THE PARIS OF 1869.
The devil.—Cathedrals and churches.—The Louvre.—Modern French art.—The Beauvais clock, with its droll little puppets.—Virtue in a red gown.—The Luxembourg Palace.—The yawning statue of Marshal Ney.—Gay life by gas-light.—The Imperial Circus.—The Opera.—How the emperor and empress rode through the streets after the riots.—The beautiful Spanish woman whose face was her fortune.—Napoleon's tomb.
IT may be the City of Destruction, the very gateway to depths unknown; but with its fair, white dwellings, its fair, white streets, that gleamed almost like gold beneath a summer sun, it seemed much more a City Celestial. It may be, as some affirm, that the devil here walks abroad at midday; but we saw neither the print of his hoofs upon the asphaltum, nor the shadow of his horns upon the cream-like Caen stone. We walked, and rode, and dwelt a time within its limits; and but for a certain reckless gayety that gave to the Sabbath an air of Vanity Fair, but for the mallet of the workman that disturbed our Sunday worship, we should never have known that we were not in the most Christian of all Christian cities. It is by no means imperative to do in Rome as the Romans do, and one need not in Paris drink absinthe or visit the Jardin Mabille.
Our first expedition was to the banker's and to the shops, and having replenished our purse and wardrobe, we were prepared to besiege the city. There was a day or two of rest in the gilded chairs, cushioned with blue satin, of our pretty salon, whence we peeped down upon the street below between the yellow satin curtains that draped its wide French window; or rolled our eyes meditatively to the delicately tinted ceiling, with its rose-colored clouds skimmed by tiny, impossible birds; or made abortive attempts to penetrate the secrets of the buhl cabinets, and to guess at the time from the pretty clocks of disordered organism; or admired ourselves in the mirrors which gazed at each other from morning till night, for our apartments in the little Hotel Friedland we found most charming.
You will hardly care for a description of the dozen, more or less, churches, old, new, and restored, with which we began and ended our sight-seeing in Paris, where we looked upon sculptured saints without number, and studied ecclesiastical architecture to more than our hearts' content. There was St. Germain L'Auxerrois, the wicked old bell of which tolled the signal for the massacre of St. Bartholomew. We stood with the bonnes and babies under the trees of the square before it, gazing up at the belfry with most severe countenances,—and learned, afterwards, that the bell had been long since removed! There was the Madeleine of more recent date, built in the form of a Greek temple, and interesting just now for having been the church of Father Hyacinthe, to which we could for a time find no entrance. We shook the iron gate; we inquired in excellent English of a French shopkeeper, and found at last an open gateway, a little unlocked door, beyond which we spent a time of search and inquiry in darkness, and among wood, and shavings, and broken chairs, and holy dust-pans, before passing around and entering the great bronze doors. There were the Pantheon and St. Sulpice, grand and beautiful, erected piously from the proceeds of lotteries. There was St. Etienne du Mont, and within one of its chapels the gilded tomb of the patron saint of Paris—St. Genevieve. Who she was, or what she did to gain this rather unenviable position, I failed to learn. Her name seems to have outlived her deeds. Whether she was beautiful and beloved, and put away earthly vanities for a holy life, or old and ugly, and bore her lot with a patience that won saintship, I do not know. I can only tell that tapers burn always upon her tomb, and if you buy one it will burn a prayer for you. So we were told. There is one old church, St. Germain des Prés, most beautifully colored within. Its pictures seem to have melted upon the walls. But admired above all is the Sainte Chapelle, in the Palais de Justice, a chapel fitted up by the fanatical St. Louis, when this palace of justice, which holds now the courts of law, was a royal residence. Of course all its brightness was dimmed long ago. Its glories became dust, like its founder. But it has recently been restored, and is a marvel of gilt, well-blended colors, and stained glass. A graceful spire surmounts it, but the old, cone-capped towers, rising from another part of the same building, possessed far greater interest in our eyes; for here was the Conciergerie, where were confined Marie Antoinette and so many more victims of the reign of terror.
On the "isle of the city," in the Seine, where, under the Roman rule, a few mud huts constituted Paris, stands the church of Notre Dame, which was three hundred years in building. With its spire and two square towers, it may be seen from almost any part of the city. I wish you might look upon the relics and the vestments which the priests wear upon occasions of ceremony, hidden within this church, and displayed upon the payment of an extra fee. I did not wonder that the Sisters of Charity, who went into the little room with us, gazed aghast upon the gold and silver, and precious stones.
Every one visits the galleries of the Louvre, of course. A little, worn shoe, belonging once to Marie Antoinette, and the old gray coat of the first emperor, were to us the most interesting objects among the relics. From out the sea of pictures rise Murillo's Madonna, the lovely face with a soul behind it, shining through, and the burial of the heroine of Chateaubriand. Do you know it? The fair form, the sweeping hair of Attila, and the dark lover with despair in his face? As for the Rubens gallery,—his fat, red, undraped women here among the clouds, surrounded by puffy little cherubs, had for us no charms. Rubens in Antwerp was a revelation. We wandered through room after room, lighted from above, crowded with paintings. To live for a time among them would be a delight; to glance at them for a moment was tantalization. All around were the easels of the artists who come here to sketch—sharp-featured, heavy-browed men, with unkempt hair and flowing beards, and in shabby coats, stood before them, pallet and brushes in hand; and women by the score,—some of them young and pleasing, with duennas patiently waiting near by; but more often they were neither young nor beautiful, and with an evident renunciation of pomps and vanities. We glanced at their copies curiously. Sometimes they seemed the original in miniature, and sometimes,—ah well, we all fail.
