemish jugh in themselves ; Venetian wealth of 1 handling. But the has the distinctive dd be compared with rith his three patron J III] REffAISSANCE PARIS {THE LOUVRE) 143 saints in the National Gallery : while the Veronese is noticeable for the voluptuousness, the over-richness, the dash and spirit, of that large free master of the full Renaissance, the Rubens by comparison among the Venetians of his time. So too, if you study attentively the Botticellis in the Salle des Primitifs, you can notice a close similarity of type in many of his faces with the types in certain pictures by Fiiippo Lippi and still more in those by other Florentines of the same period ; while you are yet even more distinctly struck by the intense individu- ality and refined spiritual feeling of this very original and soul- ful master. In order to study the Louvre aright, in short, you must be continually comparing. In a word, regard each work, first, as a representation of such-and-such a subject, falling Into Its proper place in the evolution of Its series : second, as belong- ing to such-and-such a school or nationality : third, as repre- senting such-and-such an age in the historical evolution 01 the art of painting : fourth, as exhibiting the Individuality, the style, the characteristics, the technique, and the peculiar touch of such-and-such an individual painter. Only thus can you study art aright In this or any other gallery. Try this method on Van Eyck's Madonna, on Titian's En- tombment, on Sebastlano del Plombo's Visitation, and on Memllng's little John Baptist, which Is one attendant saint from a triptych whose Madonna Is missing. Some other time, consider In detail the two delicately luminous frescoes by Lulnl, in the Salle Duchfttel. Before doing so, however, read on the spot the following remarks. I have spoken here for the most part from the point of view of those visitors who have not travelled much in Italy or the Low Countries. And, as a matter of fact, the Louvre is the first great picture gallery on the Continent visited by nine out of ten English or Americans. In reality, how- ever, since this collection contains several isolated master- pieces of all the great schools, together with several unconnected pictures of minor artists. It requires, almost more than any other great gallery, to be seen by the light of information acquired elsewhere. It ought, therefore, to be m 144 PARIS to other countries. This co)ieaio , Angelico. .orksby van Eyck by Metnhns^^^^^^^^^^ ^^^^^ But Van Eyck can ""^^ ^f f "^ „„i be fully understood have visited Ghent ; Memlmg can on^y X^^.^^^ ^^^^^^ ,y those -^''/-^jtlTou have seen Ws ,reat series to comprehend ^^otto "jl'i"^^ Arena at Padua: U .s of frescoes in the ^aaonna Aneelico unless you ^-^°^'^'^.''fV::Z^TeJ:i wis at San Marco have examined the sa"»'»y ^^° ^^^r in mind that the in Florence. Thus you have »« ^'^^ . ^f masters works in the Louvre are on^y .tn^y ^«^^^^^^ ^,,, ^ and schools .ith whom an adequate^ a^q^^^^ ^^^^ ^ obtained elsewhere, u « Mantegna, because he these notes with special "ample^^^^^^ ^ ^^ ^^^^ is one of the ^^2J::JZl^^-c.,ilon in Paris alone, you can form ^J^^^^ by observation in Italy. to be pieced out aft"*ards oy ^_^^.^^^ ^^ Furthermore, it must ^\'"°"*"* ^ «„« which only be seen to advantage under Aecondm^^^^^ ^^^ ^^^^ tbelr works were produced This P ^^^^^^^ ,,b the ^^^^^l^'^^^l.^^ZlnUrs. Their altar-pieces They were a school «* ««~*/j^^, ^ ^ery inadequate idea and other -P-^XptiSy o^tU composition. Giotto of their powers, and especiauy ^^^ estimated and Fra Angelico. mparU^u^^^^ ^^^^^ ^^ ^,^ ^jp, aright by any of their works » ^^^ in character, The aUav.pieces,bemg more espe^^'y ^^^^^^^ ^^ j.,, were relatively very fi^fj"^ .J the histories of variation, less mcident, less actio", ^^^^^^^ ^ou saints which frequently form thejubje ^^^^^^ ,^^^^^^^ can judge of this to a si ght e-t»nt ja ^^ ^^^ ^^^^ ^^^ comparing the Madonnas atjhj ^ai^.^j^ ^angs by: for the Primitifs with Giotto's St. Francis wn ^^^ ^^^^ Madonna was the most acred ^and ^^^ ^^ ^^^^ ^^^^^^ rt:i^"-TB:^-ci^tS^:: •^ -Vfv than, hejori visits example, includes , by Fra Angelico. jod by those who le fully understood \ impossible really en his fjreat series I at Padua : it is ngelico unless you orks at San Marco in mind that the Rinples of masters quaintance must be sason that I began integna, because he in French, of whom ition in Paris alone, on in Italy. 4at many artists, can litions amid which especially the case and 15th centuries. I. Their altar-pieces very inadequate idea composition. Giotto possibly be estimated sn north of the Alps, r sacred in character, they allowed of less than the histories of lects of frescoes. You 1 the Louvre itself, by end of the Salle des ich hangs by : for the I therefore the most will at once observe ic is the treatment in . comparatively wooden surrounded. Still more RENAISSANCE PARIS (THE LOUVRE) 145 is this the case when we come to compare any of these altar-pieces with frescoes such as those of the Arena at Padua, or Santa Croce at Florence. Similarly with Fra Angelico: the little crowded works which he produced as altar-pieces give a totally different conception of his character and powers than that which we derive from the large and relatively spacious frescoes at San Marco, or in Pope Nicolas's Chapel at the Vatican. In such works, we see him expand into a totally differei manner. Now frescoes, by their very nature, cannot easily be removed from the walls of churches without great danger. Therefore, the school of fresco-painters— that is to say, the Early Italian school- is ill represented outside Italy. Now Luini, though he belongs to the i6th century, and though he produced some of his most beautiful works as cabinet or panel pictures, was yet almost as essentially a painter in fresco as Fra Angelico or Ghirlandajo. He can best be appreciated in Milan and its neighbourhood. And I will add a tew notes here for the benefit of those who know Italy, and who can recall the works they have seen in that country. At the Brera in Milan, an immense number of his frescoes, cut out from churches, can be seen and compared to great advantage. Everybody who has visited that noble gallery must recall at least the exquisite figure of St. Catherine placed in her sarcophagus by angels, as well as the lovely Madonna with St. Antony and St. Barbara, where the face and beard of the aged anchorite somewhat recall the treatment of the old bearded king in the Adoration of the Magi in this gallery. Still better can Luini's work be understood by those who know the Sanctuary at Saronno, where a splendid series of his frescoes still exists on the wall of the great church in which they were painted. The two frescoes here in the Salle Duch^tel are not quite so fine either as those at Saronno or as the very best examples among the collection at the Brera. Nevertheless, they are beautiful and delicately-toned specimens of Luini's work, and, if studied in conjunction with other pictures by the same artist in the adjoining rooms, they v.iil serve to give a tolerably just conception of his style and genius. K II 146 PARIS [HI. 1 uini is essentiaUy a Llonardesque painter. He was not amX a p p o Lionardo ; but like all other Lombard art^ts S his time he was deeply influenced by the temperament and Imp of th! Florentine master. If you wish to see the kmd Tf i produced by the Lombard school ../.« U had under^ gone this quickening influence of Lionardo -been Tuscan.sed S L onardised-look at the Borgognones m the Long Gallery These again, are not at all satisfactory speamens of that lender' dKte, and silvery colourist. To appreciate Borgo- Innneafl^^e ought to be appreciated, however, you must have frhimathomeiltheCenosa di Pavia : though even those w^krow only his exquisitely spiritual aUa-p.ece of the Madonna with the two St. Catherines (of Alexandria and S.ena) ^te National Gallery will recognise ^^^ ^^^1^. work is represented by the specimens m the Louvre. Never Ses these examples, inferior though they be m style and fS will serve fairly well to indicate the pomt to which ar h^d attled in Lombardy be/or, the advent of Lionardo. I needto point out their comparatively -haic character and their close following of earlier methods and motives. Aga,^ ^ vou compare with Borgognone the subsequent group of L.on- youcompa his contemporaries,-whose IThanfrse by on the left-hand wall of the Long Galley. Itw^fehw immense was the change which Lionardo introluced into Lombard art. From his time forward, the mtroducea in ^^^ ^^^^^^ ^^^^^ ^f ';^"^:sZiZ:s:i cV and as far as possible the touch and technique of the master, are reproduced over and over !ln hv the next generation of Milanese painters. Among S il L^nfstlnds preeminently forward as the only one ndl^' tuhp ofound'original genius, capaW. of transfusing he Jotrdesqu'e types with new vitality and beaUyofh^ own conceiving The others are imitators : Lu.ni is a i sciple. ThTe ftributes are well seen in the two beautiful frescoes of thJ sine Duchitel. They came to Paris from the Palazzo Luta, tat itSome' ococo palace in Milan which stands nearly optitet church of San Maurizio, itself a jnus-^^^ ^m.^^ opposite uic ..,.•_ .u- incomparable Execution of St. life [III. Iter. He was not ler Lombard artists ! temperament and nsh to see the kind \efore it had under- ,— been Tuscanised in the Long Gallery. specimens of that J appreciate Borgo- 5ver, you must have : though even those altar-piece of the exandria and Siena) ow inadequately his he Louvre. Never- they be in style and le point to which art vent of Lionardo. I rchaic character, and d motives. Again, if [juent group of Lion- atemporaries,— whose I of the Long Gallery, ange which Lionardo lis time forward, the the crimped wisps of r as possible the touch aduced over and over lese painters. Among :ward as the only one capaW-i of transfusing and bea Uy of his own Luini is a disciple, wo beautiful frescoes of from the Palazzo Litta, n which stands nearly idf a museum of Luini's >arable Execution of St. is the most satisfactory III.] RENAISSANCE PARIS {THE LOUVRE) I47 of the two. In it the kings,— Caspar, Melchior, Balthasar,— representing, as ever, the three ages of man and the three old continents,— are treated with a grace and soul and delicacy which Luini has hardly surpassed even at Saronno. The eldest king, as most often, kneels next to the Madonna, who occupies the conventional R hand of the picture. He has removed his crown, also an habitual feature, and is presenting his gift, while the others are caught just before the act of offering theirs. The exquisite face of this eldest king is highly typical ; so is the gently-smiling Lionardesque Madonna. The youngest king is represented as a Moor, as always in German, Flemish, and North Italian art, though this trait is rarer, if it occurs at all, in the Florentine and Central Italian painters. I take it that the notion of the Moor was derived from Venice ; for the Three Kings were great objects of devotion in Lombardy and the Rhine country. Their relics, which now repose at Cologne, made a long stay on their way from the East at Milan ; .-nd it is to this fact, I fancy, that we must attribute the exceptional frequency of this subject in the art of Northern Italy, as of the Rhenish region. In the background, the usual caravans are seen descending the mountain. Such long trains of servants and attendants are commonly seen in Adorations of the Magi. Camels and even elephants frequently form part of them. Recollect the charming procession in the exquisite Benozzo Gozzoli in the Riccardi Palace. A study of this subject, from the simple beginnings in Giotto's fresco in the Arena at Padua (where a single servant and a very grotesque camel, entirely evolved out of the painter's imagination, form the sole elements of the cortege beyond the Three Kings), down to the highly complex Ghirlandajo in the Uffizi at Florence, (a good copy of which may be seen at the Ecole des Beaux Arts,) and thence to Luini, Bonifazio and the later Italians, forms a most interesting subject for the comprehension of the historical evolution of art in Italy. Go straight from this picture to the Rubens in the Salon Carrd in order to observe the way in which the theme has been treated, with considerable attention to traditional detail, yet with highly transformed feeling, by the great and princely Flemish painter. The Nativity, in Luini's second fresco, is also full of tradi- PARIS lal (.atures.-a beau...! wory^^^j::^^ S^ t^, gentle artist. Note every ""f^J^^^^X pictures, and also observing how they have <=°>;^ ™^/^^^^^^^^ ^o his own art how completely Lum. has «"^°^J;"^^^^^^^ ,i,„e two with the and his deUcate handlmg. Co'"Pan«>n .^^^ ^^ ^.^ other Luinis in "^J^^er and o irai'ting. Note that the Sfs r:;renU^tS;and are fullest of Luini. Another picture, wh^cU^^^^ plifies the need for knowledge of >v«rks^^^^^^^ ^^^^^ ^.^^^^^^ Specially ""^^er the condU'ons m ^^^^^^^^^^ V^^^^^^ ^^ 3^, painted, is to be found '" ^"P^^fter you enter the Salle Stephen, on the R hand «f ' f "J^'j^ „' the Life of St. des Primitifs. Th.s IS one o a sene ^^^ ^^^^ ^^^^ Stephen -a form of <^or.?^on o^ ^^^ ^^^^^^^^^^ ^^^^ example in the Louvre .s Lesu^^, '" p ^^ ^^^^^ ^^ ^^^^^^ recountmg the biography and m.acU ^^^^^^^ ^^ such histories o^samts are every ^^^.^^^ ^^^ or otherwise. ^h^^^J^J^ „^„ charming series of the L. e well remember Carpaccio s o ^^^ ^^^^^ ^^ ^ ^ g,, of St. 'J>^^"^r*^Ac^emy Still better will they under- room in the Vcn.ce Academy^ ^^^^^^^^ Carpacc.os stand the nature of the« jo^ks 'y^^V^^^^g^^ ,^ san Giorgio other delicious series "^ ^^e u ^^ ^^^^ ^^. ^ dei Schiavoni, where the pictures s .^^^ ^^ ^^^^ height from the ground and m h .r J^ ^^^^^ ^^^^ waUs of the church f«J J^^^'^^.^ J„d be properly estimated. such situations can wo^ks o ^^^^^^^^ .^ ,^ That they can less e^sny «« j^^,^ ^^^ boudoir gather if you look ^J^^^^f/^frPeJugino, and Costa, which of Isabella d'Este, by Mantegna, « P ^^^ ^^^^ _^^^^ ^^ hang not far from t^«;.7J*,gS. in particular, is lar^^-Jy the Louvre. The size of/^j/f^^*^^^ J distance from the tr^ 1 rS ot t;:;^;ace Uch the palter has to -Ss St. Stephen series. a^^o^^«^--«- pictures, all by Carpacc.o. m the [m. III.] RENAISSANCE PARIS {THE LOUVRE) I49 iliar spirit of this ories and details, pictures, and also ni to his own art hese two with the some idea of his ^. Note that the f Luini. nt direction exem- art elsewhere, and liey v/ere originally Preaching of St. you enter the Salle of the Life of St. ich the only good and colourless set, ;t Bruno. In Italy, lommon, as frescoes I, for example, will g series of the Life ^e walls of a single :ter will they under- avs seen Carpaccio's ;orge, in San Giorgio nain, at their original ginal position, on the re painted. Only in « properly estimated. in isolation, you can ;ures from the boudoir ino, and Costa, which \ in the same room of I particular, is lar^.^ly he distance from the lich the painter has to . existed entire as five lola (or Guild) of St. Stephen at Venice. Similar sets of other saints still exist in the Scuola di San Rocco and other Guilds in the city. The first of the group, which represents the saint being consecrated as deacon by St. Peter, is now in the Berlin Gallery. The second, the Preaching of St. Stephen, is the one before which you are now standing. The third, St. Stephen disputing with the Doctors, is at the Brera in Milan. The fourth, the Martyrdom of St. Stephen, is at Stuttgardt. The fifth and last, St. Stephen Enthroned, between St. Nicolas and St. Thomas Aquinas, has disappeared from sight, or at least its present whereabouts is unknown to me. It is interesting to look out for such companion works i:i widely separated galleries. Rightly to understand this picture, once more, one should know Carpaccio. And fully to know him one must have spent some time in Venice. But even without that knowledge, it is pleasant here to remark the familiar acquaintance with oriental life, which is equally visible in the neighbouring picture of the School of Bellini representing the reception of a Venetian Ambassador at Cairo. The mixed character of the architecture and the quaint accessories are all redolent of Carpaccio's semi-mediseval and picturesque sentiment. The pellucid atmosphere, the apparent realism, the underlying idealism, the naivete of the innocent saint in his deacon's robes, counting his firstly, secondly, and thirdly on his fingers, irrespective of persecution, and the glow and brilliancy of the Venetian colouring, here approaching its zenith, all combine to make this daintily simple picture one of the most attractive in this part of the Louvre. Recollect it when you go to Milan and Venice, and let it fall into its pro t place, in time, in your mature conception of the painter and the epoch in which he lived. Nor is this all. It must be borne in mind that while the Louvre is one of the noblest collections of pictures in Europe, it differs from most other fine collections in the fact that its most important and valuable works are not of native origin, nor of one race, school, or period. The pictures at Florence are almost all Florentine : the pictures at Venice are almost all Venetian. At Bruges and Antwerp we have few but Flemish works : at the Haguci and Amsterdam, few .u. Dutch, in the ^^^^^^ :^Z:X^ raS\^rX and Munich), we get several "a^terp'cces ^^ schools, with relatively few n^jnor -orks °^^ the P ^^ which they belong, by whose » g»^^^° ^f *'^;. , of the short, this is a gaUery of purple P^ «f>;;- J'^^ionardos. an collection are the R=»P^f ^.i^!,J^^" ' ^ few fine Murillos. exquisite van Ey^k. -p^^;;^^^ "iT^lrtu., all these, we a number of great Ruber.ses. i" n„i,rian art. Venet an ,nust know son.etJing of Florermne an^ U^^^^^^ ^^^^„^^, art, Flemish art, Spanish art ^d so tori ^^^^^^ of any in the <^'^'^^'^:\^;C^^'fX^^s in this gallery wholly be comprehended by the iigni o alone' Therefore it is ^^^^^^ ^:^Xo^ J'l^Z E.ro^. SStlS'-^r^rSTe scU Oer.d Dou, and Rembrandt. ^^^^^ elsewhere As a iiirther example of the I'S^t cast y p ^.^^^^ on those in this Gallery. l.owev„, ^ P^^^^^^gt^ious Lronn- subject from the predel la "^ ^^ f "^*J^^^^^ ^hich repre- tlon ol the Virgin : I '"^f^^ .^^ f ^ fed by angels in the ,ents St. ^lf-^^:^,^'^t:: 2y^^/^^o l^^s at rt^l^^P^ng. even int^ - ^-^'':i;^:V^^^^- ...h comes is permeated oy a spun » /„ -rt«rs Fewer people, oufin every «- of '.is -geU ^^^^^^ n.arty- ^^e^^, J^/ however, note that »^« ^'^ \ ^^^, js to the glory of voted Dominican. Jf^^^" Vst. Dominic and of the God : but it .s also to ^^e gto-y^"^^^ altar-piece, for instance, order that he founded J*"r.**„ "':„..r of Fiesole for the was Produced \theDom.m an p^^^^^^^^^^^ Thesainthim- Dominican church of St. uommic ,_o-rent: and those [Itl. (as at Dresden of all the great f the group* *° I bland them. In The gems of the le Lionardos, an few fine Murillost md all these, we jrian art, Venetian The finest pictures It all, and cannot ,rks in this gallery to return to the )1 of art in Europe, e here very amply se Raphael, Titian, ue school, Gerard IT pictures elsewhere o take a single little i's glorious Corooa- tment which repre- fed by angels in the ^body who looks at smaller works, can devout manner. He srence, which comes yrs. Fewer people, also a loyal and de- s is to the glory of Dominic and of the ar-piece, for instance, sr of Fiesole for the !Sole. The saint him- . apparent : and those Dominican monastery that the founder and iry fresco in that beau- that this very subject III] RENAISSANCE PARIS {THE LOUVRE) I5I of the brethren fed by angels forms the theme for a beautiful but much later fresco by Sogliani in the Great Refectory of the same monastery. Such an episode is admirably adapted for one of those large pictures representing a repast of some sacred character which it was usual to place on the end wall of conventual dining halls. Compare it also with a Spanish treatment of a similar miracle by Murillo, in the Cuisine des Anges. Note the simplicity and sobriety of the Early Italian work, as contrasted with the strained feeling and insistence upon mere effects of luminosity and glory in the showy Spanish painting. The moral of all such half-allegorical miracles is clearly this :— Our order is sustained by God's divine provi- dence. I have said already that a Qerman Last Supper in this collection (German Room) betrays the influence of Lionardo|s great fresco on the wall of the monastery of Santa Maria delle Graiie at Milan, of which an early copy by a pupil of Lionardo's exists in the Louvre (L wall of the Long Gallery). But in order thoroughly to understand Lionardo's Last Supper, again, we must similarly compare it with many previous repre- senUtions of the same sacred scene. The type, in fact, was begun among nameless Byzantine and early Christian artists, whose work can best be studied in Italy. It found its first notable artistic expression in Giotto'- resco at Santa Croce at Florence, where the traditional type is considerably trans- formed : and this Giottesque Last Supper wa? repeated over and over again by many copyists, who each infoduced various modifications. Ghirlandajo once more transf vrmed the type at San Marco and the Ognissanti ; and fr^m Ghirlandajo, Lionardo borrowed part of his arrangement, vhile transfusing it wiih an entirely new element of life and ace on, at a dramatic moment, which marks this great painter's style, and is a distinct move forward in the art of composition. Each work of art down to the end of the i6th century can thus only be fully understood by considering it in its proper place, as one of a continuous evolutionary series. Every painter took much from those who went before : his individuality can best be gauged by observing how he transformed and modified what he borrowed. 152 I'ARIS [111. Now take ahirlandaJo'« VIsiUtlon in the Salic des Primitifs as an example of a work which in quite a difTerent way, requires to be understood by light from elsewhere. Note how admirably the figures here are balanced against the sky and the archway in the background. In itself, this is a beau- tiful and striking picture ; but it is also a good illustration of thos" subjects which cannot adequately be understood by con- sideration of works in this Gallery alone. The attitudes and costumes of the two principal personages are strictly conven- tional : nay, if you compare the St Elizabeth in this Visitation with the same saint in the Mantegna almost opposite, you will see that her d'...ss and features remain fairly typical, even in two such very distinct schools as the Paduan and the Floren- tine. The relative positions of the Madonna and her rider cousin have come down to Ghirlandajo from a very remote antiquity : they were adopted, with modification, by Giotto, in his fresco of this subject in the Madonna dell' Arena at Padu''. But Giotto also introduced an arch in the background, which persists in almost all later representations. His arch, however, is blind — you do not see the sky through it. So is Taddeo Gaddi's, in his closely similar Visitation at Santa Croue in riorence : but the figures here still more nearly approach the positions of the Ghirlandajo, and they stand more directly framed, as it were, by the arch behind them. Skipping many intermediate examples, each of which leads up to this picture, we come to this beautiful embodiment of Ghirlandajo's, which, while retaining the simplicity of composition in the earlier examples, shows a fine artistic instinct in the way in whi :h the chief characters are silhouetted in the gap of the archway. Ghirlandajo accepted the older tradition, while transforming it with the skill and taste of the early Renaissance after his own fashion. Those who have visited Florence will remember how Pacchiarotto, in his admirable presentation of the same subject, now in the Belle Arti in that town — which, like this one, is a Visitation with selected saints as spectators — has closely fol- lowed Ghirlandajo's treatment with still further modifications : while the noble embodiment of the same scene by Mariotto Albertinelli, in the Ufiizi, consists of the two central figures in the Ghirlandajo or the Pacchiarotto, cut out, as it were, and [HI. the Salic des quite a different !lsewhere. Note against the sky f, this is a beau- od illustration of derstood by con- 'he attitudes and e strictly conven- in this Visitation opposite, you will y typical, even in n and the Floren- na and her elder m a very remote tion, by Giotto, in I' Arena at Padu-'. jackground, which ais arch, however. It. So is Taddeo it Santa Cro,.e in Early approach the jnd more directly I. Skipping many up to this picture, hirlandajo's, which, tion in the tiarlier e way in whi -.h the p of the archway, tiile transforming it sance after his own will remember how of the same subject, h, like this one, is a rs— has closely fol- rther modifications : scene by Mariotto vo central figures in out, as it were, and III.] REAAISSAXCE PARIS {THE LOUVRE) 153 presented separately with noble effect against a background of sky seen through the archway. In such a case we see dis- tinctly how the individual work can only fairly be judged as a development of motives borrowed from others which have preceded it, and how in turn it gives rise later to still further modifications of its own conception. If you have not yet visited Florence, bear in mind this work when you see the Pacchiorotto and the Albertinelli. It is a good plan for the purposes of such comparison to carry about photographs of other pictures in the same series. You may go straight from the Ghirlandajo here to the Sebastiano del Piombo in the Salon Carr dcscr pt ons of ancient wrucrs i" r ^' iuf.