No more beautiful specimens of stained glass are to be seen than in the Holy Chapel, with its immense windows resplendent in rich and varied colours. A remarkable statue of the Virgin bowing her head as if in token of assent, now at the Hôtel Cluny, belonged originally to the Holy Chapel. According to a pious legend, the figure bent forward to show approval of the doctrine of the Immaculate Conception as formulated by Duns Scotus, who was teaching theology at Paris in 1304, and from the time of the miracle until now maintains the same gesture of inclination.
More than one mediæval tradition makes statues, and especially statues of the Virgin, perform similar actions. There is, for example, in the Contes Dévots a story of a statue of the Virgin to which a certain bourgeois qui aimait une dame prayed that she would either make the lady return his love or cause that love to cease. Some time previously a Hebrew magician had offered to secure the lady’s affections for the infatuated bourgeois provided he would renounce God, the saints, and especially the Blessed Virgin; to which the despondent lover replied that though, in his grief and despair, he might abandon everything else, yet nothing could make him relinquish his allegiance and devotion to the Blessed Virgin. This fidelity, under all temptations, gave him some right, he hoped, to implore the influence of the merciful Virgin towards softening the heart of the woman he so passionately loved; and the statue of the Virgin, before which he prostrated himself, showed by a gentle inclination of the head that his prayer was heard. Fortunately, the lady whose cold demeanour had so vexed the heart of her lover was in the church at the very moment of the miracle, and, seeing the Virgin bow her head to the unhappy bourgeois, felt convinced that he must be an excellent man. Thereupon she went up to him, asked him why he looked so sad, reproached him gently with not having visited her of late, and ended by assuring him that if he still loved her she fully returned his affection. Somewhat analogous to this legend, though in a different order of ideas, is that of the Commander whose statue Don Juan invited to supper, with consequences too familiar to be worth repeating.
The ancient statue of the Virgin, once in the Holy Chapel, venerated now in the Hôtel Cluny, regarded simply as a curiosity, has been replaced by a modern statue. The sacred relics which the Holy Chapel at one time possessed are still preserved at Notre Dame. The gold case which enclosed them was, at the beginning of the Revolution, sent to the Mint to be converted into coin.
The spire which now surmounts the Holy Chapel is the fourth since the erection of the building. The first one, by Pierre de Montreuil, was crumbling away from age under the reign of Charles V., who thereupon had it restored by a master-carpenter, Robert Foucher. Burnt in the great fire of 1630, this second spire was re-constructed by order of Louis XIII., and destroyed during the Revolution. The fourth edition of it, which still exists, was built by M. Lassus in the florid style of the first years of the fifteenth century.
The one thing which strikes the visitor to the Holy Chapel above everything else, and which cannot but make a lasting impression on him, is the wonderful beauty of the stained glass windows already referred to. They date, for the most part, from the reign of Saint Louis, and were put in on the day the building was consecrated in 1248. In their present condition and form, however, they take us back only to the year 1837. During forty-six years (1791 to 1837) the Holy Chapel was given up to all kinds of uses. First it was a club-house, then a flour magazine, and finally a bureau for official documents. This last was the least injurious of the purposes to which it was turned. Nevertheless the incomparable stained glass windows were interfered with by the construction of various boxes and cupboards along the sides of the building, no less than three metres of the lower part of each window being thus sacrificed. Certain glaziers, moreover, employed to take down the windows, clean them, and put them back, had made serious mistakes, restoring portions of windows to the wrong frames. The subjects of the stained art-work are all from the Holy Scriptures, and on a thousand glass panels figure a thousand different personages.
The restoration of the windows had been entrusted, after a public competition, to M. Henri Gérante, a French artist who, more than any other, has contributed to the resurrection of the seemingly lost art of painting on glass. But, unhappily, M. Gérante died before beginning his work, which, thereupon, was divided between M. Steintheil, for the {267} drawing and painting, and M. Lusson for the material preparation. Their labours were crowned with the most complete success. Entering the Holy Chapel one is literally dazzled by the bright rich colours from the windows on all sides, blending together in the most harmonious manner.
Right and left of the nave the place is shown where Saint Louis and Blanche de Castille were accustomed to sit opposite one another to hear mass and other religious services. A corner, moreover, is pointed out, with an iron network before it, where, according to a doubtful tradition, the suspicious Louis XI. used to retire in order to hear mass without being seen; perhaps also to watch the faithful at their prayers. In many an old French church corners and passages may be met with, protected by a network or simply by rails, which served, it is said, to shut off lepers from the general congregation.
Closely associated with the Palais de Justice is the Tribunal of Commerce, which has its own code, its own judges and functionaries. Three centuries ago the necessity was recognised in France of leaving commercial and industrial cases to the decision of men competent, from their occupation, to deal with such matters. Paris owes its Tribunal of Commerce to King Charles IX.; but the code under which issues are now decided dates only from September, 1807—from the First Empire, that is to say. The commercial judges are named for two years by the merchants and tradesmen domiciled in the department of the Seine. Formerly the Tribunal of Commerce, or Consular Tribunal, held its sittings at the back of the Church of Saint-Méry in the Hôtel des Consuls, the gate of which used to support a statue of Louis XIV., by Simon Guilain.