We looked in upon the annual exhibition of pictures at the Palais de l'Industrie one day, and were particularly impressed with the nudité of the modern school of French art. Pink-tinted flesh may be very beautiful, but there must be something higher! We saw there, too, another day, the clock on exhibition for a time before being consigned to its destined place at Beauvais. It was even more wonderful than the one so famous at Strasbourg. This was of the size of an ordinary church organ, and of similar shape; a mass of gilt and chocolate-colored wood; a mass of dials, great and small—of time tables, and, indeed, of tables for computing everything earthly and heavenly, with dials to show the time in fifty different places, and everything else that could, by any possible connection with time, be supposed to belong to a clock. Upon the top, Christ, seated in an arm-chair, was represented as judging the world, his feet upon the clouds; on either side kneeling female figures adored him. Just below, a pair of scales bided their time. On every peak stood little images, while fifty puppets peeped out of fifty windows. Just below the image of the Saviour, a figure emerged through an open door at the striking of every quarter of an hour,—coming out with a slide and occasional jerk by no means graceful. We had an opportunity of observing all this in the three quarters of an hour of waiting. We viewed the clock upon every side, being especially interested in a picture at one point representing a rocky coast, a light-house, and a long stretch of waves upon which labored two ships attached in some way to the works within. They pitched back and forth without making any progress whatever, in a way very suggestive to us, who had lately suffered from a similar motion. A dozen priests seated themselves with us upon the bench before the clock as the hand approached the hour. They wore the long black robes and odd little skull-caps, that fit so like a plaster, and which are, I am sure, kept in place by some law of attraction unknown to us. One, of a different order, or higher grade, in a shorter robe and with very thin legs, encased in black stockings that added to their shadowy appearance, shuffled up to his place just in time to throw back his head and open his mouth as the clock struck, and the last judgment began. The cock upon the front gave a preliminary and weak flap of his wings, and emitted three feeble, squeaky crows, that must, I am sure, have convulsed the very puppets. Certainly they all disappeared from the windows, and something jumped into their places intended to represent flames, but which looked so much like reversed tin petticoats, that we supposed for a moment they were all standing on their heads. All the figures upon the peaks turned their backs upon us. The image of Christ began to wave its hands. The kneeling women swayed back and forth, clasping their own. Two angels raised to their lips long, gilt trumpets, as if to blow a blast; then dropped them; then raised them a second time, and even made a third abortive attempt. From one of the open doors Virtue was jerked out to be judged, Virtue in a red gown. The scales began to dance up and down. An angel appeared playing a guitar, and Virtue went triumphantly off to the right, to slow and appropriate music, an invisible organ playing meanwhile. Then Vice appeared. I confess he excited my instant and profound pity. Such a poor, naked, wretched-looking object as he was! with his hands to his face, as though he were heartily ashamed to come out in such a plight. I venture to say, if he had been decked out like Virtue, he might have stolen off to the right, and nobody been the wiser. Good clothes do a great deal in Paris. As it was, the scales danced up and down a moment, and then the devil appeared with a sharp stick, and drove him around the corner to the left, with very distant and feeble thunder for an accompaniment. That ended the show. All the little puppets jumped back into all the little windows, and we came away.
Speaking of picture galleries, we spent a pleasant hour in the gallery of the Luxembourg—a collection of paintings made up from the works of living artists, and of those who have been less than a year deceased. It is sufficiently small to be enjoyable. There is something positively oppressive in the vastness of many of these galleries. You feel utterly unequal to them; as though the finite were about to attempt the comprehension of the infinite. One picture here, by Ary Scheffer, was exhibited in America, a few years since. It is the head and bust of a dead youth in armor—a youth with a girlish face. There are others by Henri Scheffer, Paulin Guerin, and a host more I will not name. One, a scene in the Conciergerie, "Reading the List of the Condemned to the Prisoners," by Müller, haunted me long after the doors had swung together behind us. The palace of the Luxembourg, small, remarkable for the beauty of its architecture and charming garden, built for that graceless regent, Marie de Medici, is now the residence of the president of the Senate; and indeed the Senate itself meets here. We were shown through the rooms open to the public, the private apartments of Marie de Medici among them, in one of which was a bust of the regent. The garden, like all gardens, is filled with trees and shrubs, flowers and fountains, but yet with a certain charm of its own. The festooning of vines from point to point was a novelty to us, as was the design of one of the fountains. Approaching it from the rear, we thought it a tomb,—perhaps the tomb of Marshal Ney, we said, whose statue we were seeking. It proved to be an artificial grotto, and within it, sprinkled with the spray of the fountain, embowered in a mass of glistening, green ivy, reclined a pair of pretty, marble lovers; peering in upon them from above, scowled a dreadful ogre—a horrible giant. The whole effect, coming upon it unexpectedly, was startling.
We had a tiresome search for this same statue of Marshal Ney. We chased every marble nymph in the garden, and walked and walked, over burning pebbles and under a scorching sun, until we almost wished he had never been shot. At last, away beyond the garden, out upon a long avenue, longer and hotter if possible than the garden paths, we found it,—erected upon the very spot where he was executed. He stands with arm outstretched, and mouth opened wide, as though he were yawning with the wearisomeness of it all. It is a pity that he should give way to his feelings so soon, since he must stand there for hundreds of years to come. The guide-books say he is represented in the act of encouraging his men. They must have been easily encouraged.