„i«..a .o sculp,™. °' f_ ^'^^rr^H.^,, .„d »r .hich do no. "»•'«" '""I'"" „d hacked .bou. in .he few have been considerably ""e"" " .„ppl,ing them wilh „„„. or ,e..,r.uon, »r '<^^^ ; r5i'„L ^ been '^Str :eccrad:jp.uch ,.'.he " Vcnu. o, MllC and the Samothracian Nikfc.] lent Ro'«''^"r.^""/XroS^ct; and enter the Rotonde. good »""P»'»«;;;themltTa --»''' "^ "^ ^^''^^'^^'^ ^'^ .hich <^°"»-7%^°' i'thT* orghese Mars (or, in Greek. Ares . period In the «"^'-«;/;* * ,^ \^^ u ^sual in figures of this a celebrated statue, less v.rile "an ^^_^^^^^^ god. Round the room are grouped many ta y g ^^ 'not a few of them al-«;^"£"^ ,,^TaVne Melpomene; noticed (beginnmg from »*»«^'r^,"J"„p,^ gUding from a '''^' n'-td" etCly" etlJuT^tle^nus nUng the In- tree-trunk ; and especially i sculptor Praxiteles— fant Bacchus, of the ^^^^^''^l^''^^;^^^^^^ of Faun perhaps the most pleasing of the "'^"yj^P ^ ^„ „,. This Snd Satyr life which antiquity »>« ^^^^^ ^^^^^^^ tork should be studied as showing ^^ J ^,,,. culture when sculpture -'=1\;°\ J^ ^..^t arts and graces cental, but -l'^" ^^'^/X/bf aTe ,wo or three good draped was distinctly present. ^ J" J^^V Apollo, which should be r:; s:;ed"ir:r^ ;£« «^^^^^^ ! rrir:rSur-idei-.-»--'He™., [ill. i to groups which 10U8 sculptors : wc I several are judRCtl I copies or variants iiinence. ancc period, and up ,ve been freely and lally antique heads, ,g to them. Not a hacked about in the ipplying them with ■actice has not been he "Venus of Milo' ings. Proceed along ght or left, under the R, containing excel- Africa.) Pass some enter the Rotonde, s of i\ relatively late rs (or, in Greek, Ares), isiial in figures of this ny fairly good statues, mong them should be R a fine Melpomene ; jerpenl gliding from a jilenus nursing the In- ,t sculptor Praxiteles— epresentations of Faun queathed to us. This Iter stage of easy Greek jr religious and monu- ir direct arts and graces o or three good draped .polio, which should be ite it, as indicating the cas comn\only made of lis, a couple of Hermae, 111] RENAISSANCE PARIS {THE LOUVRE) 157 or heads on rough bases, in later imitation of the archaic Greek style, with its curious stiflf simper : the type was doubt- less too sacred to be varied from : a portrait statue of a lady with the attributes of Ceres ; a charming Nymph, carrying an amphora ; excellent figures of athletes, etc. Many of the statues in this and succeeding rooms are much restored, and in some cases with heads that do not belong to them. They are inter- esting as showing the general high level of plastic art among nameless artists of the classical period. The next room, ♦♦the Salle Qrecque, or 5alle de PhldlM. is interesting as containing a few works of the great artist after whom It is called, as well as many specimens of archaic Greek art, before it had yet attained to the freedom and grace of the age of Pheidias. In the centre are fragments of the early half- prehistoric figures (6th century B.c.) commonly known as Apollos, but more probably serving in many cases merely as funereal monuments -a man in the abstract, to represent the deceased, like a headstone. They exhibit well the constrained attitudes and want of freedom in the position of the arms and legs, which are characteristic of the earliest epoch. These very old features are still more markedly seen in the mutilated draped Herfe in the centre ; it well illustrates the aUrtincg.u supported the drapery. It is more probable, however, that the figure was really a Nik& (or Victory) and that she grasped a shield and possibly also a winged figure on an orb. Comparison with the other similar half-draped nude statues described as Venuses in the adjoining rooms is very instructive : their resemblances and differences show the nature of the modifica- tions from previous types, while the immense superiority of this to all the rest is immediately apparent. Notice in particular the exquisite texture of the skin ; the perfect moderation of the form, which is well developed and amply covered, without the faintest tinge of voluptuous excess, such as one gets in late work • and the intellectual and moral nobility of the features. No object in the Louvre deserves longer study. It is one of the finest classical works that survive in Europe. Pass to the R into the next suite of rooms, the first of which contains the colossal figure of Melpomene, the tragic muse- a splendid example of this imposing type of antique sculpture so well represented in the Vatican. Round the room are ranged several minor works, including a charming Flute-Player, doubt- fully restored, and some excellent busts. The long series of rooms which follows this one coma.ns in many cases Gra-co-Roman works, imitated from the great Greek models, and often showing more or less decadent spirit. Among them, however, are some of the finest specimens ot ancient sculpture, Greek included : and indeed it must be admitted that the grounds upon which such Greek works are [III. itrated here in the rhc famous series Drence (duplicates set of character- ;asonable grounds nd this statue has ) one of Ills pupils, leries, and exhibits ■beautiful, healthy jrtioas are famous, happily not been eved that the left i), while the rlgiu however, that the hat she grasped a \ orb. Comparison itues described as instructive : their re of the modifica- ! superiority of this otice in particular t moderation of the avered, without the s one gets in late lity of the features, iy. It is one of the 8, the first of which , the tragic muse — f antique sculpture, the room are ranged Flute-Player, doubt- s this one contains ited from the great less decadent spirit, finest specimens ot indeed it must be ch Greek works are 111] liENAISSAXCE PARIS {THE LOUVRE) 161 distinguished by experts from later copies are often sufficiently delicate and inferential. Centre, a beautiful Genius of Sleep. Behind it, good figures of Eros (Love) drawing his bow, again indicating the nature of the replicas and variations of estab- lished models which were so familiar to antique sculptors. The little mutilated fragment by their side, well placed here for comparison, cxi ellently illustrates the nature of the evidence on which such works are frequently restored. Further on— a Venus, wnichi riant (probably Roman) of the type of the Venus of Aries, jut beyond it. Behind this, a little in front in the room, the noble *Pallas from Velletri — the finest and most typical representation of the goddess : a good Roman copy of a Greek work of the best period. Then the famous ♦Venus of Aries itself, a Greek original, which may be in- structively compared w.;b the replica or variant close to it. (The labels well indicate to the student who cares to proceed further in this study the extent of the restorations in every case.) This figure, after the . lelian Aphrodite, is probably the most beautiful female form in the entire collection. Behind it, the graceful and exquisitely-draped Polyhymnia (replica of a well-known type), a model of perfect repose and culture, but largely modern. Then, good bust of Homer. Next, the *ApoHo Sauroctonus or Lizard- Slayer, a copy in marble of a famous work in bronze by Praxiteles. This is once more one of the many reproductions (not necessarily always actual copies) of types which are mentioned by classical authors. By the arch- way, Euterpe, and a Votary. Among the sarcophagi, one of Actaeon torn b'- his dogs : another representing the Nine Muses. Most ol the figures in this room are marked by a calm and classical repose ; while t p in the next compartment, The Salle du H^ros Combaomt, indicate in many cases a later tendency to rapidity of motion and violent action, which is alien to the highest plastic ideal. Among the most successful works of this group is the light and airy Atalanta, under the archway, — a beautiful figure of a young girt, running, caught at the most exquisite statuesque moment. Near it, a fine Venus Genetrix. By the window, admirable figure of a wounded Amazon. Next window, the celebrated BorgJKrse Centaur and Bacchus, a charming realization of this mythological concep- L »» 1 .11! v\ Ib2 PARIS [III. tion. Note the playfulness of developed Greek fancy. The centre of the room is occupied by a powerful and anatom.caUy admirable figure of a Fighting Hero (formerly called a Gladi- ator), by Agasias of Ephesus,-one of the few statues here on which the sculptor has inscribed his name. It .s a tr.umph of its own "active" type of art (where movement and hfe are aimed at), but wholly lacking in beauty or ideali y. ^t belongs 'o the age of Augustus or a little earlier. Behmd .t, Marsyas flayed alive, a repetition of a frequent but unpleasant subject. Centre again, the Faun of Vienne, a young satyr, retammg traces of colour, vigorous and clever. Then, **exqu.s.te .deal statue of a young girl fastening her cloak, commonly but incor- rectly known as the Diana of Gabii ; for simple domestic grace this dainty work is unrivalled. It is probably of the age o Alexander the Great : and is well worth study. It almos suggests the Italian Renaissance. By the archways, a Hermes known as the Richelieu Mercury, with a closely similar repl.ca. Under the archway leading to the next room, fine portrait statue of the age of Hadrian, representing Antinous, the Em- peror's favourite, in the guise of Arist^us, the mythical hero of agriculture: the features are much less beautiful than m most other instances of this well-known face, several examples of which occur later. Such representations of historical char- acters in the form of gods or mythical heroes were common at Rome : probably in most cases the sitter's head and figure were accommodated or adapted to a well-known model. The Salle du TIbre, which we next enter, contains in its centre the celebrated figure of *Artemis (Diana) known as - Diane k la Biche » or the " Diane de Versailles," one of the antique statues acquired by Francois I", the influence of which on later art will be very distinctly felt when we come to examine the French sculpture of the Renaissance. It is a charming, graceful, and delicate figure of the age of dechn.ng art, exactly adapted to take the French fancy of that awakening period. Twas probably executed at Rome by a Greek sculptor abou the time of Julius C^sar. At the end of the room colossa^ recumbent figure of the Tiber, represented as the benignant Father Tiber of Rome, bearing the oar which symbohzes the navigable river, and the cornucopia denoting the agricultural Umm [III. m.] RENAISSANCE PARIS {THE LOUVRE) 163 reck fancy. The and anatomically ly called a Gladi- H statues here on It is a triumph ment and life are :ality. It belongs Jehind it, Marsyas npleasant subject, ig satyr, retaining I, **exquisite ideal mmonly but incor- ple domestic grace ibly of the age of study. It almost rchways, a Hermes 5ely similar replica, room, fine portrait Antinous, the Em- the mythical hero s beautiful than in e, several examples 5 of historical char- roes were common ;r's head and figure jown model. Iter, contains in its (Diana) known as ;rsailles," one of the e influence of which we come to examine It is a charming, declining art, exactly ,t awakening period. }reek sculptor about f the room, colossal ;d as the benignant ?hich symbolizes the )ting the agricultural and commercial wealth of the Tiber valley : by its side nestles the wolf, with Romulus and Remus ; a pretty allegorical con- ception of Rome and the stream which made it : itself doubt- less a pendant to the similar recumbent figure of the Nile in the Vatican. Close by, two Satyrs, imitated from Praxiteles. Behind, four Satyrs as Caryatides, from the theatre of Dionysus, Athens, 3rd cent. B.c. Round the wall, good draped figures of goddesses. Walk through these rooms often, in order to gain an idea of the astonishing wealth and purity of Hellenic sculpture. Now, return through the Salle Grecque and the Rotonde, and turn to the L into the Roman Qalleries, which contain for the most part statues and busts of the imperial epoch. In the first room are reliefs of sacrifices, and fronts of sar- cophagi, together with a fine portrait-statue of Sulla. By the second window, the famous and noble head of Maecenas, the great Etruscan statesman and minister of Augustus, who prac- tically organised the Roman Empire. The astute features, very Tuscan in type, which in some degree recall those both of Bismarck and Moltke, are full of practical vigour and the wisdom of statecraft. A more characteristic or finer head has not been bequeathed to us by antiquity. Contrast this mag- nificent and thoughtful bust of the best Roman age, instinct with meaning, with the coarse and coarsely-executed colossal head of Caracalla, the cruel and sensuous Emperor of the decadence, in the next window, — as crude as a coarse litho- graph. In the corner, a Mithra stabbing a bull, of a class to be noted again in greater detail later. By the passage into the next room, masks of Medusa with the snaky hair. Walk straight through the following rooms, without stopping, till you arrive at the Salle d'Auguste on the right, at the end, so as to take the works in historical sequence. This hall is the first in chronological order of the Roman period. It contains pjrtrait-statues and busts of the Julian Emperors and their families, and of the Flavian dynasty. Begin down the centre. *Bust of Julius CcEsar, indicating well the intellectual character and relentless will of the man : a speaking likeness. Next to it, the famous **Antinous (eyes removed ; once jewels), a much idealised colossal portrait-bust of the beautiful young favourite i64 PARIS tut. of the Emperor Hadrian, who droned himseir in tl^Ue in order to become a protecting Sf^^/"' J^'J^ 7a ntly remin- represented in a grave and ng.d style '^'i^^J^^'oT Bacchus or iscentof Egyptian art, and 7»^;^f .^"^^^^^^ erected a (more correctly) Osins ; «=»<»"*" f'^.j^^ after emple in his honour in a town «> ESVP^ ^J^ ^^ ^^^^ ^rait- him Observe the lotus «"»-"«*'"'*', ^J^^'^sar one of the statue of a Roman <>"»7' P^J'f ^ j" ^ ,f revTved Greek art best works of its class of the best penod ^^ '^^ ^he under the early Roman ^^^ ^If/f,!,^^^^^^^^^^^ figure is that <=°"^?"»'°"^"y """^I'^^^^^^^ builder of the Pan hcon full ^J^l\ ^^^^ ^ut beautiful • Romulus and emp.re. '^^^l''^^l''°^'^^„ the tribune, famous *portra.t- r^orA^xrve. nob. ^^:^^^x:r^ b two good Po--^^^^^ ^^rToman bois of the Th'ey -arthe golden buUa round h^^^^^ ^^^^^^^^,^ ltictn"° WinSis tl"™^^^^^^^ o? ^^^^^^^^^^J^^, fully. Then, a most mahgnant Nero. w,tn j ^^^ further: a Messahna. ^"^^^J^'^^l :\,^,,^ Galba, in reputation; a grandiose ^laudms ' ana ^^^^^^^^ whom we begin to see traces of ^^^^^^Jorio^s Otho; stiU fine struggle for empire. Near ^^^LZ^^ the women. All and classical. Not.ce the da.nty profiles oi ^^^ ,he statues and busts '^X^l^^r^ctLZ^^^^^^ fine classical sp.nt, w.th "° t';^/ °;^;;* ,,J.cut Roman Most of them have the od ^ °^^^f/;^^^^^^^^ types features -nt-f g st^^^^^^^^^^^ so good, we shall ^eejatej^^ J,5^ '%- n ^^^ ^^^^^ ^^^^^^^,^ ^ jness- of the «^°-'^^^^^""^'^^^^^ and one or two less satisfactory "^^^Z^T^ C.'sar. Observe even already how "1^1 [in. f in the Nile in tron ; lie is here It faintly remin- s of Bacchus or I and erected a 1 he named after . Fine portrait- ;csar, one of the evived Greek art Cleomenes. The rmes or Mercury, ind builder of the •istics of the early Ful • Romulus and famous *portrait- on. It is flanked )r himself, and of Loman boys of the ible in execution, cks, which marked es are thoroughly le imperial Uu^'^" i, Drusus and Ger- traces of Caesarian Study these care- ess unpleasant ones of face belies her i selfish Galba, in (reduced by ruthless ious Otho, still fine of the women. All are conceived in the coming decadence, n, clear-cut Roman eaker, bearded types statues, not so good, , practical, business- r two less satisfactory ve even already how in.] REJVAJSSAXCE PARIS {THE LOUVRE) I65 both types and art begin to show less perfect finish. The men are more vulgar : the artists less able. The Saile des Antonins, text, contains a fine series of busts and statues of this second prosperous epoch of the empire. Facing the river, a very noble seated portrait-statue of Trajan, contrasting well with the other more decadent emperors at the further end. We have here still the old Roman severity, and the close-shaven type, admirably opposed to the more sensuous degenerate faces further on, which herald the decadence. These are the builders-up, the others the destroyers, of a great empire. In the corner close by, two erect Trajans. Notice how clear an idea of the personalities of the emperors comparison of these statues and busts affords one. Close to the archway, a beautiful Faustina Junior, one of the loveliest portrait-busts of the second Roman period. Further on, bearded and weaker emperors of the Antonine age ; among them, a capital Lucius Verus, holding the orb of empire. Near it, a fine statue of the philosophic emperor, Marcus Aurelius, seen here rather as the soldier than as the sage. In the centre — the same emperor nude — or rather, a nude figure, on which his head has been placed by a modern restorer. By the middle window, colossal busts of Lucius Verus and Marcus Aurelius, and a very big head of Lucilla, wife of the former. These all deserve study, by comparison with the simpler and nobler types of the Julian period. The Salie de Severe— age of the early decadence — contains in the centre a fine statue of the Emperor's mother, Julia Mammaea, figured after the common fashion as Ceres — a half deification. Near it, another (less pleasing) bust of Antinous. Excellent statue of Pertinax. Round the walls, portrait- busts of the Antonine family and their successors, in sufficient numbers to enable one to form clear conceptions of their personality. This is especially the case with Caracalla and Plautilla by the last window ; Septimius Severus himself— a weak lace, gaining somewhat with age ; and Lucius Verus, selfishly vicious, with a distinct tinge of conscious cruelty. Near the last, a fine portrait-statue of Faustina Senior. Beside it, pleasing bust of the boy Commodus ; his subse- quent development may be traced round the rest of the ^1^^ IJ l66 PARIS the same faces occur with the.r names-most mterestmg comparison ^.^^^ ^^,^^^ ^^^e of of Minerva in red porphyry, the ««^ P°";°"'^^^ ^j^dow, have been restored in «»' J^^^^^j^..^^^^^ Piu^ the Emperor T.tus ^^^'^^^^^'^J^l^^a classical example of Pupianus, less successful. In many oi mes decadence triumphs. . j ^^^ «-u a.iio Ha« Aaisons contams busts, mosny " The Salle dcs *»'«>»» .^^ ^ seml-barbarlc tinge, extreme decadence, and wo-^^J J*"" ^^e last traces The bust of Honorius, by the far door shows^ne of classical work rapidly passmg '"'» B^^""""; ^'^a general !.•_ «f fVipir own local deities • me tun w » worsh p of *'»; ""T a, „„pe,ed with ChnstUn- Setapis, at.d of other !'»f'<'™ «" ' „,,„ intrusive i„ ,„t the masuo- of ^^f^^^j^;:; „. .„„hip of cs a^ P' si B fr tY tV tl tl C 01 ai st w la tl b( C S( R a| w w ei g> sc la iti w Ji si G e] C b' "W red by the light of coins, where interesting for woiks, some of 1, a good figure tions of which By the window, Gordianus Pius lassical example wife, and nude ihese works the mostly of the [.barbaric tinge, s the last traces tine stiffness and yes and general us, opposite him, ifferent direction, iric Romanesque next to Honorius. from sarcophagi. ; trousers, is a fine ember of an alien a of the Capitol, jns of the same efs are extremely the later Empire, rded with Syrians, Orientals. Many the Provinces the ; cult of Isis, of :ed with Christian- ng these intrusive IS the worship of from Persia, and e Black Sea. The in an underground RENAISSAIVCE PARIS {THE LOUVRE) 167 cave, stabbing a bull ; he was regarded as a personification or avatar of the Sun God. His worship spread rapidly to every part of the Roman world, and was immensely popular : similar reliefs have been found in all Romanized regions from Britain to North Africa. The best of those in this room comes from the cave of Mithra in the Capitol at Rome itself, where the eastern god was permitted even to invade the precincts of the Capilojine Jupiter. Notice the barbaric Oriental dress and the voluptuous, soft Oriental treatment ; also, the action in the cave, and the personages on the upper earth above it. Compare all these reliefs with one another, and notice their origin as given on the labels. Observe also the close similarity and religious fixity of the representations. They should be studied with care, as illustrative of the conflict of new religions with old in the Roman Empire, out of which Christianity at last emerged triumphant. Their number and costliness shows the strength of this strange faith ; their inferior art betokens both eastern influence and the approach of the decadence. Compare the Oriental tinge in the Mithra reliefs with that of some Early Christian works in the small Christian room of the Renaissance Sculpture. In the centre, Roman husband and wife, in the characters of Mars and Venus, an excellent and characteristic group of the age of Hadrian ; contrast the somewhat debased proportions with those we have seen in the best Greek period. Round the wall and by the windows, many inferior portrait-busts of emperors of the decadence ; observe their dates, and note the gradual decrease in art and truth, and the slow return to something resembling archaic stiffness. We have thus fol- lowed out the rise and culmination of antique art, and watched its return to primitive barbarity. Conspicuous among the works of the better age here are the charming features of Julia Mammaea, wife of Alexander Severus, especially as shown in the bust nearest to the first window. The fine Germanicus, holding the orb of empire, is also an excellent example of the portrait nude of the best period. Leave this portion of the Museum by tlie 5alle des Caryatides beyond, so called from the famous Caryatides by Jean Goujon (French Renaissance ; see later), which ^.