Paris as It Was and as It Is / A Sketch Of The French Capital, Illustrative Of The Effects Of The Revolution

by Francis William Blagdon

PANTHEON.

Conceive my surprise, on learning that this stately building, after having employed the hands of so many men, for the best part of half a century, was not only still unfinished; but had threatened approaching ruin. Yes—like the Gothic abbey at Fonthill, it would, by all accounts, have fallen to the ground, without the aid of vandalism, had not prompt and efficacious measures been adopted, to avert the impending mischief.

This monument, originally intended for the reception of the shrine of St. Geneviève, once the patroness of the Parisians, is situated on an eminence, formerly called Mont St. Étienne, to the left of the top of the Rue St. Jacques, near the Place de l'Estrapade. It was begun under the reign of Lewis XV, who laid the first stone on the 6th of September, 1764. During the American war, the works were suspended; but, early in the year 1784, they were resumed with increasing activity. The sculpture of this church already presented many attributes analogous to its object, when, in 1793, it was converted into a Pantheon.

The late M. SOUFFLOT furnished the plan for the church, which, in point of magnificence, does honour both to the architect and to the nation.

Its form is a Greek cross, three hundred and forty feet in length by two hundred and fifty in breadth. The porch, which is an imitation of that of the Pantheon at Rome, consists of a peristyle of twenty-two pillars of the Corinthian order. Eighteen of these are insulated, and are each five feet and a half in diameter by fifty-eight in height, including their base and capital. They support a pediment, which combines the boldness of the Gothic with the beauty of the Greek style. This pediment bears the following inscription:

"AUX GRANDS HOMMES,
LA PATRIE RECONNAISSANTE."

In the delirium of the revolutionary fever, when great crimes constituted great men, this sanctuary of national gratitude was polluted. MARAT, that man of blood, was, to use the modern phraseology, pantheonized, that is, interred in the Pantheon. When the delirium had, in some measure, subsided, and reason began to resume her empire, he was dispantheonized; and, by means of quick-lime, his canonized bones were confounded with the dust. This apotheosis will ever be a blot in the page of the history of the revolution.

However, it operated as a check on the inconsiderate zeal of hot-brained patriots in bestowing the honours of the Pantheon on the undeserving. MIRABEAU was, consequently, dispantheonized; and, in all probability, this temple will, in future, be reserved for the ashes of men truly great; legislators whose eminent talents and virtues have benefited their fellow-citizens, or warriors, who, by distinguishing themselves in their country's cause, have really merited that country's gratitude.

The interior of this temple consists of four naves, in whose centre rises an elegant dome, which, it is said, is to be painted in fresco by DAVID. The naves are decorated by one hundred and thirty fluted pillars, also of the Corinthian order, supporting an entablature, which serves as a base for lofty tribunes, bordered by stone balustrades. These pillars are three feet and a half in diameter by nearly twenty-eight feet in height.

The inside of the dome is incircled by sixteen Corinthian pillars, standing at an equal distance, and lighted by glazed apertures in part of the intercolumniations. They support a cupola, in the centre of which is an opening, crowned by another cupola of much more considerable elevation.