The Abbey and Church are closely bound up at every turn with French history. In Dagobert’s building, in 754, Pope Stephen II, flying from the Lombards, consecrated Charlemagne and his brother Carloman. In the existing Basilica, St. Louis took down the Oriflamme to set forth on his Crusade; and Joan of Arc hung up her armour as a votive offering after the siege of Orleans. But indeed, St. Denis played an important part in all great ceremonials down to the Revolution, and its name occurs on every page of old French history.
On your return to Paris, you may find this a convenient moment to visit St. Vincent de Paul, which lies two minutes away from the Gare de Nord.
After visiting St. Denis the reader will probably find it desirable to examine certain objects from the Treasury of the Basilica now preserved in the Louvre. They are mostly contained in the Galerie d’Apollon, in the glass case nearest the window which looks out upon the Seine. (Position of cases liable to alteration: if not here, look out for it elsewhere in the same room.) The most important of these objects is an antique Egyptian vase in porphyry, which Abbot Suger had mounted in the 12th cent. in a silver-gilt frame, as an eagle. It contains an inscription composed by the Abbot in Latin hexameters, and implying that it was to be used for the service of the altar. Near it is an antique Roman sardonyx vase, also mounted as a jug by Suger in the 12th cent., and from the same Treasury: its inscription says, “I, Suger, offer this vase to the Lord.” Also, another in rock-crystal, which has been similarly treated: it bears the name of Alienor d’Aquitaine: she gave it to Louis VII, who passed it on to Suger: a 12th cent. inscription on the base records these facts, as well as its dedication to Sts. Rusticus and Eleutherius. The same case contains a beautiful Carlovingian serpentine paten, which formed part of the treasure of Dagobert’s Abbey. Observe, close by, the beautiful silver-gilt Madonna, characteristic French work of the 14th cent., offered by Queen Jeanne d’Evreux to the Abbey of St. Denis, and bearing an easily-deciphered inscription in old French. Note that the Madonna in this royal offering carries in her hand the fleur-de-lis of France. Compare this work mentally with the other early French Madonnas we have already observed in the Mediæval Sculpture Room.
Among other objects in this same case observe the curious double cross, with cover and lid to contain it; where the inscription above the head of the inner cross indicates the natural origin of the doubling. Close inspection of this object will explain to you many little points in others. Several similar Crucifixions, with Madonna and St. John and attendant angels, are in the same room: compare them with it. To the R is a good relief of the Maries at the Sepulchre; a double crucifix with St. John and the Madonna; and a reliquary fashioned to contain the arm of St. Louis of Toulouse. Most of these objects are sufficiently explained by the labels: the antique inscriptions, sometimes in Greek, are easily legible. (Beautiful view out of window to L.)
The examination of this case will form a point of departure for the visitor who cares to examine the minor art-works in the Galerie d’Apollon and other rooms of the Louvre. I have left them till now, for the sake of the peg on which to hang them. I will therefore note here, in this connection, one or two other things which may assist the reader in the examination of the remainder, leaving him, as usual, to fill in the details of the scheme by personal observation and comparison of objects.
Walk down the centre of the Galerie d’Apollon, on the side towards the windows, passing the tawdry crown jewels, and the many exquisite Classical or Renaissance works in the cabinet beyond it, all of which you can afterwards examine at your leisure. (Some of the antique busts in precious stones come from Abbey Treasuries, where they were preserved and sanctified during the Middle Ages.) But in the last case save one, observe, near the centre, a very quaint little figure of St. Lawrence, lying comfortably on his gridiron, and holding in his hands a tiny reliquary, almost as big as himself—a finger with a nail on it, intended for the reception of a bone of 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 signifying 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 definite scenes in similar objects, you will be able to recognise them at once for yourself in many like situations. In the Annunciation to the L, observe once more the very odd way in which the usual lily is carefully obtruded between the angel Gabriel and Our Lady. Some obvious barrier between the two was demanded by orthodoxy: here, the decorative device by which the difficulty has been surmounted is clever and effective. Between this crosier and that of the Coronation, look again at a queer little reliquary, held by the Madonna and Child, with a glass front for the exhibition of the relic. Another Madonna, close by to the L, similarly holds on her lap a charming little reliquary basin. The same case contains several coffers and reliquaries in champlevé enamel, the most interesting of which is the Coffer of St. Louis, with decorative designs showing Romanesque tendencies. At the far end of the case, two charming silver-gilt angels, 14th cent., also bearing reliquaries. Examine in detail all the objects in this most interesting case. They will help, I hope, to throw light upon others which you will see elsewhere.
I do not intend to go at equal length through all the cases in this interesting room; but your visit to St. Denis ought now to have put you in a fit frame of mind for comprehending the meaning of most of these works by the light of the hints already given. I will only therefore call special attention to the beautiful decorative box, containing a book of the Gospels, in French enamel-work and jewellery of the 11th cent., in the last window on the right, before you reach the Rotonde d’Apollon. This valuable book-cover is also from the Abbey Treasury of St. Denis. It exhibits the usual Crucifixion, with the Madonna and St. John, and the adoring angels, together with figures of the symbols of the Evangelists, whose names are here conveniently attached to them. The next case, to the R of this one, also contains champlevé enamels of the 12th and 13th cents., all of which should similarly be examined. Note among them, to the extreme R in the case, a very quaint quatrefoil with St. Francis receiving the Stigmata; a subject with which you will already be familiar from Giotto’s treatment, and whose adaptation here to a decorative purpose is curious and enlightening. Next to it, L, a Death of the Virgin. Further on, two delicious little plaques—one, of Abraham 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 cherubim. Still higher, a most exquisite Adoration of the Magi. Also Christ in Glory, in a mandorla, with the symbols of the Evangelists; 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 unexamined.