-i* m i68 PARIS [III. support the balcony at it. further rnd-very noble cxampUs of the revived aniiquc of the age of Franc;o,s I"-majest.c m heir serely Above them is a cast from Cellini's Nymph SFonrn bleau. .o be noticed late. The room conta.ns good Greek and Roman work of the -l--aUnK per^ods^ in the vestibule to the u, by the window, the *Do.i;hese HV.!;:phrole. . variant on the VeUeU i type. voluptuou. a.u rounded, belonging to the latest Greek pcr.od ; the matt^ss was added (with disastrous effect) by Bernmi. In the body Of the hal colossal Jupiter of Versailles, an .mpress.ve Hermes-fiRure. To the i-, noble and characteristic •Den os- Em the cnt... Hermes and Apollo of the Sclu..l of Praxiteles: boy fastening his sandals, D.onr.,.s. known as he K hcl'eu Bacchus. By the right wall. Aphrodui at t e bath, n a crouching attitude, a nymph is supposed to be pour np ■ ater over her. All the works in this room deserve examin n ; they are sufficiently described, however, by the a. RENAISSANCE SCULPTURE. [This collection, one of the most important and interestmg among the treasures of the Louvre, occupies a somewhat un- obtrusive suite of rooms on the Ground Floor, and .s therefore too little visited by most passing tourists. It con tarns three separate sets of plastic work: first, sculpture of the Italian Renaissance, on which the French was mainly based ; second, s%ture of the Middle Age. in France, leading gradually up to the age of Franqois I", and improving as ,t goes, though uninfluenced as yet by external models -.th.rd, and most mv portant of all, in Paris at least, the cxqu.s.te sctdpture of the French Renaissance, a revolt from medievalism, inspired Trom above by kings and nobles, based partly on direct study of the antique (many specimens of which were brough to France by Franqois I"), but still more large y on Italian miels made familiar to French students through the work ot ^r^sts uTvited to the Court under the later Valo.s, as well as n^h the ItaUan wars of Charles VIII, Louis XII and Francois I" (of which last more must be said when we visit St. Denis) At least one whole day should be devoted by every one to this fascinating collection : those who can afford the III.J RENAISSANCE PARIS {THE LOUVRE) 169 le examples of " — majestic in ellini's Nymph room contains latinK periods, the *Doi-;hese voluptuous anil ; the mattress . In the body an impressive iristic •Deinos- f the School of (sus, known as phroditt at the supposed to be s room deserve however, by the RE. and interesting a somewhat un- , and is therefore [t contains three ■e of the Italian y based ; second, ling gradually up 5 it goes, though •d, and most im- sculpture of the rvalism, inspired y on direct study were brought to irgely on Italian •ough the work ot Valois, as well as , Louis XII and I when we visit St. 1 devoted by every ho can afford the time should come here often, and study ait j, >ni the exquisite works of Donatcllo, Mich i el Angelo, and (^most <.f all) Jean (loujon, (icrmain I'ilon, and their K^cat "^rench contem- poraries. The Italians can be seen to greater advantage at Florence .tnd elsewhere ; only here can one form a just idea of the beauty and importance of the French Renaissance.] Knler by Uoor D, in Haedeker's plan— centre of the South- Eastern wing in the (old) Cour du Louvre. Pass straight through the vestibule, and Salle de Jean Goujon ; then turn to your R, traversing the Salle de Michel Ange, and enter that of the Italian Renaissance (numbered VI officially). The Renaiss.ancc in France being entirely based upon that in Italy, we have first to observe (especially in the case of those who have not already visited Venice and Florence) what was the character of the Italian works upon which the French sculptors and architects based themselves. Here you get, as it were, the original : in French sculpture, the copy. This small hall— the hall of Donatello— contains works of sculpture of the 13th to the isth centuries in Italy. Contrast it mentally with the purely mediieval objects which you saw at Cluny, unrelieved for the most part by classical example, in order to measure the distance which separates the Italians of this epoch from their contemporaries north of the Alps. Recollect, too, that the Italian Renaissance grew of itself from within, while the F'rench was an artificially cultivated exotic. R and l of the door, early squat figures of Strength and Prudence, Italian sculpture of the 13th century, still exhibiting many Gothic characteristics, but with a nascent striving after higher truth which began with the school of the Pisani at Pisa, Opposite them, Justice and Temperance, completing the set of the four cardinal virtues. These may be looked upon as the point of departure. They show the first germ of Renaissance feeling. L of doorway, good Madonna from Ravenna ; flanked by two innocent-faced angels, in deacon's dress, drawing aside a curtain from a tomb— beautiful work of the Pisan school of the 14th century : contrasted with the best French reliefs at Cluny (such as the legend of St. Eustace), these works exhibit the early advance of art in Italy. Between them (contrasting Rf 170 PARIS lin, I I I'I'li l4l t m well with the early French ityle, a. much more idealUed lerra-cotta painted Madonna and Child. Ueneath, good Madonna in wood, and painted K;"".^/'^""^' '"J;"- Near the window, ♦•beautiful bust of a ch.ld, by Uonalcllo, exhibiting the exquisite unconscious naivct.5 of the early Renalllance. MosI of these work, are so fully descr.bed on their pedestals that I shall only call attention to a few charac terislics. The emaciated figure of the Magdalen, m a Glory of Cherubs, below, is the conventional representation of that Saint, when a penitent in Provence, being daily raised aloft to the beatific vision : many examples occur at Florence. The beautiful little terra-cotta Madonna under a canopy close by is admirable in feeling. Opposite it, characteristic decorative woTk of the Renaissance. Ihen, «Donatello's naif Young St. John, the Patron Saint of Florence, is another exquisite ex- imp"^ of this beautiful sculptor. The open mouth .s typical A Lucretia, near it, indicates the general tendency to imitate The antiqu^, still more marked in the relief of a funeral cere- rnony^wher the boy to the R is especially pleasing Do not Terfook a single one of the Madonnas in this dehghtful room : the one above the funeral relief, though skied, is particularly Dleasing. Even the large painted wooden Sienese Madonna in the centre, though the merest church furniture, has the redeeming touch of Italian idealism. The busts of Roman emperors, imitated after the antique, betray on the other hand the trutspring of Renaissance impulse. The room beyond-to the R-No. Vll-is filled for the most part with fine coloured terracottas or majolicas of the school of Dell. Robbla. Cemre of L wall, at the end (as you enter), Madonna and Child, with St. Roch showmg his plague SDOt and St. Francis pointing to the stigma ,n his s.de-a vSe offering. Fine nude figure. L of it. of Friendship, by Olivieri. Exquisite little cherubs and angels. Bronze busts, instinct with Renaissance feeling. Window wall-centre-a Delia Robbia of the Agony in the Garden : the arrangement .s conventional, and occurs in many other ^^'^'^ '"^ »^';. ^„f f^.^^ It is flanked by two good Apostles of the Pisan school (the ;;: ?o intte'the amique) from the Cathedral of Florence. Far L, a voluptuous figure of Nature by Tribolo, from Fontaine- ..I.] bles wall Int of i fact da Rei kne dis< not she froi whi stai the har evil life the ser exf chi the bee ant of ma the ser ne; an< flet for Ge stii Dc ter ch of (111. lore idealiied) Uenealh, good donnas, later, by Donalello, of the early ly described on a few charac- len, in a Glory :ntation of that r raised aloft to Florence. The nopy close by is •istic decorative naif Young St. er exquisite ex- nouth is typical. i::ncy to imitate »f a funeral cere- leasing. Do not delightful room : d, is particularly •ienese Madonna irniture, has the busts of Roman tn the other hand -is filled for the majolicas of the at the end (as you lowing his plague na in his side— a of Friendship, by Is. Bronze busts, w wall— centre— a the arrangement is :ks in this Gallery. Pisan school (the edral of Florence, olo, from Fontaine- lll.] RE\AISSA\CE PARIS {THE LOUVRE) lyi bleau, characteristic of the works collected by Francois I" R wall, several Madonnas, all of which should be closely studied. In the centre, terracotta of the School of Uonatello. R and L of it, fine busts of the Italian Renaissance, with most typical faces. Near the door, portrait-statue of Louis XII, by Lorenzo da Mugiano : this king was the precursor of the French Renaissance : note the fine decorative work on his greaves and knee-caps. In the centre, a fine St. Christopher, his face distorted by the weight of the (non-existent) Christ Child. 1 note these in particular, but all the works in these two rooms should be closely followed, both as exhibiting the development from traditional forms, and as illustrating the style of art on which the French Renaissance was grafted. Notice for in- stance (as survival, modified) the quaint little St. Catherine, in the corner by the window, bearing her wheel, and laying her hand with a caressing gesture on the donor— a special votary, evidently. Observe, again, the three little scenes from the life of St. Anne, in gilt wood, under the large Delia Robbia of the Ascension, on the wall opposite the windows. They repre- sent respectively the Rejection of Joachim's Offering (he is expelled from the Temple by the High Priest, because he is childless : notice his servant carrying the lamb for sacrifice) ; the Birth of the Virgin (with the usual details of St. Anne in bed washing her hands, the bath for the infant, and the attend- ant bringing in a roast chicken to the mother) ; and the Meeting of Joachim and Anne at the Golden Gate— a scene which you may often recognise elsewhere (it comes immediately after the first, the Birth being interposed as principal subject : the servant here bears the rejected lamb less ceremonially). Be- neath them, once more, a characteristically dainty St. George and the Dragon— with the beautiful Princess most heartlessly fleeing (as always) in the distance— should be carefully noted for comparison later with Michel Colombe and Raphael (St. George's lance is accidentally broken : you can still see the stump of it). To the L, again, is a beautiful Tabernacle of the Delia Robbia school— angels guarding relics. To the R, a terra-cotta angel, most graceful and beautiful. Further l, charming Madonna : I need hardly call attention to the frames of fruit, which were a Delia Robbia speciality. Further R, 172 PARIS [III. Baptism of Clovis, gilt, and very spirited, though over-crowded. Do not overlook the skied St. Sebastian. (The little room beyond again contains a small but interest- ing collection of Early Christian works which must be visited and studied on some other occasion. These very ancient Christian sculptures, antique in conception, antedate the rise ol the conventional representations.) .... Now return through Room VI to the Salle de Michel Ange (Room V), containing for the most part still more developed works of the Italian Renaissance, which therefore stand more directly in connection with French sculpture of that and the succeeding period. The *doorMray by which we enter is a splendid specimen of a decorated Italian Renaissance portal, removed from the Palazzo Stanga at Cremona ; it was executed by the brothers Rodari at the end of the isth century, and is decorated with medallions of Roman Emperors, a figure of Hercuies (the mythical founder of Cremona), and of Perseus, together with reliefs from the myths of those heroes and others. Identify these. Above the name of Perseus, for example (to the R), is a relief representing the three Gorgons and the head of Pe-asus. Above that of Hercules (l) are the heads of the Hydra which he slew (as also represented in a bronze on the end wall not far from it). This gateway you should u.entally compare, when you visit the 6cole des Beaux-Arts, with that ol Diane de Poitiers' Chateau d'Anet now erected in the court- yard and with the Made of the Chiteau de Gaillon at the same place The beautiful Italian Renaissance fountain in the centre of the room comes itself from the same Chateau de Gaillon : it was given to Cardinal d'Amboise (who built the Chateau) by the Republic of Venice. The most beautiful works in this room, however, are the two so-called *Fettered Slaves, by Michael Angelo-in reality figures of the Virtues, designed for the monument of Juhus II. It was Michael Angelo's fate seldom to finish anything he began. This splendid monument, interrupted by the too early death of the Pope who commissioned it, was to have embraced (among other features) figures of the Virtues, doomed to « inction by the death of the ponti /. These are two of hem : the one to the right, unfinished, is of less interest : **that to fin. [h over-crowded. nail but interest- h must be visited !se very ancient tedate the rise of Salle de Michel part still more , which therefore I sculpture of that )y which we enter lian Renaissance Cremona ; it was rthe I sth century, Emperors, a figure a), and of Perseus, heroes and others, s, for example (to gons and the head ; the heads of the in a bronze on the u should iiientally {-Arts, with that of ■ected in the court- aaillon at the same e fountain in the same Chateau de >ise (who built the owever, are the two Angelo— in reality lument of Julius II. finish anything he ted by the too early IS to have embraced tues, doomed to ex- se are two of them : i interest : **that to HI.] RENAISSANCE PARIS (THE LOUVRE) 173 the left, completed, is of the exqiusite beauty which this sculptoi often gave to nude youthful male figures. They represent the culminating point of the Italian Renaissance, and should be compared with the equally lovely sculptures of the Medici tombs in San Lorenzo at Florence. Observe them well as typi:al examples of Michael Angelo's gigantic power and mastery over marble. You will note in the windows close by several exquisite bronze reliefs ; eight of them, by Riccio, r.re from the monu- ment of the famous anatomist, Delia Torre, representing his life and death in very classical detail, (l window) Delia Torre lecturing at Verona ; dangerously ill ; sacrifice to the gods for his recovery ; his death and mourning : (R window) his obse- quies ; passage of the soul (as a naked child with a book) in Charon's boat (pursued by Furies) ; apotheosis (crowned by Famct; and celebrity of the deceased on earth; all designed in a thoroughly antique manner. (Souls of the recently dead are frequently represented leaving the body like new-born children.) This work shows the Renaissance not only as secular and humanist but even as pagan : early ages would have considered such treatment impious. All the other reliefs in this very im- portant room should be carefully noted. By this (r) window, the Annunciation (from Cremona) ; Judgment of Solomon (now wholly conceived in the classical spirit) ; Adoration of the Magi, in bronze ; figures of Galba and Faustina, entirely antique in tone ; Paul shaking oflf the snake, etc. A portrait medallion of Ludovico il Moro of Milan (also by this window) may be m- structively compared with those in contemporary Italian paint- ings upstairs. The next (l) window (with a rosso antico and marble imitation of the Wolf of the Capitol) contains the be- ginning of the reliefs from the tomb of Delia Torre, in the same classical style, together with two exquisite Madonnas by MIno da Flesole, and other charming works of the same period The infantile simplicity of Mino has an unspeakable attraction Between the windows, a Pietk from Vicenza, with St. Jerome, beating his breast as always with a stone, and St. Augustine (I think) writing. On the far wall, note a fine wooden Annunci- ation in two figures, from Pisa, of the Florentine 14th cent. The angel Gabriel and the Madonna are frequently thus separ- _JM'' 174 PARIS [III. ated. Between them, admirable equestrian figure of Robert Malatesta, of Rimini, where the action of the horse is particularly spirited. Fine bust of Filippo Stro«i by Benedetto da Majano on a pedestal close by. (You will find many works by this art.s for this patron at Florence.) The various Virgms on the R wa^l should also be carefully studied, as well as the fine wooden C.r- cumcision-a good rendering of the traditional scene, where the artist triumphs over his intractable material-and the exquis- itely dainty bust of the Florentine **Baptist, instinct with the tender simplicity of Mino da Fiesole, whose decorative frag- ments above must not be overlooked. Do not leave this room without having carefully examined everything it conUins, as every object is deserving of study. [For instance, I have omitted to mention works so fine as the self-explanatory High Renais- sance Jason, the relief of Julius Cccsar, the splendid bust of Beatrice d'Este (see for this family the Perugmo etc upstairs), and the spirited bronze of Michael Angelo, lined with the lines of a thinker who has struggled and suffered.] Fmally^ sit long on the bench between the windows, and lo°k w«»^\f; Nymph of Fontalnebleau. with stag and wild b"". by Ben- venuto Cellini, the great Florentine •"^^^^^/'^^L *^'"i"".- .jois I" commissioned to produce this work for Fontainebleau (But Henri II gave it instead to Diane de P°'''"^. /«J^us Chateau d'Anet.) Cellini's work gave ^^ .•'""'"^V7^.'"' to French sculpture, and it is largely on his style that Jean Goujon and the great French sculptors we have shortly to ex- amiie formed their conceptions. Voluptuous and overlithe this fine relief is a splendid example of its able, unscrupulous, deft-handed artist-seldom powerful or dt.p, yet always ex- quisite in tone and perfect in handicraft. , ^ . . ^. Now, in order to form a just conception of the nse of he French school of sculpture, traverse the Salle de Jean Gou on LTthe other rooms which succeed it till you come to the last room of the suite-officially No. I-t^^5«"*l«»'J"*»5%^!;": neveu. This vault-like hall contains works of the Early French School of the .3th. .4th, and .5th cent., still for the most part purely Gothic, and uninfluenced in any way by Itahan models Among them we notice, at the far end of the room, near the door which leads into the Egyptian Museum, several statuettes [III. giire of Robert ic is particularly etto da Majano rks by this artist ns on the R wall fine wooden Cir- scene, where the and the exquis- nstinct with the decorative frag- ; leave this room I it contains, as e, I have omitted »ry High Renais- splendid bust of no, etc., upstairs), led with the lines Finally, sit long look well at the ild boar, by Ben- rker whom Fran- jr Fontaincbleau. I Poitiers, for her immense impetus ,s style that Jean ave shortly to ex- lus and overlithe, ible, unscrupulous, p, yet always ex- of the rise of the lie de Jean Goujon »u come to the last led'Andr^ Beau- the Early French II for the most part by Italian models, the room, near the 1, several statuettes III] RENAISSANCE PARIS (THE LOUVRE) 175 of Our Lady and Child, of a character with which Cluny has already made us acquainted. Invariably crowned and noble, they represent the Madonna as the Queen of Heaven, not the peasant of Bethlehem. This regal conception and, still more, the faint simper, are intensely French, and mark them off at once from most Italian Madonnas. Further on, by the end window, the figures of angels, of St. John Baptist, and of a nameless king, are also thoroughly French in character ; while the dainty little Burgundian choir of angels, holding, as they sing, a scroll with a Gloria, is in type half German. Note also the numerous recumbent effigies from tombs, among the best of which are those of Catherine d'Alenqon and of Anne of Burgundy, Duchess of Bedford. The tombs at this end have still the stiff fomiality of the early Gothic period. The strange recumbent figure in the centre, supported by most funereal mourners (placed too low to be seen properly), is the tomb of Philippe Pot, Grand Seneschal of Burgundy under John the Good, from the Abbey of Citeaux. Such mourners are charac- teristic of the monumental art of Burgundy. One more occurs under a canopy near the middle window : you will recollect to have seen others (from the tomb of Philippe le Hardi) at Cluny. Further on in the room we get more Madonnas whose marked French type you will now be able to recognise. Good recum- bent figures of a bishop, and of Philip VI, sufficiently described by the labels, and other excellent statues, one of the best oi which is the child in the centre. The king and queen by the doorway are also fine examples of the art of the isth cent. Notice »he dates of all these figures, as given by the labels, and convince yourself from them (as you can do still more fully in the next room) that French art itself made a domestic advance from the nth cent., onward, wholly independent of Italian influence. This advance was due in the main to national development, and to the slow recovery of trade and handicraft from the barbarian irruption. What was peculiar to Italy was the large survival of antique works, which the School of Pisa, and others after them, strove to imitate. In France, till Fran- Qois I", no such classical influence intervenes : the develop- ment is all home-made and organic. But if you contrast the busts by the w doorway, or the tombstone of Pierre de Fayet, T.i I?! 1! 1 i- n tm 176 PARIS [HI. near them, with the ruder work by the first window in the next room, the reality of this advance will become at once apparent to you. The artists, though still hampered by tradition, are striving to attain higher perfection and greater truth to nature. Do not miss in this connection the excellent wooden Flagellation by the middle window : nor the Madonna opposite it ; nor the donor and donatrix close by ; nor the fine mutilated Annunci- ation (with lily between the figures) by the w window ; nor the well-carved Nativity (clearly Flemish, however) near the seat by the doorway. In this last, observe the quaint head-dress of the donatrix in the background (an unusual position) as well as the conventional ox and ass, and the Three Kings approaching m the upper right-hand corner, balanced by the shepherds listen- ing to the angels. St. Joseph's candle is, however, a novelty. I merely note these points to show how much there may often be in seemingly unimportant objects. This is officially called an Adoration of the Shepherds, but if you look into it, you will see erroneously. The person entering from behind is a mere modern spectator. Study well the works in this room and the next, regarded as a starting-point. In the passage leading into the next room are a truncated statue of St. Denis, from his Basilica (to be visited later), and, beyond it, a group of Hell from the same church. Notice the usual realistic jaws of death, vomiting flame and swallowing the wicked. Observe also that souls are always represented as nude. Opposite this, a mutilated fragment of St. Denis bear- ing his head, and accompanied by his two deacons, St. Rusticus and St. Eleutherius. I have not hitherto called attention to these two attendant deacons, but you will find them present in almost all representations of St. Denis. (Look for them among the paintings.) Try to build up your knowledge in this way, by adding point to point as you proceed, and afterwards returning to works earlier visited, which will gain fresh light by compari- son with those seen during your more recent investigations. Enter Room II : Salle du Moyen Age. Notice, first, the fragments by the window; those numbered 19 to 22 are gord typical examples of the rude work of the Romanesque period (loth to i2th cents.). 23, beside them, shows the improvement which came in with the Gothic epoch, as well as the distinctive [HI. Ill] RENAISSANCE PARIS {THE LOUVRE) I77 dow in the next once apparent y tradition, are truth to nature, len Flagellation site it ; nor the ilated Annunci- indow ; nor the near the seat by ead-dress of the n) as well as the approaching in hepherds listen- ;er, a novelty. I ere may often be icially called an into it, you will behind is a mere lis room and the \ are a truncated isited later), and, irch. Notice the id swallowing the s represented as if St. Denis bear- :ons, St. Rusticus died attention to i them present in Ic for them among ge in this way, by srwards returning light bycompari- nvestigations. Notice, first, the 19 to 22 are god omanesque period i the improvement 1 as the distinctive Gothic tone in execution, — softer, and rounder, with just a touch of foolish infantile simplicity or inanity. Observe all the other heaas here, and compare their dates, as shown on the labels. Two beautiful angels, from the tomb of the brother of St. Louis, will indicate this gradual advance in execution, wholly anterior to any Renaissance influence. On the R side of the window, notice particularly an admirable head of the Virgin, 76, and another near it, from the cathedral of S^es. On the pillar, St. Denis bearing his head. Every one of these capitals and heads should be closely noted, with reference to the dates shown on the label. In the little Madonna on the L hand window, ob- serve a nascent attempt to introduce an element of playfulness which is characteristically French. This increases later. It develops into the grace— the somewhat meretricious grace — of more recent French sculpture. Now turn to the body of the room. R wall, 53, an excellent angel. Beyond it, the Preaching of St. Denis ; observe that he is here attended by his two faithful deacons ; the gateway indi- cates that he preaches at Paris. Such little side-indications are common in early art : look out for them. Above it, Christ in Hades, redeeming Adam and Eve, as the firstfruits of the souls, from Limbo ; the devil bound in chains on the ground beneath them ; you saw several similar works at Cluny. Further on, another Madonna and Child, with the same attempt at playful- ness ; notice here Our Lady's slight simper, a very French feature ; the Child carries a goldfinch, which you will frequently find,;if you look for it, in other representations, both French and Italian. The coloured relief of Pilate recalls those in the am- bulatory at Notre- Dame. (Read in every case the date and place whence brought here.) Beneath it are the Flagellation, Bearing of the Cross, Crucifixion, and Entombment, which may be profitably compared with other examples. (If, after observing the French type of Madonna in these rooms, and the few Burgundian works they contain, you have time to revisit the Mediaeval Sculpture at Cluny — Room VI, ground floor — as I strongly advise you to do, you will find that Burgundian art in the Middle Ages was quite distinct from French, and had types of its own, approximating to Jhe Flemish, and still more to the German. This is well seen in .