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 the Faubourg St. Germain. The most magnificent of these later buildings is the Palais du Luxembourg, erected for Marie de Médicis, 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 born, and it exhibits the second stage of French Renaissance architecture, when it was beginning to degenerate from the purity, beauty, and originality of its first outburst, towards the insipid classicism of Louis 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; most of the other palaces have gardens designed by Le Nôtre 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. Sulpice, a church which occupies the site of an old foundation, but which was entirely rebuilt 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. Germain 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 Députés. But it has borne in its time many other names. This façade 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.
You can go round to the back, as you pass, to inspect the original façade, 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 political and diplomatic Paris. The building to the R of the Chamber is the official residence of its President; still further R, the Ministère des Affaires Étrangères. The broad thoroughfare which opens obliquely south-eastward, L of the Chamber, is the Boulevard St. Germain, which we have crossed before in 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 lie R and L of it; their type should be casually noted as you pass them. Down the Rue de Lille stands the German Embassy; on the Boulevard itself, R, the Ministère de la Guerre, and further on, L, the Travaux Publics. Other ministries and embassies cluster thickly behind, about the diplomatic Rue de Grenelle 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 St. Germain-des-Prés 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 effect of its having always been there; the front of the church is round the corner 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 modern; but the Romanesque arches near the top give it distinction 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 of 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 of the Last Supper (not, as commonly, the Last Judgment).
The interior still preserves in most part its Romanesque 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 be of relatively little interest, while the decorations, 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 Romanesque 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 choir, though later, is in a much more satisfactory condition than that of the main body. The arches of the first story are mostly round, but pointed in the apse; those of the clerestory are entirely Gothic. The detail below is good Romanesque; 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 12th cent. work. The Lady Chapel, behind, is a modern addition.