Paris / Grant Allen's Historical Guides

by Grant Allen

The other doors commemorate the History of St. Denis. On the South 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 North Door, St. Denis condemned and on his way to Montmartre, with his two companions, Rusticus and Eleutherius, chained; they are accompanied 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 châsse containing their relics. On the sides, the signs of the Zodiac.

Walk round the North Side to observe the decorated flamboyant 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 chapels 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 Chevaliers de la Légion 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 in the upper part. The architecture is solid and massive, but somewhat gloomy.

Descend a few steps into the Nave, which is surrounded by single aisles, whose vaulting should be noticed. The architecture of this part, now pure Early Gothic, is extremely lovely. The triforium is delicate and graceful. The windows in the clerestory above it, representing kings and queens, are almost all modern. Notice the great height of the Nave, and the unusual extent to which the triforium and clerestory project above the noble vaulting of the aisles. Note that the triforium itself opens directly to the air, and is supplied with stained-glass windows, seen through its arches. Sit awhile in this light and lofty Nave, in order to take in the beautiful view up the church towards the choir and chevet.

Then walk up to the Barrier near the Transepts, where sit again, in order to observe the Choir and Transepts with the staircase which leads to the raised Ambulatory. Observe that the transepts are simple. The ugly stained glass in the windows of their clerestory contains illustrations of the reign of Louis Philippe, with extremely unpicturesque costumes of the period. The trousers are unspeakable. The architecture of the Nave and Choir, with its light and airy arches and pillars, is of the later 13th century.

The reason for this is that Suger’s building was thoroughly restored from 1230 onwards, in the pure pointed style of that best period. The upper part of the Choir, and the whole of the Nave and Transepts was then rebuilt—which accounts for the gracefulness and airiness of its architecture when contrasted with the dark and heavy vestibule of the age of Suger.

Note from this point the arrangement of the Choir, which, to those who do not know Italy, will be quite unfamiliar. As at San Zeno in Verona, San Miniato in Florence, and many other Romanesque churches, the Choir is raised by some steps above the Nave and Transepts; while the Crypt is slightly depressed beneath them. In the Crypt, in such cases, are the actual bodies of the saints buried there; while the Altar stands directly over their tombs in the Choir above it.

Look every way from this point at the tombs within sight, at the Choir and Transepts, and at the steps of the Ambulatory. Do not be in a hurry to enter. On the contrary, sit awhile longer 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 are about to see. The remarks to be read as you go round the building I insert separately, in the briefest possible words, as aids to memory.