^ 178 PARIS III.] •he Rurcundian Madonna and St. Catherine at Cluny. For tdy o?the s^y'e it is a good plan to stop at DlJon on your wav to or from Switzerland.) ... r »«, The end of the room is occupied by a Goth.c doo^^V f^/" .house "n Valencia (Spain), which may be contrasted w.th the tear lyla^e Renaissance example from the Pala"o Stanga^ on ts top is an Annunciation, representations of wj-^ -« frequent in similar situations ; we saw one on the f^^ade o St Srenne du Mont; in such cases, the Madonna .s almos painS To its\, a similar regal painted Madonna. To the rgoSous colou;ed statue of King Childebert. of the ,3th «nf this once stood at the entrance to the beaut ful re- ectory of he Abbey of St. Germain-des-Pr^s (see. later) wh.ch Ch Webert founded, and where the king was buned. L wall, fraimen^^^^^^^^ stone relief, Judas receivmg payment: nf the same type as those in Notre-Dame. Further on, a T kZI of ludas (Compare this with several spec.mens ir^^nyT T e'mu^latS stL of many of these fragment, t in several instances due to the Revolution. All the o her lerand fragmems in this compartment should be carefu • A \r,r\uA\r\ff the strange scene from a Hell, ana tne sun and very typical of French conceptions. van III.] RENAISSANCE PARIS {THE LOUVRE) 179 It Cluny. For Dilon on your c doorway from trasted with the Palazzo Stanga. (IS of which are m the facade of donna is almost or, or ornament esents the usual "rench Madonna, )earing the gold- iffected lady-like ich sculpture and [adonna. To the bert, of the 13th the beautiful re- i (see later) which 5 buried. L wall, ceiving payment : j. Further on, a several specimens f these fragments m. All the other ihould be carefully I Hell, and the stift . By the doorway, ider a little canopy, le, represents the uring the last half the i6th cent., in Renaissance. The stal near the door, iness, with the (very ; king in the French and archaic fidelity c of artistic finish. Note such little points as that the king wears the collar of his order, with the St. Michael of France as a pendant. Near the window, fragments of work displaying Renaissance in- fluence. One, a relief of the Return of the Master, from the Chilteau de Gaillon (built by Cardinal d'Amboise, minister of Louis XII, and one of the great patrons of the Renaissance in France), exhibits the beginning of a taste for secular, domestic, and rustic subjects, which later became general. (Early work is all sacred — then comes mythical — lastly, human and contemporary.) Note on the opposite side, the fine bronze of Henri Blondel de Rocquencourt, under Henri II. The Apollo and Marsyas is strongly Renaissance— a mythic subject (see the Perugino upstairs). The Massacre of the Innocents exhibits Renaissance treatment of a scriptural scene. The centre of the room is occupied by fine bronzes of the school of Giovanni da Bologna, a Frenchman who worked in Italy and forms a link between the art of the two countries. Ob- serve the decorative French slenderness and coquetry of form, combined with the influence of the Italian Renaissance. The Mercury— light and airy — is a replica of Giovanni da Bologna's own famous statue in the Bargello at Florence. The Mercury and Psyche beside it is a splendid example of Giovanni da Bologna's school, by Adrian de Vries. Notice the French tinge in the voluptuous treatment of the nude, and the slen- derness and grace of the limbs. The bronze statue of Fame, from the tomb of the Due d'Epernon, exhibits in a less degree the same characteristics. It is obviously suggested by Gio- vanni's Mercury. Along the wall to the L, the most noticeable work is the splendid ** marble relief of St. George, by the great French sculptor Michel Colomibe, produced for the chapel of the Chateau de Gaillon ; recollect all these Gaillon objects, and their connection with one another : the chdteau was erected under Louis XII, at the dawn of the French Renaissance, and much of its work, like this fine relief, shows a considerable surviving Gothic feeling. You will see the facade of the cha- teau later at the 6cole des Beaux- Arts. It is interesting to compare this splendid pece of sculpture with the little Delia Robbia in the Italian rooms, and the painting by Raphael I I; ; immu i8o PARIS ini. m i upstairs : the dragon here is a fearsome and very medixval monster ; but the St. George and his hotsn are full of life and spirit ; and the fleeing Princess in the background is delicately French in attitude and conception. The dragon is biting the saint's lance, which accounts for its broken condition in the Raphael and the Mantegna. Comparison of the various St. Georges in this collection, indeed, will give you an admirable idea of the way in which n single conventional theme, em- bracing always the very same elements, is modified by national character and by the individuality of the artist, To under- stand this is to have grasped art-history. (Note that tlie legend of St. George itself is in one aspect a Christianisation of the myth of Penseus and Andromeda.) Beneath the St. George stands a line Dead Christ, also exhibiting characteristic French treatment. Tlie somewhat insipid but otherwise excellent Madonna and Child, on a pedestal close by, is admirable as exemplifying the transforma- tion of the smirking Madonnas of the Middle Ages into the type of the Renaissance. The Death of the Virgin, near it, from St. Jacques-de-la-Boucherie (of which only the tower now remains), suggests to one's mind the riches which must once have belonged to the demolished churches of Paris, — mostly, alas ! destroyed at the great Revolution. Observe in this work the figures of the attendant apostle.ob^t- ^f .^^^f.f, on the pedestal should also be noted Diana herself strj« the keynote of all succeeding French sculpture. Beautiful, coquetUsh. lithe of limb, and with the ^^^^^-^^J^'^^^ e^gance of pose, this figure nevertheless ^ontams m .t the germs of rapid decadence. It suggests the genesis of the .8th Century, and of the common ormolu clock of commerce. Step nto the next room and compare it with the Nymph of Fontaine^ bleau. by Benvenuto Cellini. You will there see how far the Florentine artist approached the F--''' ^"^*'°;,":'J ^J* Frenchman borrowed from the Florentine. Walk round and observe on either side this the most triumphant work of the French Renaissance. Observe also its relations to the Diana !f V rsailles. in the Classical Gallery-brought to France by Frangois l",-and its general debt to the antique, as well as to contemporary Italy. [hty appearing Kiss of Judas, tice the biutiil at Cluny : the /orthy ; in the Agony in the ch School, this irtist. Do not Its collected in omewhat later Qoulon. The room embraces e work of the id of his equally esent the plastic centre is Jean id stag ; it was comes from her al lover. (Note I is a destroyed irve on the base n contemporary «rs and cray-fish la herself strikes ture. Beautiful, stinctive French )ntains in it the inesis of the i8th commerce. Step mph of Fontaine- see how far the d how much the Walk round and hant work of the ions to the Diana ght to France by ique, as 'vell as to REXAISSAIVCE PARIS (THE LOUVRE) 183 Perhaps still more beautiful is the exquisite **group of the Three Graces, supporting an urn, by Germain Pilon, intended to contain the heart of Henry II, and commissioned by Catherine de Mddicis. It once stood in the Church of the Cclestines. Here again one sees the delicacy and refinement of the French Renaissance, with fewer marks of its inherent defects than in Jean Goujon's statue. Sit long and study this exquisite trio— which the Celestinespiouslydescribedas the Theological Virtuii. Walk round it and observe the admirably natural way in which the figures are united by their hands in so seemingly artificial a position. The charming triangular pedestal is by the Floren- tine sculptor, Domenico del Barbiere. The third object in the centre of the room is the exquisite group of the **Four Theological Virtues, in wood, also by Germain Pilon, which, till the Revolution, supported the re- liquary containing the remains of Ste. Genevieve, in St. £tienne-du-Mont, and earlier still in the old church now re- placed by the Panthdon. These are probably the finest figures ever executed in this difficult material. The faces and attitudes deserve from every side the closest study. If you have entered into the spirit of these three great groups in the centre of this room, you have succeeded in understanding the French Renais- sance. Now, begin at the further wall, in the body of the Salic, and observe, first, the exquisite reliefs of *Tritons and Nereids, with **Nymphs of the Seine, by Jean Goujon. Read the labels. We shall visit hereafter the Fountain of which these graceful and delicate reliefs once formed a portion. The Nymph to the L is one of the loveliest works ever produced by its sculptor, and is absolutely redolent of Renaissance spirit. It indicates the change which had come over French handicraft, under the influence of its Italian models, at the same time allowing the national spirit to shine through in a way which it never suc- ceeded in doing in contemporary painting. Beneath it are two noble figures in bronze, from the tomb of Christopher de Thou, attributed to an almost equally great artist, Barthdlemy Prieur. Frdmin Roussel's Genius of History still more markedly an- ticipates more recent French tendencies. It is intensely modern. Germain Pilon's monumental bronze of Rend Birague prepares a, ti ^•^ \ IMAGE EVALUATION TEST TARGET (MT-3) 6-/ 4? I V' >- wj ^ ^ % 1.0 I.I j50 11; IIIIM IIIIM IIM zo 1.8 1.25 1.4 1 6 ■* 6" ► Photographic Sciences Corporation 23 WE^T MAIN STREET WFBSTER.N.Y. 14580 (716) 872-4503 \ iV ^. s? \\ W^ * r CIHM/iCMH Microfiche Series. CIHM/ICMH Collection de microfiches. Canadian Institute for Historical Microreproductions / Institut Canadian de microreproductions historiques I. ■ m 1 8/1 PARIS [in. us for the faults of the French works of this style in the Louis XIV period. Mere grandiosity and ostentation are here foreshadowed. The centre of the next wall is occupied by Germain Pilon's fine chimney-piece, -vith Jean Goujon's bust of Henri II as its central object. The decorative Renaissance work on this mantel should be closely studied, as well as that— so vastly inferior— on the adjacent later columns of the age of Louis XIV. Barthelemy Prieur's exquisite bronzes from the tomb of the Constable Anne de Montmorency also breathe a profoundly French spirit. The figures represent Justice, Courage, and Abundance. Germain Pilon's too tearful Mater Dolorosa (painted terra-cotta) close by, from the Sainte Chapelle, indicates the beginnings of modern French taste m church furniture. His recumbent tomb of Valentine Balbiani, on the other hand, is admirable as portraiture ; but the genius of the artist is only fully displayed in the repulsive figure of th(j same body seen emaciated in death and decomposition beneath it. Barthelemy Prieur's recumbent figure of Anne de Montmorency shows survival of the older type, doubtless due to the prejudices of patvons. Above it is an admirable p'ece of Renaissance sculpture, by Jean Goujon, for the decoraticn of the rood-loft (now removed) in St. Germain I'Auxerrois. The rare beauty of the existing one at St. itienne- -^u-Mont (by a far inferior artist) enables us to estimate the loss we huve sustained by its disappearance. The Deposition, in the centre, marked by the highly classical style and secular or almost sensuous beauty of its Maries, and the anatomical knowledge displayed in its Dead Christ, should be contrasted with eariier specimens in adjacent rooms. In the accompanying figures of the four Evangelists, notice how earlier conceptions of the writers and their attendant symbols have been altogether modified by a Raphaelesque spirit. You would scarcely notice the eagle, angel, bull, and lion (compare Sacchi upstairs), unless you were told to look for them. Ger- main Pilon's Agony in the Garden displays an exactly similar transformation of a traditional subject. Some interesting works are placed near the windows. In the first is a fragment from the pulpit of the Church of the Grands Augustins in Paris, by Germain Pilon, representing •^Ai— [in. III.] RENAISSANCE PARIS {THE LOUVRE) 185 his style in the entation are here is occupied by in Goujon's bust tive Renaissance as well as that — jns of the age of )ronzes from the icy also breathe •epresent Justice, ;oo tearful Mater From the Sainte 1 French taste in ilentine Balbiani, ; ; but the genius epulsive figure of id decomposition t figure of Anne :r type, doubtless ince sculpture, by jft (now removed) ty of the existing or artist) enables its disappearance, le highly classical of its Maries, and lead Christ, should jacent rooms. In jelists, notice how attendant symbols esque spirit. You and lion (compare 3k for them. Ger- 3". exactly similar the windows. In the Church of the Pilon, representing Paul Preaching at Athens. The bald head and long beard of the Apostle of the Gentiles are traditional ; the figure is modelled on Italian precedents ; here again the female auditors are introduced entirely in the classical spirit, and treated with Renaissance love for exuberant femii.inity. Nominally sacred, such works as this are really nothing more than sensuous and decorative in their tendencies. The Church accepted them because they were supposed to be artistic. Other fragments opposite exemplify the same baneful tendency, pregnant with decadence. Christ and the Woman of Samaria (with her classical urn) is a subject we have already met with elsewhere : here, it is much permeated by Renaissance feeling. The Preaching of St. John Baptist gives the artist an opportunity for introducing two attractive female listeners. In the second window, the contrast between the comparatively archaic St. Eloi from Dijon, and the Nymphs of the school of Jean Goujon, is sufficiently abrupt to point its own moral. Germain Pilon's Entombment may be instructively compared with Jean Goujon's and others ; the Magdalen here is an admirable figure. Glance across from one to the other and note the resemblance. Even at this late date^ how rlose is the similarity in the attitudes of the chief actors 1 They almost correspond figure for figure : — Joseph of Arimathasa, and then Nicodemus, supporting the dead Christ ; next, the fainting Madonna, in the arms of one of the Maries ; then, the Magdalen at the foot, with her box of ointment, and the mourning women ; all stand in the same relations in the two reliefs. If you will compare both paint- ings and sculptures in this manner, you will learn how much the artist borrowed in each case from predecessors, and exactly how much is his own invention. Opposite the Entombment are other Nymphs of the school of Jean Goujon, and a charac- teristic transitional figure of a Donor and his Family, showing a distinct attempt to treat an old motive by the new methods ; L the Donor, kneeling, introduced by his patron, St. John Baptist ; R, two ladies of his family, introduced by a sainted bishop and an abbot ; near them, their children, kneeling, but with some genial allowance for the sense of tedium in infancy ; in the background, Renaissance architecture, with quaint bas- reliefs of Samson carrying off the gates of Gaza ; the Resur- <^ ■■■■ i86 PARIS [III. rection and Appearance to the Apostles; the Supper at Emmaus; and Jonah emerging from the mouth of the whale. Works like these, often artistically of less importance, nevertheless not infrequently throw useful light on the nature of the conditions under which the sculptor worked— the trammels of tradition, the struggle to wriggle out of the commands of a patron, who desires to see reproduced the types of his childhood. The third window contains some charming but mutilated frag- ments from the tomb of the Due de Guise : more figures by Germain Pilon; and a thoroughly Renaissance Awakemng of the Nymphs, attributed (with little doubt) to Frdmin Roussel. Germain Pilon's good bust of Charles IX strikes the keynote of the king's vain and heartless character. The baby Christ, by Richier, though evidently suffering from water on the brain, is otherwise a charming early French conception of soft inno- cence and infantile grace. Notice, above this, a somewhat transitional Pieth, placed as a votive offering (like so many other things) in the (old) church of Ste. Genevieve, with the kneeling donor represented as looking on, after the earlier fashion The Judgment of Daniel, attributed to Richier, though splendid in execution, forms an example of the more crowded and almost confused composition which was beginning to destroy the unity and simplicity of plastic art. As a whole, the works in this room should be attentively and closely studied, illustrating as they do the one exquisite moment of perfect fruition, when the French Renaissance burst suddenly into full flower, to be succeeded almost at once by painful degeneracy and long slow decadence. I would specially recommend you to compare closely the more classical works of this room with those in the adjoining Salle de Michel Ange in order to recog- nise the distinctively French tone as compared with the Italian. The importance of these various rooms, of both nationalities, to a comprehension of Paris and French art in general, cannot be over-estimated. By their light alone can you fully under- stand the fabric of the Louvre itself, the Luxembourg, the Renaissance churches, the tombs at St. Denis, and above all, Fontainebleau, St. Germain, Versailles itself, and the entire development of architecture and sculpture from Francois 1" to the Revolutionary epoch. Especially should you always t, beyond, con- some of which ; Hellenic type, of development. Mysia show an k art. Compare de Phidias. It red Greece from Lydia, Phrygia, Islands of the u!d therefore be lates and places istward march of of the suite, the tains works from g rather a slight ;c. These coUec- enic culture, may le stairs, contains ic Jewish people, f Biblical history. Stone, recording Jews in B.C. 896, 2 earliest existing jglyphic or ideo- n the Louvre, too :o inspect if time ;ulafoy Collection fo to the front of errois, as for the ncipal portal, and ion, whose winged jspect in passing, t the staircase at III.] RENAISSANCE PARIS (THE LOUVRE) I9I the end, and, at the landing on the top, turn to your i., when you will find yourself at once face to face with the collec- tion. The First Room contains merely Gra:co- Babylonian objects (of a different collection) which need only be inspected by those whose leisure is ample. They illustrate chiefly the effect of Hellenic influence on Asiatic models. On the entrance wall of the Second Room is the magnificent *Frieze of Archers of the Immortal Guard, in encaustic tiles, with cuneiform inscriptions, from the Throne Room of Darius I. This splendid work, mere fragment though it is of the original, gives in its colour and decorative detail some idea of the splendour of the Palace of the Persian monarchs. The colours are those still so prevalent in Persian art, showing a strong predominance of blues and greens, with faint tones of yellow, over red and purple, which latter, indeed, are hardly present. Round the rest of the \'alls are ranged decorative fragments from the Palace of Artaxerxes Mncmon. Opposite the archers is another magnificent frieze of angry lions, from tie summit of the portals in the last-named palace. The next compartment of the same room contains the ^Base of a Column and a ^^Capltal of the same, also from the Palace of Artaxerxes Mnemon :— two figures of bulls supporting between them the enormous wooden rafters of the ceiling. These gigantic and magnificent figures form perhaps the most effective and adequate supports for a great weight to be tound in any school of architecture. The next room contains the admirable reconstruction of the Palace, when entire, showing the position on the walls of either pylon, and the manner in which the columns supported the colossal roof. If, from inspection of this model, we return to the base and capitals themselves, we shall be able to judge what must have been the magnificent and gigantic scale of this Titanic building, the effect of which must have thrown even the Temple of Karnac into the shade. At the side are a lion and winged bull, which help to complete the mental picture. This collection, unique in Europe, serves to give one an idea of the early Persian civilisation which can nowhere else be obtained, and which helps to correct the somewhat '»:^'.'»^^?-j-j- 'i^tr.-^'e^ilir- '■/irnt'^j.i* ■^: MM m iK 192 PARIS [III. one-sided idea derived from Ihc accounts of Greek historians. On no account should you miss it. The minor ,rt.obJect» of the Louvre, though of mimcnse value and interest in themselves, may be largely exammed by those who have the time in the light of their F^vous work at Cluny. The collection of drawings, one of the hnest m Europe, is mostly interesting to artists. That of smaller Medlieval and Renaissance Objects contains works closely ->-''- V'J^"^^,^ Cluny, including admirable Ivory-carvlngs, fine pottery (tiie best of which .s that by Pallssy. and the Henri II ware). together with Oriental faience, bronzes, etc. The Greek Vases, again, of which this Museum contains a magnificent collection, are mainly interesting to Hellenic specialists. P or the casual visitor, it will suffice to examine one or two o^ »^'«";; J''; Etruscan Antiquities give a good idea of ^^e cw.lsat on of this ancient race, from which, both m earlier and later times, almosrall the art. poetry, and science of Italy has proceeded. TZgh entirely based upon Greek models, the Ltruscan pro- ductions betray high artistic faculty and great -"-epLve powe s of intellect. Among the minor Greek works, none are more interesting than the beautiful little terra-cotta figures from TTnagr. in Boeotia. which cast an unexpected light on one s^Se of "reek art and culture. Examine them as supplement- ^gthlcoUection of antique sculpture. These ««"rlne, asthey are called, were produced in immense quantities, chiefly in b" o ia both for household decoration and to be buried with thtdead. They were first moulded or cast in clay, but they were afterwaxds finished by hand, with the addition of just such accessories or modifications as we have seen to obtain m the "e of the statues in the antique gallery. /'-"V^^^y ^ gracefully and tastefully coloured. Nothing better indicates the Srsality of high art-feeUng among the ancient Greeks than the extraordinary variety, fancy, and beauty of these cheap Ob ects of every day decoration ; while the u-xpected novelty Sen by the slightest additions or alterations m what b mg moulded) is essentially the same figure throws a flood of lig^ upon the methods of plastic art in higher departments. Look out for these exquisite little figures as you pass through the (ler rooms on the South Side of the old Cour du Louvre, on [in. Ill] RENAISSANCE PARIS {THE LOUVRE) 193 rtek historians. gh of immense ily examined by )revious work at finest in Europe, r MediKval and milar to those at ne pottery (the lenrl II ware), le Greek Vases, ificent collection, p'or the casual ) of them. The iie civilisation of and later times, y has proceeded, he Etruscan pro- receplive powers 5, none are more ta figures from ted light on one m as supplement- [igurlnes, as they ntities, chiefly in be buried with :lay, but they were tion of just such 1 to obtain in the Finally they were )etter indicates the icient Greeks than ty of these cheap inexpected novelty ns in what (being ws a flood of light epartments. Look pass through the ;our du Louvre, on tiie First Floor. Most of them will be found in Room L of Baedeker's plan. Almost every visitor is equally surprised and charmed by their extremely modern tone of feeling. They are alive and human. In particular, the playfulness of Greek art is here admirably exemplifled. Many of them have touches of the most graceful humour. Merc, again, do not suppose that because I do not specify, these minor works of art are of little importance. If you have time, examine them all : but you must do so by individual care and study. The neighbouring 5alle des Bijoux contains beautiful antique jewellery ; do not miss the very graceful gold tiara presented to the Scythian King Saitaphernes by the Greek city of Olbia in the Crimea— a lovely work of the 3rd century B.C. Its authenticity has been disputed, but not its beauty. The Qalerle [d'Apollon contains, among many objects of considerable interest, the Reliquary which encloses the Arm of Charlemagne— who, having been canonized, was duly entitled to such an honour. The Reliquary of St. Henry, and the Chasse of St. Louis are also well worthy of inspection. Notice, too, the Hand of Justice, used at the coronation of the French Kings. But all these objects can only be properly studied, by those who wish to investigate them, with the aid of the official catalogue. I shall recur at greater length to a few of them after our return from St. Denis. When you have learnt Paris well, go often to and fro between these rooms of the Louvre, the Mediaeval and Renaissance Sculpture, the halls at Cluny (particularly Room VI, with its French architectural work), and the older churches, such as St. Germain-des-Pr^s, Notre-Dame, St. Denis, etc. Thus only can you build up and consolidate your conceptions. A special small collection, to which part of a day may well be devoted, is the Early Christian Sculpture, to which I have already briefly alluded, in the first room to the R as you enter the Renaissance Galleries in the Cour du Louvre. The centre of the hall is occupied by a good Early Christian sarcophagus, with a cover not its own, sufficiently described as to origin on the label. The front towards the window N PARIS [lU represents the True Vine, surrounding the " X P," which form the first two letters of the name of Christ in (ireek, inscribed m !i solar circle, and with the Alpha and OmcRa on either side of it. This figure, repeated on various works in this room in sliylilly dilfercnt shapes, is known as a Labsrum. U forms, after Consiantine (who adopted it as his emblem and that of the Christianized Empire), the most frequent symbol on early Christian monuments. Note modern reproductions on the frieze of this apartment. Its variations are numerous. At the ends, are other True Vines and a better Labarum, with a Star of Ikthlehem. The back has the same devices repeated. Wall nearest the entrance, several inscriptions, among which notice the frequency of the Labarum, w'.th the two birds pecking at it,— a common Early Christian Symbol. UrIow them, good early sarcophagus. On its end, remote from window, Daniel in the Lions' Uen, a traditional representation, of which an extremely rude barbaric degradation may be noticed, high up, near the door which leads into the Delta Robbia room, adjacent. In Early Christian art certain sub- jects from the Old and New Testaments became convention- alised, and were repeated on numerous works ; of which this scene of Daniel is an example. Observe here that Old Testament subjects are frequent ; while Madonnas are rare, and saints almost unknown. Further on, on the ground, sarcophagus representing Christ with the Twelve Apostles. The treatment here, in spite of slight Oriental tendencies (com- pare the Mithra reliefs) is on the whole purely classical. Now, the great interest in this room is to watch the way in which classical styles and figures passed slowly from pagan types into Christian, and again from the debased classical types of the later Empire into those of Romanesque or Gothic barbarity. As an example of this surviving pagan element, see, on the wall to the R of this sarcophagus, Elijah teken up to Heaven in a chariot of fire, and leaving his mantle to Elisha. Here, the Jordan is represented, in truly pagan style, by a river-god reclining on an urn and holding water-weeds. Such river-gods were the conventional classical way of representing a river (see the Tiber here, and the Nile of the Vatican, reproduced in the Vestibule) : and Christian artists at first so represented the iii.J Jord of til Al an e (rea( lacir note beau carv In very Chri a si I Con with (^hr of sarc mar cent Stan in tl late A ami freq abs( that tone Thu tian oft! its I supi to tl wall and stuc T X P," which form rreek, inscrilicd in I on either side of in this room in nrum. It forms, ibiem and that of ; synibol on early oductions on the lumerous. At the arum, with a Star ci repeated. criptions, among With the two birds Symbol. UrIow end, remote from nal representation, rradation may be ,ds into the Delia n art certain sub- ecame convention- rks ; of which this vc here that Old [adonnas are rare, 1, on the ground. Twelve Apostles. al tendencies (com- ity classical. Now, ti the way in which m pagan types into issical types of the r Gothic barbarity, ent, see, on the wall up to Heaven in a Elisha. Here, the i^le, by a river-god Is. Such river-gods esenting a river (see 1, reproduced in the so represented the II I.J KENAISSANCE PARIS {THE LOUVRE) 195 Jordan, as in the Baptism of Christ (in mosaic) in the Baptistery of the Orthodox at Ravenna. Above the sarcophagus of Christ and the Twelve Apostles is an e.\lremely beautiful altar*front from the abbey of Si. Denis (read label) with a cross and palm tre-.s, the True Vine inter- l.icing it, and the characteristic wave-pattern, whii h you may note on many other works in this room. 'I'his is the most beautiful piece of early Romanesque or intermediate Christian carving in this collection. In the centre of the Elijah wall, below, a sarcophagus with a very Oriental figure of the Qood Shepherd— a frequent en.iy Christian device. Compare this figure with the plaster cast of a similar statue from Rome, near the Delia Robbia doorway. Compare the marked Orientalism of face, form, and foot-gear, with the Mi'.hra reliefs. Above it, Scenes from the Life of Christ :— Bljssing the Children, Christ and Peter, the Woman of Samaria. etJ. ; treatment quite classical. Still higher, sarcophagus-front of Christ and the Twelve Apostles ; work- manship becoming decadent ; architectur , classical in the centre, passing at the sides into early Romanesque or Con- stantinian and DiocleHanesque, as in some of the other examples in this room. Lof it, Abraham's Sacrifice of Isaac, with rather late architecture. All the other objects in this room should be carefully ex- amined, and their place of origin noted. The symbols and the frequent Oriental tinge should also be observed. Likewise, the absence of several ideas and symbols which come in later. Note that there are no crucifixions, sufferings, or martyrdoms ; the tone is joyous. Many of the minor objects have their own value. Thus, the fish, by the entrance door, is a common Early Chris- tian symbol, because the Greek word IXGYS formed the initials of the sentence, " Jesus Christ, Son of God, the Saviour" ; and its sacred significance is here still further emphasised by the superimposed cross— a symbol, however, which does not belong to the very earliest ages of Christendom. So, on the opposite wall of the window, notice the little Daniel in the Den of Lions, and the youthful beardless Christ with a halo. The longer you study these interesting remains, the more will you see in them. Those who have had their interest aroused in Early Christian 196 PARIS [III. art from the examination of this room will find the subject best pursued at Rome (Catacombs and Lateran) and Ravenna, where wc can trace the long decline from classical freedom to Byzan- tine stiffness and Gothic barbarism, as well as the slow upward movement from the depths of the early Romanesque style to the precursors of the Renaissance. For the chronological pursuit of this enticing subject the best order of visiting is Rome, Ravenna, Bologna, Pisa, Siena, Florence. For a list of the extensive literature of the subject, see Dean Farrar-s Christ in Art. [III. ind the subject best ,nd Ravenna, where freedom to Byzan- as the slow upward ancsque style to the ironological pursuit f visiting is Rome, For a list of the J Farrar's Christ in IV THE NORTH BANK (RIVE DROITE) rT3)ARIS, north of the river, -which is for most purposes \^\^ the practical Paris of business and pleasure (and of the ordinary tourist) at the present day— has grown by slow degrees from small beginnings. The various rings of its growth are roughly marked on the Map of Historical Paris. The wall of Philippe Auguste started from near the eastern- most end of the <;xisting Louvre, and, after bending inland so as just to enclose the Halles Centrales, reached the river again near the upper end of thp tie St. Louis. It thus en- circled the district immediately opposite the primitive islands ; and this innermost region, the Core of the Right Bank, still contains most of the older buildings and places of interest N. of the river. Etienne Marcel's walls took a slightly wider sweep, as shown on the Map ; and by the time of Louis XIII. the town had reached the limit of the Great Boulevards, which, with their southern prolongation, still enclose almost everything of historical or artistic interest in modem Paris. The fact that the kings had all their palaces in this northern district was partly a cause, partly perhaps an effect, of its rapid predominance. The town was now spreading mainly north- ward. The increase of the royal power brought about by Richelieu, and the consequent stability and internal peace of the kingdom, combined with the complete change in methods of defence which culminated in Vauban, enabled Louis XIV to pull down the walls of Paris altogether, and to lay out the space covered by his predecessor's fortifications in that series of broad curved avenues which still bears from this circumstance the nam ' of Boulevards ("bulwarks" or ramparts). The original line so 107 ^9 PARIS named, from the Bastille to the Madeleine, is ordinarily spoken of to this day simply as " the Boulevard." All the others called by the same have borrowed the title, mostly at a very recent date, from this older girdle. Gradually, the Faubourgs which gathered beyond the line of the inner city, as well as beyond the artificial southern prolongation of the Boulevards by which Louis continued his circle, with true French thoroughness of system, on the southern bank, have entirely coalesced with the central town, and at last enormously outgrown it. Neverthe- less, to the end, the Paris of Louis XIV continues to enclose almost all that is vital in the existing city. Especially is Paris within the Great Boulevards to this day the Pans ot business and finance : it includes the Bourse, the Banque de France, the Bourse de Commerce, the chief markets, the Post Office, the Ministries ot Finance, Marine, and Justice, the Hotel de Ville, numerous Government Offices, the principal wholesale warehouses, financial firms, and agencies, and almost all the best shops, hotels, banks, and business houses. Even the inner circle itself, again, «//////« the Boulevards, has been largely transformed by modem alterations, especially in that extensive reorganisation of the city inaugurated under Napoleon III by Caron Haussmann. In the brief itinerary which follows, and in which I have endeavoured to give the reader in two short rvalks or drives some general idea of the development of the Right Bank, with its chief points of interest, I shall indicate roughly the various ages of the great thorough- fares, and note with needful conciseness the causes which at various times led to their construction.] A. THE CORE OF THE RIGHT BANK Start from the Place de la Concorde, and walk eastward along the Rue de Rivoli, in the direction of the Louvre. (If you like, the top of an omnibus will suffice as far as the Hotel de Ville.) The Place de la Concorde itself, though old in essence, is, in its present form, quite a modern creation, having been laid out in 1854 under the Second Empire, when it was decorated with the 8 seated stone figures, wearing mural crowns, and representing the chief cities of France including Stras- bourg). The Luxor obelisk (age of Ramesc- II) was erected [IV. ordinarily spoken I the others called ' at a very recent Faubourgs which IS well as beyond ulevards by which 1 thoroughness of :oalesced with the wn it. Neverthc- itinues to enclose ;y. Especially is lis day the Paris ourse, the Banqiie chief markets, the le, and Justice, the ices, the principal ;encies, and almost s houses. n the Boulevards, crations, especially inaugurated under the brief itinerary troured to give the jeneral idea of the f points of interest, the great thorough- le causes which at HT BANK and walk eastward of the Louvre. (If as far as the Hotel self, though old in »rn creation, having mpire, when it was aring mural crowns, :e ^including Stras- 5.- II) was erected IV.] THE NORTH DANK {RIVE DROITE) 199 in the Place, in its simpler form, by Louis Philippe, in 1836. The two handsome large buildings on the N. side are still earlier in date, age of Louis XV : one of them is occupied by the Minist^re de la Marine — that nearest the Tuileries. Proceed along the Rue de Rivoli, driven through this part of Paris by Napoleon I. He was a Corsican, and admired his native Italian arcaded streets, which he transplanted to Paris in this thoroughfare, and in the Rues Castiglione, and des Pyra- mides, all of which commemorate his victories. The form, however, is ill-adapted to the North, being draughty and sun- less : and Frenchmen have never cared for the Rue de Rivoli, which is the street of strangers and especially of Englishmen. The native Parisian has always preferred to sun himself on the Boulevards. To your R are the Gardens of the Tuileries, still much as they were laid out under Loui; XIV by Le N6tre, in the formal style which well accorded with that artificial epoch. They contrast markedly with the newer portion, fur- ther E., on the site of the Palace, laid out by the present Republic in something like the English manner. L, as you proceed, lies the Rue Castiglione, another of Napoleon's arcaded streets, leading up to the Place and Colonne Vendome. R, a little further on, you come abreast of the Louvre, the first Pavilion being part of the connecting wing of the Tuileries. L, the Rue des Pyramides, again Napoleonic : and further L, opens up the Place du Palais- Royal, with the facade of the Palace showing behind it. This part, marked Conseil d'Etat, is the original building (much restored and rebuilt) : it was erected by Richelieu for his own occupation, and bore at first the name of Palais-Cardinal. Occupied after his death by the widow of Louis XIII, it took its present name : and was later the residence of the notorious Regent, Philippe c'Orl^ans, and of his scheming grandson, Philippe Egalitd. The garden behind, with an arcade of shops, now half deserted and uninteresting, which also bears the name of Palais- Royal (almost to the exclusion of the original build- ing) was laid out and let in this curious way by the Regent, as a commercial speculation. As a relic of the past, it is worth ten minutes' visit, some time in passing. Continue along the Rue de Rivoli, eastward, till you reach 200 PARIS t'v. J; ■!• the Rue du Louvre. So fai, you have been passing through the Paris of Louis XIII, Louis XIV, and the Empire ; but now you are abreast with the wall of Philippe Auguste, and enter the Core of the Right Bank. Old as this part is, however, by origin, few of its buildings are mediaeval ; almost everything has been re-made in the Renaissance period. To your R lies the site of the old chd/eau of the Louvre, and opposite it, the r.icdijEval Church of St. Germain I'Auxerrois, one of the few remaining, which thus announces your arrival in eariy Pans from the town of Napoleon and Francois I". (The Rue du Louvre itself is of very recent origin, and leads to the L to the new Post Office.) Still going east, you have on your R the tower of St. Jacques, once another fine mediiEval church, no.v demolished. (Near it, on the l>, opens out the modern Boule- vard de Sebastopol, forming part ot the great trunk line from N. to s., which was a principal feature in the Haussmannizing plan. It is known, further N,, as the Boulevard de Strasbourg, and s. as the Boulevard du Palais, and the Boulevard St. Michel.) Keep on till you come to the H6tel de Ville, the centre of the town on the North Bank. The old Hotel de Ville, which this building replaces, was erected in 1533, under Francois I", by an Italian architect, in emulation of the similar buildings in Italy and the Low Countries. It was afterwards largely added to at various times, and played an important part in the history of Paris. This first H6tel ae Ville, however (a handsome Renaissance building), was unfortunately burned down during the internal struggles of 1 87 1. The present edifice was erected shortly after, in much the same style, but on a larger scale ; a walk round the exterior will help to piece out the visitor's conception of Renaissance Paris. Note here once more the pavilions at the angles, and other features which recaU the Louvre. A visit to the interior is quite unnecessary for any save those hardened sightseers who desire to inspect the decorations and arrangements of purely contemporary buildings. The sole reason for coming to the H6tel de Ville at all, indeed, is the desirability of recog- nising its historic site, and understanding that here, by the hall of the old Prev6t des Marchands and the seat of the revolu- tionary Commune 01 Robespierre's period, you stand at the [IV. passing through mpire ; but now guste, and enter part is, however, Imost everything To your R lies opposite it, the , one of the few il in early Paris '. (The Rue du s to the L to the I on your R the ;val church, no.v e modern Boule- ; trunk line from Haussmannizing rd de Strasbourg, evard St. Michel.) le, the centre of ng replaces, was Italian architect, ,ly and the Low at various times, f of Paris. This lissance building), internal struggles rtly after, in much ound the exterior in of Renaissance It the angles, and isit to the interior rdened sightseers arrangements of eason for coming iirability of recog- it here, by the hall leat of the revolu- you stand at the IV.] THE NORTH BANK (RIVE DR^i iE) 201 heart of La Ville — the Paris of the merchants. The building is occupied by the Prdfet de la Seine— tho Department which practically coincides with Paris. The Place in front of it, now called after the Hotel itself, is the old Place de Gr&ve, the famous place of execution under the old Monarchy,— almost equally conspicuous in the history of the great Revolution. Earlier still than the building of Francois I", a " Hostel de Ville " had stood upon the same site, purchased for the purpose by ^tienne Marcel, Pr^vot des Marchands, the real founder of the Paris municipality — to whom, therefore, a bronze equestrian statue has been erected in tlie little square facing the river. The Hotel de Ville forms a convenient centre from which to begin the exploration of the core of the northern city. Walk round to the back (with a second fine fa<;ade) and, between the two handsome barracks, you s»;^ towering before you the front of the church of St. Gervais. This is an old church, remodelled : and, unlike most of the churches in the older part of Paris, it does not commemorate a local saint. Gervasius and Protasius, to whom it is dedicated, were two very doubtful martyrs of the persecution under Nerc, whose names, bodies, and resting-place were miraculously and conveniently revealed to St. Ambrose at Milan (a.d. 387) at the exact moment when he needed relics for the church he had built, and which is now dedicated to him — the most interesting building in that beautiful city. St. Germain, bishop of Paris, brought back some relics of these saints in 560 : and thence- forth St. Gervais and St. Protais became great objects of cult, like St. Stephen, in the Frankish city. (They are frequent subjects of French pictures in the 17th century.) This church, dedic ited to them, probably occupies the site of one built by St. Germain in their honour. It was begun in 1212, added to and completely altered in 1420, and finally remodelled in front in the later Renaissance or classic manner. Most of the build- Ling as it stands is late Gothic ; but you must go to the side to see it : the incongruous classic facade, illustrating the Doric, Ionic, and Corinthian orders, was added by Debrosse in 1616. Notice the coldness and bareness of this pseudo-classical front. _6>^ 202 PARIS teriors. Almost the only breaks are the figures, on either side, of the two martyrs to contain whose relics the church was built The sides, enclosed in houses which go close up to the wall, show the earlier architecture. Most churches m Pans were so walled up during the 17th century. The tower, and the aspect of the streets at the side, are very characteristic of a set of old effects now seldom visible. The Interior is chiefly noticeable for its great height, and for its interesting Late Gothic architecture. The patron saints, with their palms of martyrdom, stand on either side of the Hieh Altar. The chapels at the s. side should be examined separately : in one is a good stained glass window by Pinaigr.er (restored) of the Judgment of Solomon. Notice to what samt each is dedicated. The beautiful flamboyant Lady Chapel, be- hind the choir, contains good modern frescoes, illustrating the mystic titles of the Blessed Virgin, whose history is shown in the stained glass of the windows, also by Pinaigrier, but very much restored. These scenes the reader will now, I trust, be able to follow for himself-the birth, education, marriage, etc., of the Virgin, with the events of her life as recorded in the Gospels, and her death and assumption. Good P.et^ (Christ mourned by angels) as you return on the N. side, with some excellent paintings-Martyrdom of St. Juliet etc. I do no enlarge, as I hope the reader is now able to fohow the lead I have given him in previous churchos. From St. Gervais, walk a little way along the N. side of the church enclosed in its curious envelope of houses, till you come to the Mairie of the IVth Arrondissement. Then, turn up into the Rue de la Verrerie, along which continue till you reach the side of the church of St. Merrl, almost hidden from view by a wall of houses. The Made is round the corner, m the Rue St. Martin. This is one of the few remaining medi^va churches in this district. St. Merri (Abbot Mederic of Autun) was a (historical) saint of the 7th century, local and early. He had a hermitage on this spot (then in the woods), and was finally buried here. The shrine over his tomb became the cemre of a Parisian cult, and several churches rose successively above his body. The present one was not built till 1520 ; it is nevertheless a good late Gothic building. But notice the [IV. IV.] THE NORTH BANK (RIVE DROIT E) 203 s, on either side, the v;hurch was close up to the lurches in Paris The tower, and liaracteristic of a jreat height, and 'he patron saints, ither side of the aid be examined iow by Pinaigrier tice to what saint Lady Chapel, be- :s, illustrating the istory is shown in naigrier, but very 11 now, I trust, be an, marriage, etc., ,s recorded in the ood PietJl (Christ \. side, with some ;t, etc. I do not 1 follow the lead I the N. side of the if houses, till you jnt. Then, turn up continue till you .Imost hidden from und the corner, in ;maining mediaeval Mederic of Autun) cal and early. He ? woods), and v/as tomb became the ;s rose successively built till 1520; it is But notice the decline from the purity of Notre-Dame and the exquisite light- ness of St. Louis's chapel. Handsome flamboyant doorway, one mass of sculpture : statues of 12 Apostles, with symbols of their martyrdoms, all restored, after being destroyed in the Revolution. The interior is interesting, but spoilt in 17th century : good stained glass, badly injured. I bring you here mainly for the sake of the reminiscences. Continue straight on through characteristic old streets, to the modern Boulevard de S^bastopol, which cuts right through the core of Paris. Cross it and take the first turn to the left (as you walk northward) observing the marked contrast of the modern thoroughfare to the narrow streets we have just been traversing. Go along the Rue de la Reynie, and continue for one block, till you see, a little obliquely to your right, the Square des Innocents. In the centre rises the Fontaine des Innocents, designed by Pierre Lescot, with beautiful and appropriate sculptured figures of nyraphs, bearing urns of water, by Jean Goujon. The fountain originally stood with its back to the Church of the Innocents, demolished in 1783. It has been re-erected here, with a fourth side added (to the s,), and has been much altered by the addition of a base and cupola. Nevertheless, it still remains a beautiful and typical example of French Renaissance architecture and sculpture. The coquettish reliefs, indeed, are not perhaps more lovely than those which adorn Jean Goujon's portion of the Louvre ; but they are nearer to the eye, and the scale enables one to judge of the entire effect more truthfully. The other exquisite nymphs which we saw in the Renaissance Sculpture at the Louvre, were originally part of the same fountain. The pretty little square in which the fountain stands is characteristic of the many democratic public gardens of Paris. Proceed diagonally across the square, and continue along the North side of the Halles Centrales, till the east end of St. Eustaclie with its characteristic French chevet, comes in view before you. At the Pointe St. Eustache, as you cross the roadway, look up the vistas of un-Haussmannized Paris, again contrasting vividly with the broad Rue de Turbigo, which runs hence to the Place 204 PARIS [iv. de la Rdpublique. Do not eulci at the first door at which you arrive -the one in the cA^vet-^ rather good one-but continue along the South side of the church, observing as you pass the beautiful transep:, with fine rose window, noble Renaissance portal, and a stag's head with the crucifix (emblem of St. Eustace) surmounting the gable. Go on round the corner to the gaunt, bare, lumbering, and unimposing late Renaissance or classical M'de. In this you see the worst aspect of the decadent Renaissance architecture of Louis XlV-no saints, no archways. The door to the R gives access to the Inter or. In any other town but Paris, so splendid a building, rivalling many cathedrals, would attract numerous visitors. Here, it is hardly noticed. This is the church of the "Dames de la Halle " or market-women, who may often be observed m it. We have already seen in brief at Cluny the main elements of the story of St. EusUce. the saint who was converted by the apparition of the Christ between the horns of the stag he was pur- suing. Though not a local martyr, St. Eustace early obtained great consideration in Paris. But the first church here was one to St. Agnes : look out for memorials of her throughout the building. S.. Eustace had practically supplanted her as early as 122', : l.is church, after many enlargements, was finally pulled down under Fransois I", and the present splendid Renaissance edifice erected in its place in 1532 ! conipleted in 1640. It is a strangely picturesque and unique buildmg. St. Eustache, indeed, displays Renaissance architecture in a transitional state, endeavouring vainly to free itself froin the traditions of the Gothic. In general plan, and m the combina- tion of all its parts, it is in essence a Gothic cathedral ; bu its arches are round, and its detail and decorative work are all conceived in the classical spirit of the Renaissance. If you wish to see the difference between such a church and one in which developed Renaissance methods have finally triumphed, you must visit St. Sulpice. Note three things about St. Eustache: (i) it replaces a church to St. Agnes, who is still one of its two patronesses ; (2) it is the great musical church of Paris ; (3) it is the church of the markets. Immediately on entering, stand in the centre of the nave, tiv. r at which you —but continue IS you pass the e Renaissance :mbleni of St. 1 the corner to ,e Renaissance : aspect of the IV— no saints, the Interior. ildintj, rivalUniJ )rs. Here, it is " Dames de la served in it. lain elements of onverted by the stag he was pur- i early obtained hurch here was her throughout pplanted her as lents, was finally iresent splendid 2 ; completed in le building. St. chitecture in a e itself from the 1 in the combina- : cathedral ; but itive work are all lissance. If you lurch and one in linally triumphed, replaces a church .tronesses ; (2) it it is the church ntre of the nave, IV.] THE N ORTIZ BANK (RIVE DROIT E) 205 and look up the church towards the choir and chevet. The enormous si?e of the building will at once strike you. Notice, too, the tall, round arches of the nave and aisles, the triforium aljove them (best seen from the aisles), and, higher still, the clerestory rising above the aisle-vaulting. The proportions are admirable. Observe also the roof, csseni'.ally Gothic in plan, though with an incongruous subs\ ition of round for pointed arches. But note that all these quasi-Gothic con- structive features are combined with classical columns and pilasters of the three great orders— Doric, Ionic, Corinthian — superimposed, and with such Renaissance detail as masks, cherubs, and other later decorative features. Now walk up the R aisle. Everything in this church is, of course, comparatively modem, but still rich in symbolism. Most of the chapels have their names inscribed upon them — an excellent feature. The first, containing Franciscan Saints, has a good modern stained-glass window, representing the Saints and Patrons of the Order— St. Francis, St. Louis, etc. Observe the frescoes in the various chapels, and note their applicability to the saints to whom they are dedicated. I need not now enlarge upon this point. For example, the chapel of the Souls in Purgatory has a relief of Christ bound to the pillar— iTij purgatory— (a portion of it is preserved here) and a fresco representing mourning souls below, with triumphant ones in heaven. Observe from this point the beautiful Renaissance detail of the aisles and of the vaulting in the ambulatory, or passage behind the choir. Do not overlook the chapels of St Agnes (co-patroness) and St. Cecilia, the inventress of the organ and patroness of music. The transepts are very sh^rt, but are decorated with good rose- windows and other excellent semi- Gothic detail. Walk round the ambulatory, noticing as you go the various chapels with their polychromatic decoration and their appropriate frescoes. Thus, that of St. Anne contains a representation of the Saint educating her daughter the Virgin. Note also on your L as you go the delicate work of the choir-screen, and the excellent vaulting and decoration of the lofty choir. The Lady Chapel behind the choir is not wholly pleasing. It contains a good 1 8th century statue of the Virgin and Child by Pigalle. m 306 PARIS [IV. Observe particularly in the North part of the ambulatory he chapel of Ste. Genevi{;ve, with scenes from her le«cnii. ll'C chapel of St. Louis, next it. contains excellent n-uclern frescoes from his life, by Harrias, and a fine stained-Kla^s w.ndow of his educalion, with his mother. Blanche of Cost.l le, lookmg on, beneath a canopy marked with lleurs-de-lir and the three castles of CastiUe. One fresco represents hmi takmt; the Crown of Thorns to the Sainte Chapelle. Observe these httle historical reminiscences : they add interest. I'leasmg rehefs in the North transept of St. Cecilia and King Uav.d. repre- senting music, for which this church ha^^ "'^^r. .b^'^" "":• bratcd, especially on St. Cecilia's Day and Good I- r.day. They stand for I'salms and Hymns-the Jewish and the Christum psalmody. Notice, again, the figure of St. Agnes w.th her lamb, between the doorways, a tribute to .he earlier dcd.cat on of the building. Above it, good stained-glass window of the Annunciation, with traditional details. (Uo not be content to notice merely the points to which 1 call attention, but observe for yourself as you go the other Hgures, with their meaning and connection. To spell it all out ,s half the pleasure.) Above the Holy Water vessel in this Transept .s a figure of Pope Alexander I, who first sanctioned the use of Holy Water, accompanied by angels. Beneath it. the baffled and disappointed demons, fleeing from the consecrated water The next chapel contains the relics of St. EusUce and his children, martyrs. It is, perhaps, a littie characteristic of modern feeling that the half-mythical namesake saint o the church should thus be relegated to a subordinate chapel in the edifice originally erected to his honour. The pictures are imitated from those in the Catacombs at Rome Notice, in particular, the fresco of St. Eustace kneeling before the stag, which displays between its horns t.ie miraculous image; also, the subsequent scenes of his legend (for which, see Mrs^ Jameson). Beautiful view from this point of the choir and ambulatory. . . , . Do not leave this interest..ng building without having ex- amined all its details. It contains enough to °""Py y^" <,"; several hours, and is r'ch in illustrations of modern Catholic sentiment. Even the most tawdry bi's of its modern church [IV. ambulatory ilie er le^jcml. Tlie ivuilcrn frescoes ^lais window of Coitille, lookinR if and the llnee him takint; tlie serve these little ricasing reliefs ng Uavid, rcpre- Iways been ccle- 3d Friday. They nd the Christian Agnes with her earlier dedication 9s window of the ) not be content ill attention, but gures, with their out is half the 1 this Transept is mctioned the use Beneath it, the Ti the consecrated s of St. Eustace ittie characteristic lamesake saint of ubordinate chapel )ur. The pictures at Rome. Notice, leeling before the miraculous image ; ar which, see Mrs. ; of the choir and vithout having ex- to occupy you for if modern Catholic its modern church jv.] THE NORTH BANK {RH E DROIT E) 207 furniture become of interest when examined as parts of a consistent whole, falling into their due place in a great system of belief and the government of coniluci. V'oi.: have not really understood a church till you have grasped this connec- tion between its various members. Ask yourself always, •' Why is this here ? " and though you may not always be able to see, the longer you proceed to investigate in this spirit, the more will the meaning of the whole come home to you. For example, return to the s. Transept and observe the figure of St. Gregory : he is the musical Father from whom the Gregorian chants take their name, and as such deserves commemoration in the musical church. Quitting St. Eustache, you can continue westward a few steps, and then turn down a short street on the left, which leads you obliquely to a curious circular building, the Bourse de Commerce. Skirt round this till you come to its ugly fiii^ade, and then continue your way into the Rue du Louvre. This short walk will have enabled you to take your bearings in the heart of the old district north of the river. You can prolong it a little, if you choose, through the town of Louis XIV, by walking northward along the Rue du Louvre as far as the new Post Office, and then turning to the left into the little circular Place des VIctoIres with its clumsy rearing equestrian statue of the Grand Monarch. The Place dates from his reign, and was designed by Mansart. Originally known as the Place Louis XI V, it was decorated by an earlier statue of the king, destroyed in the Revolution. Th ' astoration replaced it by the present ugly monument. A iew steps to the N.-v.' stands the Church of Notre- Dame des Victoires, begun in 1656, to commemorate the taking of La Rochelle, the Huguenot stronghold. It is instructive to compare this building of the worst period with the Medi.xval and Renaissance churches you have just been examining. The Rue Notre-Dame des Victoires will lead you hence up to the Bonrse (adequately viewed from outside), whence the brand-new Rue du 4 Sep- tembre takes you straight back to the Opera and the centre of modern Paris. I have only walked you here through a small part of this older town ; but if you care to explore the interesting district, "TT 208 I'AUIS (IV. rich in Renaissance and even Mediaeval buiidiiiKS, wliich lies to the cast of the Hotii do Villc, you cannot do !>cltfr than take Mr. AuRusliis Marc's /' hands of the Normans : even those which were not then burnt down or sacked, were demolished and rebuilt in a more sump- tuous style by the somewhat irreverent piety of later ages. This, the present church of St. Germain-des-Prds, belongs for the most part to the nth century. It is therefore older than Notre-Dcme or the Sainte Chapelle, and even as a whole than the greater part of St. Denis. It exhibits throughout that earlier Romanesque style which formed the transitional term between classical architecture and the pointed arches of the Gothic period. (What we call "Norman" in England is a local modification of Romanesque.) Portions of the building, however, show Gothic tendency ; and the upper part is pure Pointed. Most of the Abbey has long since been swept away ; a small part of the building still remains in the rear of the existing church. St. Germain should be visited if only on account of the fact that it is the earliest large ecclesiastical building now standing in or near Paris. Flandrin's noble modern frescoes have given it of comparatively recent years another form of attractiveness. During the Renaissance period, while many of the nobility fixed their seats in the eastern and north-eastern part of Paris- within-the-Boulevards on the Right Bank, not a few erected houses for themselves in the open spaces of thv-; Faubourg St. Qermain. The most magnificent of these later buildings is the Palais du Luxembourg, erected for Marie de Mddicis, after the death of Henri IV, by Jacques Debrosse, one of the best French architects of the generation which succeeded that of Jean Goujon and Philibert Delorme. It was built somewhat after the style of the Pitti Palace at Florence, where Marie was bom, and it exhibits the second stage of French Renais- sance architecture, when it was beginning to degenerate from the purity, beauty, and originality of its first outburst, towards the insipid classicism of Loui-; XIII and Louis XIV. It was for this building that Rubens executed his great series of pictures from the life of Marie, now in the Louvre; while Lesueur painted his St. Bruno legends for a Carthusian monastery within the grounds. The gardens which surround it are interesting in their way as being the only specimen now remaining in Paris of Renaissance methods of laying out ; il itb PARIS Lv. most of the other palaces have gardens designed bv Le Notre in the formal style of Louis XIV. The Palace is now occupied by the Senate : it is practically difficult of access, and the interior contains so little of interest that it may well be omitted save by those who can spend much time in being ushered round almost empty rooms by perfunctory officials. But the exterior, the gardens, and the Medici fountain should be visited by all those who wish to form a consistent idea of Renaissance Paris, In the same excursion may be easily combined a visit to St. 5ulpice, a church which occupies the site of an old foundation, but which was entirely rtbuilt from the ground in the age of Louis XIV, and which is mainly interesting as the best example of the cold, lifeless, and grandiose taste of that pompous period. The Faubourg St. aermain and the quarter about it, as a whole, are still the region of the old noble families. The western end of this Faubourg, especially about the Quai d'Orsay, is given over to embassies and political machinery, particularly that connected with foreign affairs. The South Bank is also the district of the Legislature, in both its branches. The Quartier Latin, however, has largely overflowed of recent years into the Luxembourg district and that immediately behind it, which are now to a great extent occupied by the students, artists, and other Bohemian classes.] Cross the river, if possible, by the Pont de la Concorde. The classical building which fronts you proclaims itself legibly on its very face as the Chambre des Ddput^s. But it has borne in its time many other names. This/a(aae towards the river is of the age of the First Empire ; the main edifice, however, is much older, being the Palais Bourbon, built in 1722 for the Duchesse de Bourbon. In 1790, it was confiscated, and has ever since been the seat of one or other legislative body, according to the Government of the moment. Vou can go round to the back, as you pass, to inspect the original /a fade, in the style of Louis XIV, facing the little Place du Palais Bourbon. The interior is uninteresting, but has a few good pictures, which should only be visited by those whose time is unlimited. The river front is on the Quai d'Orsay, the centre of modern Lv. 1 by Le Notre now occupied cess, and the ell be omitted ushered round It the exterior, visited by all lissance Paris, 1 a visit to St. >ld foundation, in the age of 2 best example mpous period, r about it, as amilies. The Quai d'Orsay, y, particularly Bank is also anches. The f recent years tely behind it, the students, la Concorde. 3 itself legibly But it has e towards the main edifice, 'bon, built in is confiscated, ler legislative o inspect the le little Place ng, but has a those whose re of modern V.J THE FAUBOURG ST. GERMAIN 217 political and diplomatic Paris. The building to the R of the Chamber is the official residence of its President ; still further R, the Minist^re des Affaires ittrangeres. The broad thorough- fare which opens obliquely south-eastward, L of the Chamber, IS the Boulevard St. Germain, which we have crossed brfore m other parts of its semi-circle. It was Haussmannized in a wide curve through the quiet streets of the Faubourg, and the purlieus of the Quartier Latin, with ruthless regularity. Many of the tranquil aristocratic roads characteristic of the region he R and L of it ; their type should be casually noted as you pass them. Down the Rue de Lille stands ths German Embassy ; on the Boulevard itself, R, the Ministire de la Guerre, and further on, L, the Travaux Publics. Other ministries and embassies cluster thickly behind, about Xhe diplomatic Rue de Crenelle and its neighbours. To the r, again, the Boulevard Raspail, another very modern street, not yet quite complete, runs southward through the heart of the Luxembourg district. Continue straight along the Boulevard St Germain, till you reach the Place of the same name, with the church of 5t. Germaln-des-Pres full in front of you. (It may also be reached directly by the Rue Bonaparte ; but this other is a more characteristic and instructive approach to the Abbey Church which forms the centre of the quarter.) Observe how the new Boulevard skirts its side, giving a clever efifect of its having always been there ; the front of the church is round the comer in the Rue Bonaparte. The exterior, with the houses still built against it in places, though picturesque, has little minute architectural detail. The massive tower has been so much renewed as to be practically modem ; but the Romanesque arches near the top give it dis- tinction and beauty. The mean and unworthy porch is of the 17th cent.; the inner portal, however (though its arch has been Gothicised), belongs to the Romanesque church and is not without interest. Observe the character of the pilasters and capitals, with grotesque animals. Statues of St. Germain, of Childebert and Ultrogothe (as at the other St. Germain) and o» Clovis, etc., which once flanked the door, were destroyed at the Revolution. In the tympanum are the unusual subjects of the Eternal Father, blessing, and beneath Him a Romanesque relief 2lS IWKIS r,v. of the Last Supper {not, as commonly, the Last Judgment). The interior still preserves in most purt its Komanesque arches and architecture ; but the lower part of the nave is the oldest portion (early 12th cent.) ; the choir is about a century later. Most of the pillars have had their capitals so modernized and gilt as to he of relatively little interest, while the decora- tions, though good and effective, are in many cases of such a sort as effectually to conceal the real antiquity of the building. The church was used during the Great Revolution as a saltpetre factory, and was restored and re-decorated in polychrome a little too freely under the Second Empire. A few capitals, however, notably those of the Baptistery to the L as you enter retain their antique carving and are worthy of notice ; while even the modern gilt figures on those of the aisle are Roman- esque in character and quaint in conception. (You can examine some of the old ones which they replace in the garden at Cluny.) Walk round the church. The architecture of the ambulatory and clioiri though later, is in a much mori> Batisiattory condi- tion than that of the main body. The arches of the first story are mostly round, but pointed in the apse ; those of the clere- story are entirely Gothic. The detail below is good Roman- esque ; study it. Observe the handsome triforium, between the two stories ; and more especially the interesting capitals of the columns— relics of the original church of Childebert, built into the later fabric. The choir, on the whole, is a fine specimen of late 1 2th cent. work. The Lady Chapel, behind, is a modern addition. After having thus walked round the aisles and the back of the choir to observe the architecture, return once more to the doorway by which you entered and proceed up tlie nave, in order to notice the admirable modem frescoes by Plandrin (Second Empire). These are disposed in pairs, each contain- ing subjects, supposed to be parallel, from the Old and New Testaments. Note in these the constant survival of early traditions, revivified by Flandrin in accordance with the art of his own period. The subjects are as follows : — Begin on the L. (i) The Annunciation (treated somewhat in the traditional manner, the relative positions of the Madonna 1 [V. iSt Judgment). ; Komanesque he nave is the bout a century so modernized le the decora- ises of such a r the building. 1 as a saltpetre polychrome a L few capitals, L as you enter notice ; while le are Roman- 1. (You can ! in the garden e ambulatory iiactory condi- the first story >e of the clere- good Roman- m, between the capitals of the bert, built into le specimen of I, is a modern id the back of ;e more to the I the nave, in s by Flandrin , each contain- Old and New vival of early with the art of ited somewhat f the Madonna v.] THE FAUBOURG ST. GEtiMAIN 219 and the Angel Gabriel being preserved); typified by the Almighty appearing to Moses in the Burning Bush, as His first Annunciation. (2) The Nativity, as the pledge of redemption ; typified or rendered necessary by the Fall. (The New Testa- ment scenes are of course the usual series j those from the Old Testament foreshadow them, for which reason they are placed in the opposite from the chronological order.) (3) The Adoration of the Magi (reminiscences of the conventional, entirely altered by Oriental costumes and attitudes of submission); typified by Balaam blessing Israel— a famous picture. (4) The Baptism in Jordan (positions conventional, with the three angels to the 1. as always) ; typified by the Passage of the Red Sea. (5) The Institution of the Eucharist, very original in treatment; typified by Melchisedec bringing forth bread and wine to Abraham. Now return by the R side, beginning at the transept :— (6) The Betrayal of Christ by Judas ; typified by the Sale of Joseph. (7) The Crucifixion— a very noble picture ; typified by the Offering of Isaac, full of pathos. (8) The Resurrection ; typified by Jonah restored from the sea, the whale being with great tact omitted. (9) The Keys given to Peter ; typified by the Dispersion of the Nations at Babel. (A little thought is sometimes required to connect these subjects, which are occasionally, as in the last pair, rather to be regarded as opposites than types— the one remedying the other. Thus, the riunterpart to the Dispersal at Babel is Christ's command to ptsach the Gospel to all nations.) Above this fine frieze of subject-pictures runs a course of single figures, grouped in pairs, on either side of the windows in the clerestory. They are Old Testament characters, from Adam £.nd Eve onward, ending with John the Baptist, as the last of the prophets. But as all the characters have their names legibly inscribed beside them, I need not enumerate them ; all, however, should be observed, especially Adam and Eve, Miriam, Deborah, and Judith. Hold your hat or a book to cover the light from the windows, if the glare is too great, and after a little whil you will see them distinctly. Now proceed again to the front of the choir. On either side are other mural paintings, also by Flandrin : L, The Entry of Christ into Jerusalem, very beautiful : R, The JiS 220 r.iNjs Cv. ISe.in'njj of the C'loss. Round the choir, the Twnive Apostles : by the pointed arches of the apse, the symbols of the Evangehsts— the ant'ei, lion, bull, and eayle. Above all— an interesting link with the earlier history of the church— are the pious founders, Childcbert and Ultrogothe ; the origin.d patron, St. Vincent, with his successor, St. (Germain ; and finally, Abbot Morard who rebuilt the church, substantially in its present form, after the Norman invasion. He is thus commemorated in the beautiful choir which represents the work of his successor, Abbot Hugucs, in the next century. Before leaving, observe, architecturally speaking, how a Romanesque church of this type leads up to the more complex arrangement, with chcvet and chapels, in Notre- Dame and lat r Gothic churches. Note the simplicity and dignity of the choir. Note also the peculiar ch.iracter of the vaulting, comparing it with the later type at Notre-Dame, and especially with the reversion to much the same form in Renaissance times at .St. Etienne-du-Mont, and St. Eustache. In spite of its newness, much of the modern decorative work is extremely effective ; indeed, as a specimen of almost complete internal decoration, this church, notwithstanding the cruel overlaying of its early Romanesque sculpture by gold and paint, is perhaps the most satisfactory of any in I'aris, except the Sainte Chapelle. I strongly advise you to sit down for some time and inspect the capitals built into the aisle, nd the beautiful Merovingian pillars of the triforium, with an opera- glass, at your leisure. On quitting the church, walk round it for the view on every side, which is picturesque and characteristic. Behind it, in the Rue de I'Abbaye, stands an interesting portion of the 16th-century Abbot's Palace— the only remaining relic of the vast conventual buildings, once enclosed for defence by a wall and moat, and containing a large lay and clerical popula- tion, like a little city. The sumptuous carved and gilded figure of Childcbert, the founder, in the Mediaeval Sculpture Room at the Louvre, came from the doorway of the old Refectory— a magnificent work by Pierre de Montereau (the architect of the Sainte Chapelle)— now wholly demolished. After you have visited each church, you will often find it pleasant to look c s a b ii n c fi a ¥ y fi s; b u a b tl d tf n' tr 01 ai w ol g' w a T of h( sa R 'wnlve Apostles : symbols of the Above all— an the church — are le ; the original (icrmain ; and , substantially in )n. He is thus )rcsents the work ntury. )caking, how a p to the more , in Notre-Dame city and dignity • of the vaulting, e, and especially in Renaissance he. In spite of ork is extremely amplcte internal cruel overlaying 1 and paint, is iris, except the down for some aisle, nd the with an opera- s view on every Behind it, in portion of the laining relic of "or defence by a clerical popula- nd gilded figure kulpture Room old Refectory — the architect of After you have leasant to look TlIF FAUBOVRC ST. GF.RMMN V.) out for such isolated works, divorced at present from their surroundings, and placed at Cluny or elsewhere. They will always gain new meaning for you by being thus identified as beloni;ing to such-and-such an original building. For instance, in the Christian Antiquities Room at the Louvre, you will (iml an interesting capital of a pillar belonging to the Merovinijian church of St. Vincent. Now return to the lioulevard St. Germain, which a little further on occupies the site of the old Abbey Prison, famous as the scene of the massacres in September, 1792. Take the Rue Bonaparte on the opposite side, and go straight on till you reach the Place St. 5ulplce. with its huge church in front of you. The building replaces an earlier one to the same saint : under Louis XIV, when the Faubourg St. Germain was becoming the quarter of the nobles, it was rebuilt in a style of ugly magnificence, befitting the maker of Versailles and Marly. St. 5ulplce» a vast bare barn, is chiefly interesting, indeed, as a gigantic specimen of the coldly classical type of church built under Louis XIV, when Gothic was despised, and even the Renaissance richness of St. Eustache and St. ^tiennc was decried as barbaric. It is a painful monument of declining taste. The exterior is chilly. The /ti(;a(ie, whose sole recom- mendation nowadays is its size and its massiveness, is a triumph of its kind ; it consists of two stories, with arcades of Doric and Ionic pillars superimposed on one another and crowned with a pair of octagonal towers, only one of which is completed. The scanty detail of the sculpture is of the familiar character of the decadent period. But Fer- gusson praises the general effect of the exterior. The interior consists of a cruciform pseudo-classical nave with aisles, two bare single transepts, and a choir ending in a circular apse,— all vast, gloomy, barren, and unimpressive. The pillars and pilasters have Corinthian capitals, and most of the sculpture betrays the evil influence of Bernini. The holy water stoups, by the second pillars, however, are more satisfactory : they consist of huge shells, presented by the Republic of Venice to Frangois I", standing on bases by Pigalle,— an effective piece of decorative work in this un- 222 J'.IRIS [y I pleasing edifice. As a whole, this chilly interior stands in ■ narked contrast to the polychromatic richness of St. Germain- dcs-I'rt's, and to the exquisite ("lothic detail of Notre-Damc and St. (lermain-rAuxerrois. The roof and false cupola contrast very much to their dis.idvantage with the charming Renaissance vaulting of St. Ktienne-du-Mont and St. Eustachc. Accept this visit as penance done to the a^e of Louis XIV. Save historically, indeed, this barren church is almost devoid of interest. Like everything of its age, it aims at grandeur ; it only succeeds in being gaunt and grandiose. The very size is thrown away for want of effective vistas and groups of pillars J it looks smaller than it is, and sadly lacks furnishing. Several of the chapels around this disappointing church, however, contain many good modern pictures : most of them also bear the names of the saints to whom they are dedicated, which largely aids the recognition of the symbolism. I enum- erate a few of them for their interest in this matter. Right aisle (i) St. Agnes. Jacob and the angel : Heliodorus expelled from the Temple : by Delacroix. (2) Chapel of Souls in Pur- gatory. Religion brings comfort to the dying ; benefit of prayers for the dead : by Heim. (3) Chapel of St. Roch, the plague-saint. He prays for the plague-stricken : he dies in prison at Montpelier : by Abel de Pujol. (4) St. Maurice, the soldier saint. His legend: by Vinchon. Left aisle. The chapels here are chiefly dedicated to the newer humanitarian saints of Catholicism. (1) St. Frani,ois Xavier. He resuscitates a dead man : miraculous cures at his burial : by Lafon. (2) St. F"ran(;ois de Sales. He preaches in Savoy : he gives to Ste. J. F. Chantal the constitution of his Order of nuns : by Hesse. (3) St. Paul. His conversion ; he preaches at Athens : by Drolling. (4) St. Vincent de Paul. He founds the hospital for foundlings, with the Sisters of Charity : he attends the death- bed of Louis XIII: by Guillemot. Chapels of the choir: L, (i) St. John the Evangelist. His martyrdom : and his as- sumption. (2) San Carlo Borromeo, He ministers during the plague at Milan : he gives the sacrament to his uncle, Pius IV, on his death-bed. (3) Uninteresting. (4) St. Louis the King. He carries a dying man during the plague : he administers Iv v.] TlIF FAVnnURn sr CFItMAtX 233 ntcrior stands in IS of St. Germain- I of Notre-Damc ind false cupola ith the charming; and St. Eustache. {c of Louis XIV. is almost devoid liins at ^'randeur : diose. The ver>' 'istas and groups and sadly lacks ppointing church, IS : most of them ley are dedicated, ibolism. I enum- s matter. Right eliodorus expelled I of Souls in Pur- ying ; benefit of . of St. Koch, the cken : he dies in ) St. Maurice, the Left aisle. The ver humanitarian . He resuscitates : by Lafon. (2) : he gives to Ste. nuns : by Hesse, i at Athens : by s the hospital for ttends the death- Is of the choir: 3m : and his as- n.sters during the s uncle, Pius IV, Louis the King, he administers justice under the oak of Vinccnnes. Lady Chapel, a miracle of ugliness. Statue of the Virgin on clouds in a recess, by I'ajon, lighted from abnve, and in execrable taste, the worst feature in this insipid and often vulg.ir building. Had statues and frescoes. The other choir chapels on the R side are dedi- cated to the older patiun saints uf Paris. (1) St. Denis. His preaching: his condemnation. (3) St. Martin. He divides his cloak with the beggar : he resuscitates a dead man. (3) Ste. (^icneviive. She brings food from Troyes during the siege of Paris : miracles wrought by her relics. (4) Our Lady. Her IHrth : her Presentation in the Temple, interesting as modern examples of the treatment of these traditional subjects. Over the door, N. or I. side, her Death : s. or K side, her Assumption. St. Sulpice has a reputation for good music. The Fontaine St. Sulpice, in front of the church, is from Visconti's designs, and h.^s appropriate statues of the four great French preachers — Bossuet, FYntlon, Massillon, and Flifchier. The pulpit here is still famous for itc oratory. From St. Sulpice, the Rue Fdrou, to the R of the faqadcy leads you straight to the Luxembourg Palace. The long low building almost directly opposite you as you emerge is the ^* Musee du Luxembourfj;, containing the works of modern French painters. This, of course, is one of the most important objects to be visited in Paris ; but I do not give any detailed account of it here, be- cause the pictures themselves are entirely modern, and chiefly by living painters and sculptors, the various examples being sent to the Louvre, or to provincial museums, within ten years of the death of the artist. A visit to this Museum is therefore indispensable to those who desire to form a just acquaintance with contemporary art. But nothing in the Gallery demands historical elucidation. The visitor should provide himself with the Official Catalogue, which will amply suffice for his needs in this Gallery. I need hardly say that a proper inspection of it cannot be combined in one day with the other objects men- tioned in this Excursion. Devote to it at least one or two separate mornings. Turning to the L, as we leave the end of the Rue Fcrou, the m an 224 PARTS tv. first building on our R is the official residence of the President of the Senate ; the second is Marie de Mddicis's Palace of the Luxembourg:, now employed as the seat of the Senate. Walk along its faiade, the work of Jacques Debrosse, one of the ablest archi- tects of the later classicizing Renaissance, in order to observe the modified style of the age of Henri IV and Louis XIII, which it still on the whole preserves, in spite of modern additions and alterations. Note the gradual falling-off from the exquisitely fanciful period of the earlier French Renaissance, which pro- duced the best parts of the Louvre and St. Eustache ; and the way this building lets us down gently to the bald classicism of Louis XIV and Perrault. If you know Florence, observe also the distinct reminiscences of the Pitti Palace. Continue your walk along the whole of the facade, as far as the cor- ner by the Oddon Theatre,— the subventioned theatre of the students and the Quartier Latin. Then, turn into the garden, and note the rest of the building, whose facade towards this side, though restored under Louis Philippe, more nearly repre- sents Debrosse's architecture than does that towards the main thoroughfare. You need not trouble about the interior: though it contains a few good modern paintings. The garden, however, is well worth a visit on its own account, both for the sake of the typical manner in which it is laid out, and especially for the handsome Fontaine de M^dlcis by Debrosse, on the side ne.\t the Panthdon. The group of sculpture in the middle represents Polyphemus surprising Acis and Galatea. Go round to the back, to see the (modern) Fountain of Leda, — that favourite subject of Renaissance sculpture. The best way back from this Excursion is by the Rue de Seine, which leads you past the Marchd St-Germain. Another building in this district to which, if possible, the reader should pay at least one visit, is the Ecole des Beaux- Arts in the Rue Bonaparte. This collection is interesting, both because it oo.itains a number of valuable fragments of French Renaissance work, especially architectural, and also because of its Miiseum of Copies, including transcripts (mostly very good; of the best pictures of various ages, many of which are useful ro the student of art-history for comparison with [V. ice of the President 'ddicis's Walk along its of the ablest archi- in order to observe d Louis XI II, which odern additions and rom the exquisitely .issance, which pro- Eustache ; and the : bald classicism of irence, observe also Palace. Continue as far as the cor- 3ned theatre of the rn into the garden, facade towards this more nearly repre- it towards the main he interior: though I visit on its own nner in which it is itaine de M^dlcis 3n. The group of nus surprising Acis see the (modern) ct of Renaissance Excursion is by the chd St-Germain. h, if possible, the Ecole des Beaux- ion is interesting, lable fragments of itectural, and also transcripts (mostly fes, many of which ■ comparison with v.] The faubourg sr. geraiain 225 originals in the Louvre and elsewhere. Everybody who has not been to Rome, Venice, and Florence, should certainly try to visit this Museum ; and even those who have made first- hand acquaintance with the masterpieces of Italian art in their native homes will find that it sometimes afTords them oppor- tunities for comparison of works widely scattered in the originals, which can be better understood here in certain of their aspects than in isolation. The building is open to the public, free, from 12 to 4 on Sundays; on week-days, non- students are also admitted from 10 to 4 (except Mondays\ on application to the Concierge (small fee). I strongly advise a Sunday visit, however, as you are then less hurried, and also as the door on the Quai Malaquais is open on that day. This building should, if possible, be made the object of a separate excursion. It takes a long time to inspect it thoroughly. Pass through the Tuileries Gardens, or across the Place dii Carrousel, and traverse the river by the Pont Royal or the Pont du Carrousel. The second turn to the R, after the last-named bridge, the Rue Bonaparte, will take you straight to the door of the Ecole. The building occupies the site of the old Couvent des Petits-Augustins ; the convent chapel and a few other remains of the original works are embedded in it. Enter the courtyard. Here, during the Great Revolution, the painter Alexandre Lenoir founded his Musee des Monuments for the accommodation of the tombs removed from St. Denis and other churches. To his indefatigable exertions almost alone we owe the preservation of these priceless Mediaeval and Renaissance relics. Under the Restoration, most of the monuments were replaced in their original positions, and we shall visit several of them later at St. Denis. To the R of the entrance in this First Court is the beautiful doorway of the Chateau d'Anet— that jjem of Early French Renaissance architecture, which was erected for Diane de Poitiers by Philibert Delorme and Jean Goujon, by order of Henri II, in 1548 : many objects from the same building we have already seen elsewhere. The portal is now placed as the entrance to the old Abbey Chapel. The end of this court is formed by part of the facade from the Chateau de Qalllon, erected for the Cardinal d'Amboise, Minister of Louis XII, and one of the favourite residences of P I ill 226 PARIS tv. ;■ I : 1^ Franqois I". It presents mixed Renaissance and Gothic features, as did the sculpture of Michel Colombe from the same building, which we saw at the Louvre. Both these imposing works — the portal of Chateau d'Anet and this /a((ide—sho\i\d be compared with the Italian Renaissance doorway from Cre- mona and the Gothic one from Valencia, which we saw in the collection of sculpture at the Louvre. They are indispensable to a full comprehension of the French Renaissance. The Ch&teau de Gaillon was destroyed during the Revolution, and many of its finest monuments arc now at the Louvre. If you have time, after seeing this Museum, go back and compare thtm. The Second Court, beyond {he/i^ade, contains several frag- ments of buildings and sculpture, among which notice the capitals from the ^/rf church of Ste. Ger.^i ^ve (Romanesque), and a fine stone basin of the i-th cent., brought from St. Denis. Now, return to the First Court, and visit the former Chapel. It contains plaster casts, adequately described for casual visitors by the labels, as well as copies of paintings. These plaster casts, especially those of the pulpit from Pisa, by Nicolo Pisano, the first mediaeval sculptor who tried to imitate the antique, will enable you to piece out your conception of Italian Renaissance sculpture, as formed at the Louvre. Do not des- pise these casts : they are excellent for comparison. Among the pictures, notice the copy of Mantcgna's fresco of St. James conducted to Martyrdom, from the church of the Eremitani at Padua. The fresco itself is a work of Mantegna's first period, and I select this copy for notice because it will help you to fill in the idea you farmed of that great painter from consideration of his originals at the Louvre. Notice, for exampi tnu strenu- ous efforts at perspective and foreshortening ; the ii; ji.jtion of decorated Renaissance d Mary stand Lord — together by her peculiar in the Salon und. Perugino larlier painters. churches and transformed it s views of art, )f Renaissance iarlier painters. representation e artists. The ition are also lel followed his see for yourself also see how retaining the feeling of the but Raphael's to these two the value and wholly under- igino ; nor can laving seen the Gaddis which ie two pictures rble pavement, the accessories Utitude of the jrrowed from a . It is only by arrive at a full of the relations v.] THE FAUBOURG ST. GERMAF.X 220 I will not call special attention to the various other copies in this Museum. I will merely point out, as casting light on subjects wc have already considered, Verocchio's Baptism of Christ, Perugino's group from the same subject, Raphael's Entombment, Botticelli's Adoration of the Magi, and Ma- donnas by Filippo Lippi, Giovanni Bellini, Correggio, and Maategna. Many of these can be compared here and nowhere else. For those who are making a long stay in Paris, a judicious use of this collection, in conjunction with the Louvre, will cast unexpected light in many cases on works in that Gallery which it has been impossible here to describe in full detail. The Amphith^Atre, approached from the Second Court, contains in its Vestibule a number of plaster casts, also valuable for purposes of comparison. The transitional archaic period of Greek sculpture, for instance, ill represented at the Louvre, is here well exemplified by casts from the statues in the pediment of the Temple of Athene at .^gina, now in the Pinakothek at Munich. Compare these with the reliefs from Thasos in the Salle de Phidias. Similarly, casts of the Children of Niobe, belonging to the same school as the Venus of Milo, are useful for comparison with that famous statue. The Amphitheatre itself, behind the Vestibule, contains Paul Delaroche's famous H^micycle, one of that great painter's most celebrated works. Do not think, because I do not specify, that the other objects in this Museum are unworthy of notice. Observe them for yourself, and return afterwards to the Louvre time after time, comparing the types you have seen here with originals of the same artists and variants of the s.-ime subject in that collection. '' ' 'yjuff ; i.--. w m»ii,,.i,- j -i . J £S» VI ST. DENIS r A BOUT six miles north of the original Paris stands the L/A. K^eat Basilica of St. Denis— the only church in Paris, and i think in France, called by that ancient name, which carries us back at once to the days of the Roman Empire, and in itself bears evidence to the antiquity of the spot as a place of worship. Around it, a squalid modern industrial town has slowly grown up ; but the nucleus of the whole place, as the name itself shows, is the body and shrine of the martyred bishop, St. Denis. Among the nu- merous variants of his legend, the most accepted is that which makes the apostle of Paris have carried his head to this spot from Montmartre. (Others say he was beheaded in Paris and walked to Montmartre, his body being afterwards trans- lated to the Abbey ; while there are who see in his legend a survival of the Dionysiac festival and sacrifice of the vine- growers round Paris — Denis = Dionysius = Dionysus.) How- ever that may be, a chapel was erected in 275 above the grave of St. Denis, on the spot now occupied by the great Basilica ; and later, Ste. Genevieve was instrumental in restoring it Dagobert I, one of the few Frankish kings who lived much in Paris, built a "basilica" in place of the chapel (630), and instituted by its side a Benedictine Abbey. The church and monastery which possessed the actual body of the first bishop and great martyr of Paris formed naturally the holiest site in the neighbourhood of the city ; and even before Paris became the capiAl of a kingdom, the abbots were persons of great importance in the Frankish state. The desire to repose close to the grave of a saint was habitual in early times, and even (with the obvious alteration of words) ante-dated Christianity — every wealthy Egyptian desiring in the same way to "sleep with V *: V..] ST. DENIS 231 iris stands the nly church in ancient name, )f the Roman itiquity of the jualid modern he nucleus of the body and mong the nu- . is that which head to this eaded in Paris erwards trans- 1 his legend a : of the vine- lysus.) How- bove the grave ;reat Basilica ; n restoring it lived much in pel (630), and he church and :he first bishop tliest site in the ris became the eat importance se to the grave jven (with the stianity — every ;o "sleep with Osiris." Dagobert himself was buried in the church he founded, beside the holy martyr ; and in later times this very sacred spot became for the same reason the recognised burial- place of the French kings. Dagobert's fane was actually consecrated by the Redeemer Himself, who descended for the purpose by night, with a great multitude of saints and angels. The existing Basilica, though of far later date, is the oldest church of any importance in the neighbourhood of Paris. It was begun by Suger, abbot of the monastery, and sagacious minister of Louis VI and VI I, in 1 1 2 1. As yet, Paris itself had no great church, Notre-Dame having been commenced nearly 50 years later. The earliest part of Suger-s building is in the Romanesque style ; it still retains the round Roman arch and many other Roman constructive features. During the course of the so years occupied in building the Basilica, however, the Gothic style was developed ; the existing church therefore ex- hibits both Romanesque and Gothic work, with transitional features between the two, which add to its interest. Archi- tecturally, then, bear in mind, it is in part Romanesque, passing into Gothic. The interior is mostly pure Early Gothic. The neighbourhood to Paris, the supremacy of the great saint, and the fact that St. Denis was especially the Royal Abl>ey, all combined to give it great importance. Under Suger's influence, Louis VI adopted the oriflamme or standard of St. Denis as the royal banner of France. The Merovingian and Carlovingian kings, to be sure— Germans rather than Fren>:h— had naturally been buried elsewhere, as at Aix-la-Charelle, Rheims, and Soissons (though even of them a few were interred beside the great bishop martyr). But as soon as the Parisian dynasty of the Capets came to the throne, they were almost without exception buried at St. Denis. Hence the abbey came to be regarded at last mainly as the mausoleum of Frencli royalty, and is still too often so regarded by tourists. But though the exquisite Renaissance tombs of the House of Valois would well deserve a visit on their own account, they are at St. Denis, but accessories to the great Basilica. Besides the actual tombs, too, many monuments were erected here, in the 13th cent, (by St. Louis) and afterwards, to earlier kings buried elsewhere, some relic of whom, however, the abbey possessed •MXSBiWi""-- 232 PARIS [VI. \ ? M 1 i and thus honoured. Hence several of the existing tombs are of far later date than the kings they commemorate ; those of the Valois almost alone are truly contemporary. At the Revolution, the Basilica suffered irreparable losses. The very sacred reliquary containing the severed head of St. Denis was destroyed, and the remains of the martyr and his companions desecrated. The royal bones and bodies were also disinterred and flung into trenches indiscriminately. The tombs of the kings were condemned to destruction, and many (chiefly in metal) were destroyed or melted down, but not a few were saved with difficulty by the exertions of antiquaries, and were placed in the Museum of Monuments at Paris (now the i:cole des Beaux-Arts), of which Alexandre Lenoir was curator. Here, they were greatly hacked about and mutilated, in order to fit them to their new situations. At the Restoration, however, they were sent back to St. Denis, together with many other monuments which had no real place there ; but, being housed in the crypt, they were further clipped to suit their fresh surroundings. Finally, when the Basilica was restored under VioUet-le-Duc, the tombs were replaced as nearly as possible in their old positions ; but several intruders from elsewhere are still interspersed among them. Louis XVIII brought back the mingled bones of his ancestors from the common trench and interred them in the crypt. Remember, then, these things about St. Denis : (i) It is (or was), first and above all things, the shrine of St. Denis and his fellow-martyrs. (2) It contains the remnant of the tombs of the French kings. (3) It isolder in part than almost any other building we have yet examined. As regards the tombs, again, bear in mind these facts. All the oldest have perished ; there are none here that go back much further than the age of St. Louis, though they often represent personages of earlier periods or dynasties. The best are those of the Renaissance period. These are greatly m- fluenced by the magnificent tomb of Giangaleazzo Visconti at the Certosa di Pavia, near Milan. Especially is this the case with the noble monument of Louis XII, which closely imitates the Italian work. Now, you must remember that Charles VIII and Louis XII fought much in Italy, and were masters of Milan ; [VI. ing tombs are of ite ; those of the reparable losses, sred head of St. I martyr and his bodies were also iminately. The iction, and many wn, but not a few antiquaries, and t Paris (now the noir was curator, lutilated, in order the Restoration, ;ether with many here ; but, being to suit their fresh IS restored under irly as possible in )m elsewhere are brought back the imon trench and :nis: (i) It is (or of St. Denis and remnant of the n part than almost these facts. All lere that go back lough they often lasties. The best se are greatly m- ileazzo Visconti at y is this the case :h closely imitates that Charles VIII masters of Mil.in ; VI.] ST. PFxrs 233 hence this tomb w.is familiar to them ; and their Italian experi- ences had much to do with the French Renaissance. The Cardinal d'Amboise, Louis's minister, built the ChAteau dc Gaillon, and much of the artistic impulse of the time was due to these two. Henceforth recollect that though P'ranqois I" is the Prince of the Renaissance, Louis XII and his minister were no mean forerunners. The Basilica is open daily ; the royal tombs are shown to parties every half-hour ; but the attendants hurry visitors through with perfunctory haste, and no adequate time is given to examine the monuments. Therefore, do not go to St. Denis tiil after you have seen the Renaissance Sculpture at the Louvre, which will have familiarised you with the style, and will enable you better to grasp their chief points quickly. Also, go in tlie morning, on a briglit day: in the late after- noon or on dark days you see hardly anything.] Start from the Gare du Nord. About four trains run every hour. There is also a tramway which starts from the Op»!ra, the Madeleine, or the Place du Ch^telet, but the transit is long, and the weary road runs endlessly through squalid suburbs, so that the railway is far preferable. Start early. Take your opera-glasses. From the St. Denis station, take the road directly to the R as far as the modem Parish Church, when a straight street in front of you (a little to the L) leads directly to the Basilica. On the L of the Place in front of the great church is the Hotel de Ville, on which it is interesting to notice, high up on the front, the ancient royal war-cry of " Montjoye St. Denis ! " Turn to the Basilica. The facade, of the age of Abbot Suger, is very irregular. It consists of two lateral towers, and a central portion, answering to the Nave. Only the south tower is now complete; the other, once crowned by a spire, was struck by lightning in 1837. Observe the inferiority in unity of design to the fine faqade of Notre-Dame, the stories of the towers not answering in level to those of the central por- tion. We have here the same general features of two western towers and three recessed portals ; but Notre-Dame has im- proved upon them with Gothic feeling. The Ipwer arches are 334 PARIS [VI. If II rnund and Romanesque. The upper ones show in many cases an incipient Gothic tendency. The rose window has been converted into a clock. On either side of it, in medallions, are the symbols of the four Evangelists. Observe the fine pillars and Romanesque arcade of the one complete tower. Also, the reliefs of kings of Israel and Judah in the blind arcade which caps the third story in both towers. The coarse and ugly battlements which spoil the front are part of the defensive wall of the Abbey, erected during the English wars in the 14th century. Behind them, a little way off, you can see the high and pointed roof of the nave, crowned by the statue of the patron, St. Denis. Now, enter the enclosure and examine the three round- arched portals. The Central Doorway has for its subject the usual scene of the Last Judgment. The architecture of the framework is still in the main ihat of the 13th cent. The relief in the tympanum has been much restored, but still re- tains its Romanesque character. In the centre is Christ, enthroned, with angels. On His R hand, the blessed, with the Angel of tht Last Trump as elsewhere. On His L, the con- demned, with the Angel bearing the sword, and thrusting the wicked into Hell : all conventional features. The Latin in- scriptions mean, " Come, ye blessed of My Father " ; and " Depart from Me, ye wicked." Beneath is the (ieneral Resur- rection, souls rising (mostly naked) from the tomb. To R and L of the doorway, below, are the frequent subjects of the Wise and Foolish Virgins. Above, on the archway, figures of saints and patriarchs, amongst whom is conspicuous King David. Notice in the very centre or key of the archway, Christ receiv- ing souls from angels. To His R, Abraham with three blessed souls in hie bosom (as .it St. Germain I'Auxerrois). To His L, devils seizing the condemned, whom they thrust into hell, while angels struggle for them. Higher still, on the arch, angels swinging a censer, and .in angel displaying a medallion of the lamb. This door formed the model on which those of Notre- Dame, the Sainte Chapelle, St. Germain I'Auxerrois, and many others in Paris of later date, were originally based. The actual doors have naive bronze reliefs of the Passion, Resurrection, and Ascension. Notice the quaint character of these reliefs. [VI. in many cases dow has been nncdallions, are ihe fine pillars ver. Also, the arcade which irse and ugly defensive wall IS in the 14th see the high statue of the three round- its subject the itecture of the th cent. The d, but still re- lire is Christ, ;ssed, with the lis L, the con- thrusting the The Latin in- Father " ; and General Resur- nb. To R and ts of the Wise ;ures of saints King David. Christ receiv- i three blessed s). To His L, nto hell, while ; arch, angels idallion of the ^ose of Notre- ois, and many i. The actual , Resurrection, ■ these reliefs, VI.] ST. DEiVIS 235 and of the delicate decorative design which surrounds them, — broken, in the case of the .Supper at Enimaus, by the figure of a monk, probably Abbot Sujjcr, grasping a pillar. The Resurrec- tion, with its sleeping Roman soldiers, and the Kiss of Judas, with Peter sheathing his sword and Christ healing the ear of Malchus, are also very typical. Do not fail to notice, either, the beautiful decoration of the pilasters and their capitals. All this is delicate and characteristic Romanesque tracery. The other doors commemorate the History of St. Denis. On the Soi///t Door is a much-restored and practically modern relief of St. Denis in prison with Christ bringing him the last sacrament ; it has been largely made up by the aid of the old French painting of the same subject in the Louvre. In front are figures symbolical of his martyrdom— the executioner, etc. On the sides, reliefs of the Months. On the A^or//i Door; St. Denis condemned and on his way to Montmartre, with his two companions, Rusticus and Eleutherius, chained ; they are ac- companied in the sky by the Eternal Father and the heavenly host. On the archway, interesting reliefs of the three martyrs, with an angel supporting the chAsse containing their relics. On the sides, the signs of the Zodiac. Walk round the Nortli Side to observe the decorated flam- boyant architecture of the chapels of the North Aisle (much later) with the flying buttresses above them. Also, the North Transept, with its rose window, and the peculiar radiating cliapels around the apse, which form a characteristic feature of the Romanesque style. Observe these as well as you can from the extreme end of the railing. Return to Transept. The sculpture over the North Portal represents the Decapitation of St. Denis. On the centre pier, a Madonna and Child. R and L, Kings of Judah. The South Side is inaccessible. It is enclosed by buildings on the site of the old monastery (not ancient — age of Louis XIV), now used as a place of education for daughters of Cheva- liers de la Ldgion d'Honneur. The interior is most beautiful. The first portion of the church which we enter is a vestibule or Galilee under the side towers and end of the Nave. Compare Durham. It is of the age of Abbot Suger, but already exhibits pointed arches I 336 J'ARfS [VI. I lit i i} : rypt, in such cases, 1 there ; while the •■ Choir above it. tombs within sight, eps of the Ambula- V..1 ST, OEMS 2;{7 lory. Do not be in a hurry to enter. On the contrary, sit awhile lon^'cr in the body of the Nave, outside the barrier, and read what follows. [The custodians hurry you so rapidly through the reserved part of the church that it will be well before entering the enclosure to glance through the succeeding notes, explanatory of what you arc about to see. The remarks to be read ands a tiny reliquary, almost as big as himself-a finger with a nail on it, intended for the reception of a bone • the Saint's own little finger. This odd little reliquary, French 14th cent when compared with that for the arm of St. Louis of Toulouse,' will help you to understand many similar reliquaries, both here and elsewhere. The martyr is put there as a mode of signi- fymg the fact-" This is a bone of St. Lawrence." Above it, note again five charming crosiers, containing respectively representations of the Madonna enthroned, the Annunciation, the Coronation of the Virgin, again the Annunciation, and a decorative design of great beauty. Note their date and place of origin on the labels. When once your attention has been called to the occurrence of such . [VI. icf for yourself the L, observe lily is carefully Lady. Some by orthodoxy : :ulty has been lis crosier and little reliquary, I front for the se by to the L, eliquary basin, reliquaries in h is the Coffer ; Romanesque larming silver- Examine in ise. They will 1 you will see VI.] 57. OEMS 245 all the cases in \ ought now to rehending the i of the hints al attention to >f the Gospels, nth cent., in 1 the Rotonde am the Abbey rucifixion, with igels, together whose names :xt case, to the f the 1 2th and imined. Note a very quaint ita ; a subject to's treatment, ose is curious f the Virgin. Further on, two delicious little plaques— one, of Abmham and Melchisedech, with St. Luke — (.Abraham, as soldier, being attired in the knightly costume of the Bayeux Tapestry) ; and the other of the Offering of Isaac, with St. Mark ; two of a series of the Evangelists with Old Testament subjects. Above these, the Emperor Heraclius killing Chosroes, with cherubmi. Still higher, a most exquisite Adoration of the Magi. Also Christ m Glory, in a mandorla, with the symbols of the Evan- gelists ; and two closely similar Crucifixions, with a Madonna and St. John, and adoring angels. Compare these with the similar subject in the first case we visited. This frame also contains three charming saints in Byzantine style, a good St. Matthew, and a little King David holding a psalter. Do not leave one of the objects in this window unidentified and une.xamined. I notice all these decorative treatments here merely in order to suggest to the reader the way in which the knowledge he has gained of the fabric of St. Denis may be utilised to ex- amine works of art from the great Abbey both here and at Cluny. You will find it useful to visit both collections on your return from such a church, in order to mentally replace in their proper surroundings works now divorced from it. Some other good objects from the same Tr.„.iiury may also be seen at the Biblioth^que Nationale. VII r^ THE OUTER RING, ETC. JpARIS, outside the great Boulevards comprises by L L far the larger part of the existing city. Nevertheless, it contai.s comparatively few objects of historical or artistic importance, being almost entirely modern and merely resi- dential. Walks and drives in this part of Paris are pleasing, of course, as exhibiting the life of the great town, and they embrace many points of passing interest, such as the Tro- caddro, the Champs 6lyst$es, the Champ-de-Mars, the Place de I'Etoile, the Arc de Triomphe, the Pare Monceau, the church of the Sacre-Cceur on the height of Montmartre, etc., etc. Most of these the visitor will find out for himself. T'.cy do not need any e:cplanation or elucidation. Among the very few objects of historical interest in this district, I would call special attention to the Maison de Fran- cois 1", on the Cours-la-Reine,atthe first corner affir you pass the Palais de Industrie. This beautiful little gem of domestic Renaissance architecture was erected for Frangois I'' at Moret, near Fontainebleau, in 1527, probably as a gift for Diane de Poitiers, the mistress of Henri 1 1, though it is also asserted that the king built it for his sister, Queen Margaret of Navarre. It was taken down in 1826, and rebuilt on the present site. The style recalls that of the Renaissance palaces of Venice. The delicate and beautiful decorativ2 work of the pilasters, etc., and the dainty portrait medallions deserve inspection. Do not miss this charming little building, which should be compared with Jean Goujon's portion of the Louvre, and with the Renaissance remains at the 6cole des Beaux-Arts and elsewhere. A collection to which a few hours may be devoted, in the same connection, by those who have time, is the Mus^e Camavalet »** * VII.] THE OUTER RING, ETC. 247 1 comprises by Nevertheless, rical or artistic id merely resi- is are pleasing, town, and they :h as th* Tro- [ars, the Place Monceau, the martre, etc., etc. '. T'.cy do not nterest in this lison de Fran- r affjr you pass em of domestic is !•• at Moret, for Diane de o asserted that f Navarre. It site. The style The delicate and the dainty not miss this ired with Jean e Renaissance ere. ;d, in the same e Carnavalet, which lies, however, wilhin the Boulevards. The building is a fine Renaissance mansion, once tlie residence of Madame de S^vignd Many of the objects preserved here have a purely sentimental and to say the truth somewhat childish interest, consisting as they do of relics of the Great Revolution or other historical events, which derive whatever value they happen to possess from their senti.nental connection only. But some of the objects have real artistic and historical importance ; so have the decorations by Jean Goujon. When you h'we seen everything else enumerated here, you may give with advan- tage a Thursday morning to this somewhat scratch collection. The most important objects are those in the garden. For the Champs ^lysdes, the Arc de Trioniphe, and the other buildings or promenades of wealthy, modern, western Paris, the guidance of Baedeker is amply sufficient. The buildings already enumerated and the objects noted in them form the most important sights in Paris, and are as many as the tourist is likely to find time for visiting during a stay of some weeks. If, however, he can add a few days to his sojourn, I give briefly some hints as to a list of other objects worthy his notice— taking it for granted, of course, that he will find his way to the Champs ^lys^es, the Bois de Boulogne, the theatres, etc., by the light of nature, not unaided by Baedeker. Amid the mass of information tendered in the ordinary Guides, the visitor scarcely knows how to distinguhh the necessary from the optional. This short list may help him in his selection. In the old region on the South Side (between the river and Cluny) are two churches worth inspection by the antiquarian : (i) St. Julien-le-Pauvre, the former chapel of the old H6tel Dieu, which here occupied both banks, spreading to the spot now covered by the statue of Chanemagne ; transitional ; 12th cent.; and (2) St. 5^verln, dedicated to two local Gallic saints, of the same name ; good f amboyant Gothic ; its interesting portal commemorates St. J rtin, part of whose famous cloak was kept in a chapel here ; the faiode was brought from St. Pierre-aux-Boeufs, on the tie de la Cit^, de- M8 PARIS fvil. molished in 1837 ; good modern reliefs on altar represent episodes in the lives of the two saints— St. Severin the Abbot healing Clovis, and St. Sdverin the Hermit ordaining St. Cloud. Altogether, a church to be visited and understood, rich in historic interest. Among churches of the later period, the domes and their development are worthy of study, as illustrating the ideal of the 17th and 1 8th cents. The earliest was 5t. Paul et 5t. Louis (originally Jesuit), 16J7, with a massive and gaudy Louis XIV doorway ; interior, florid and tawdry, after the Jesuit fashion. Next comes the 5orbonne, 1635, interesting from its original connection with St. Louis (his confessor, Robert de Soriion, founded the hostel, of which this is the far later church, for poor theological students) ; it is the first important dome, and contains an overratea monument to Richelieu by Lcbrun, executed by Girardon. If you have plenty of time, you may visit it. Then the Invalldes, 1705, now containing the tomb of Napoleon. Lastly, the Panthion, already described. If visited in this order, they form an instructive series. Note the gradual increase in classicism, which culminates in the Madeleine. The earlier domes resemble those of the Ro:-.ie of Bernini : the later grow more and more Grecian in their sur- roundings. The Institut (included here for its dome) and Val-de-QrAce are sufficiently inspected with a glance in passing. The churches of the innermost Paris are mostly dedicated to local saints ; those of the outer ring of Louis XIV to a some- what wider circle of Catholic interest ; among them, St. Roch, the famous plague-saint, deserves a visit ; it is rococo and vulgar, but representative. The churches in the outer ring are of still broader dedication, often to newer saints of humanitarian or doctrinal importance. Among these quite modem buildings, 5t. Vincent-do-Paul ranks first, on account of its magnificent frieze by Flandrin, running round the nave, and representing a procession of saints and martyrs, suggested by the mosaics in Sant'ApoUinare Nuovo at Ravenna; this the visitor should on no account omit ; it lies near the Gare du Nord, and is a good example of the basilica style, successfully adapted to modern needs. Baedeker will here efficiently serve you. But, though »aL— - [VI r. n altar represent ieverjn the Abbot iaining St. Cloud, derstood, rich in domes and their ig the ideal of the >aul et 5t. Louis jfaudy Louis XIV lie Jesuit fashion, from its original obert de Soriion, r church, for poor rtant dome, and ilieu by Lebrun, jf time, you may taining the tomb !y described. If series. Note the Iminates in the se of the Ro:-.ie of cian in their sur- r its dome) and ith a glance in }stly dedicated to XIV to a some- thcm, St. Roch, it is rococo and ha outer ring are i of humanitarian nodem buildings, }f its magnificent id representing a y the mosaics in visitor should on rd, and is a good ipted to modern )u. But, though VII.] THE OUTEIf h'/NO', ETC. 249 artistically fine, Flandrin's frescoes are not nearly so etTective as the original mosaics in Theodoric's basilica. The oilier great modern churches-.St. Aiigustin, St. Ambroise, La Trinitd, Notre-Dame-de-Lorette, Ste. Clotilde, etc.— need only be visited by those who have plenty of time, and who take an intelligent interest in contemporary Catholicism. Hut, if you can manage it, you should certainly mount the hill of Montmartre, the most sacred site in Paris, both for the sake of the splendid view, for the niemories of St. Denis (the common legend says, beheaded here ; a variant asserts, buried for the first time before his translaiu.n to the Abbey of St. Denis), and for the interesting modern Byzantine-Romanesque pile of the Sacr^-Coeur which now approaches completion. Close by is the quaint old church of St. Pierre-de-Montmartre, and behind it a curious belated Calvary. Those whom this book may have interested in church-lore will find very full details on all these subjects in Miss Beale's "Churches of Paris." Another useful book is Lonergan's "Historic Churches of Paris." With the key I have striven to give, and the aid of these works, the visitor should be able to unlock for himself the secrets of all the churches. Two pretty little parks which deserve a passing visit are the Pare Monceau. near the Ternei, and still more, the Buttes Chaumont, in the heart of the poor district of La Villette and Belleville, showing well what can be done by gardening for the beautification of such squalid quarters. The Jardin d'Acclimatation in the Bois de Boulogne, and the Jardin des Plantes, at the extreme east end of the South Side are both interesting, especially to the zoologist and botanist. The last- named is best reached by a pleasant trip on one of the river steamers. Of collections, not here noted, the most important is the Mus^e Quimet of Oriental art, near the Trocaddro. It should be visited (if time permits) by all who are interested in Chinese, Japanese, and Indian products. The Trocadero itself contains a good collection of casts, valuable for the study of comparative plastic development ; but they can only be used to effect by persons who can afford several days at least to study them (in ^5<» PAkIS [Vll. VII.] bT IK Other words, rchidentii). The Kthnn^raphiciil Mii!icum in the same building is good, but need only detain those who have specmi knowledge in the subject. Tu know what to avoid is almost as important as to know what to visit. Under this category, I may say that no intel- ligent person need trouble himself about I'^re-Lachaise and the other cemeteries ; the Catacombs ; the various Hallcs or Markets; the inieiiors of the Conservatoire de» Arts et Metiers (except so far as above indicated), the Uourse, the Hanque de France, the Bibliothiique Nationaie (unless, of course, he is a student and wishes to read there), the Archives, the Impriinerie Nationaie, the various Courts and Public Offices, the Gobelins Manufactory, the Siivrcs porcelain works, the Institut, the Mint, the Invalides, liie Chamber of Deputies, the buildins,'^ in the Champ de-Mars (except while the Salon there i |)cn), the Observatory, and so forth. In Paris pro- per, I itiink I have enumerated above almost everything that calls for special notice from any save specLilists. Three Excursions from Paris arc absolutely indispensable for any one who wishes to gain a ckar idea of the France of the Renaissance and the succeeding epoch. The lirst, and by far the most important of these, is that to Fontalnebleau, a visit to which is necessary in order to enable you properly to fill in the nient.d [)icture of the change wrought by Fran9oi3 l"' and his successors in French art and architecture. It is an inevitable complement to your visits to the Louvre. This excursion, however, should only be made after the visitor has thoroughly seen and digested the Renaissance collections in the Louvre, and the £cole dei.'> Beaux-Arts, as well as the Tombs of the Kings at St. Denis. Baedeker is an amply sufficient guide for this the most inter- esting and instructive excursion that can be made from P.^ris. One day suffices for a visit to the Chateau and a glimpse of the Forest ; though a week can be pleasantly spent in this charming region. After your return, you will do well to visit the Renaissance Sculpture at the Louvre again. Many of the works will gain fresh meaning for you after inspection of the surrt ture Tl of tl- whei race, lilsti vaUu prob ings Tl struc a du su:ni brou in b( unirr or m and grou sevei visit to e and You worli clipp roun Take indie ance W youri have the s histo ■•uU- [Vll. Mii!icuin in thu those who have rtant as to know y that no intel- e-Lachaise and irious Hallcs or re des Arts et the Bourse, the nale (unless, of e), the Archives, ns and Public- porcelain works, ber of Deputies, ivhile the Salon In Paris pro- everything; that ly indispensable f the France of these, is that to iry in ordei to |)icture of the ssors in French )lement to your , should only be nd digested the the ^cole det' ;s at St. Denis. the most inter- lade from Paris, ind a glimpse of y spent in this do well to visit 1. Many of the [ispection of the VII.] THE OUTER RING, ETC. 251 surroundings for which they were designed, and the architec- ture which formed tlicir natural setting. The second exmirsiun, also valuable from the point of view of the study of the Kcnaiss.mce, is that to 5t. (lernifiiii, where the ChAieau itself, and the extjuisite view from the Ter- r.ice, are almost equally deli^htrul. Those interested in pre- historic archfeoloKyi too, should not miss seeing the very valuable collection in the Museum installed in the Chiiteau, probably the finest of its sort in the world, and rich in draw- ings and other remains of tlie cave-men of the Dordo^ne. The third excursion, in every respect less plc.ising and in- structive, is that to Ver«allles. Thi« must be taken rather as a duty than as a pleasure. Leave it for some enticing day in summer. Neither as regards