The Churches of Paris, from Clovis to Charles X - Sophia Beale

1ST MANUAL.—GREAT ORGAN.
	ft.		ft.
1 Montre	16	10 Nasard	2
2 Montre	8	11 Doublette	2
3 Flûte à pavilion	8	COMBINATION STOPS.
4 Bourdon	8	12 Furniture et Cymbale	3
5 Flûte harmonique	8	13 Cornet	8
6 Viole de Gambe	8	14 Trompette	8
7 Gemshorn	8	15 Clarinette	8
8 Rohrflûte	4	16 Clairon	4
9 Prestant	4
2ND MANUAL.—CHOIR ORGAN.
	ft.		ft.
1 Montre	8	9 Clochette	1
2 Bourdon	8	COMBINATION STOPS.
3 Keraulophone	8	10 Plein jeu	2
4 Flûte harmonique	8	11 Clarinette	16
5 Bourdon	16	12 Cromhorn	8
6 Flûte harmonique	4	13 Trompette	8
7 Fugara	4	14 Clairon	4
8 Doublette	2
3RD MANUAL.—SWELL ORGAN.
SOLO STOPS.
	ft.		ft.
1 Viole de Gambe	8	9 Trompette harmonique.	8
2 Voix céleste	8	10 Clairon	4
3 Bourdon	8	JEUX DE FOND.
4 Piccolo	1	11 Bourdon	16
5 Basson-Hautbois	8	12 Principal	8
6 Voix humaine	8	13 Flûte harmonique	8
COMBINATION STOPS.		14 Flûte octaviante	4
7 Cornet	8	15 Prestant	4
8 Trombone	16	16 Flageolet	2
4TH MANUAL.—SOLO ORGAN.
	ft.	COMBINATION STOPS.
1 Bourdon	16		ft.
2 Gambe	16	7 Cornet	16
3 Gambe	8	8 Bombarde	16
4 Salicional	8	9 Trompette	8
5º Quintaton	8	10 Cor anglais	8
6º Dulciana	4	11 Clairon	4
PEDALS.
	ft.		ft.
1 Principal	32	9 Flûte	4
2 Flûte	16	COMBINATION STOPS.
3 Sous-Basse	16	10 Bombarde	32
4 Contrebasse	16	11 Bombarde	16
5 Grosse Flûte	8	12 Basson	16
6 Quinte	12	13 Basson	8
7º Violoncelle	8	14 Trompette	8
8º Bourdon	8	15 Clairon	4

COMBINATION STOPS FOR THE SWELL.
SOLO	ANCHES	FONDS
TREMOLO	TREMOLO	TREMOLO

COMBINATION PEDALS.
1	Tonnerre.
2	Tirasse du 1^er clavier sur le pédalier.
3	Tirasse du 2^me clavier sur le pédalier.
4	Tirasse du 3^me clavier sur le pédalier.
5	Tirasse du 4^me clavier sur le pédalier.
6	Réunion du mécanisme des jeux du 1^er clavier sur le levier pneumatique.
7	Accouplement du 2^me clavier sur le 1^er.
8	Accouplement du 3^me clavier sur le 1^er, à l'unisson.
9	Accouplement du 4^me clavier sur le 1^er.
10	Accouplement du 4^me clavier sur le 3^me.
11	Accouplement du 3^me clavier à l'octave grave sur le 1^er clavier.
12	Forte général.
13	Introduction des jeux de combinaisons du pédalier.
14	Introduction des jeux de combinaisons du 1^er clavier.
15	Introduction des jeux de combinaisons du 2^me clavier.
16	Introduction des jeux de combinaisons du 4^me clavier.
17	Expression sur le 3^me clavier récit.

No one should omit visiting S. Eustache on S. Cecilia's day (November 22), when a grand mass is always performed, with full orchestra, in aid of the Society of Musicians; and indeed, any Sunday the music is quite well worth hearing, and the ceremonial is the finest in Paris. At the same time much has been lost by the substitution of the Roman for the Parisian rite, which took place in 1876. In the former, two acolytes swing the censers; in the latter, four or six acolytes standing in a row threw them up on high six times, the last time catching them while kneeling on one knee. As has been said, the grand effect of this use can never be forgotten by those who saw it.

The church owes the new marble pavement to its good curé l'abbé Simon, one of the heroes of the Commune, and, almost, one of its victims. So much has been related (and with justice) against the Communards, that an incident connected with S. Eustache ought not to be forgotten. The day the abbé Simon was arrested he had three thousand francs in his pocket, which were destined to pay for the pavement of the choir. Of course upon his arrival at the prison they were given up to the police, and were not restored when the curé was released through the intervention of his chères paroissiennes, les Dames de la Halle, who went en masse to demand his freedom. On Easter Monday, however, Raoul Rigault's secretary went to the sacristry, asked M. Simon if the money had been returned, and finding that it had not, he left the church, to return in an hour's time, with the three thousand francs intact.

In the south transept is a little Gothic statue of S. John, and on the wall is a sad memorial of the names of all the hostages who suffered death under the Commune, headed by the archbishop (Darboy) and the curé of the Madeleine, Duguerry, who was formerly curé of S. Eustache.

S. Eustache, like most large churches, looks grandest in the evening, when the altar is ablaze with lights, and long vistas fade away into the darkness; but under all conditions it is a splendid church, a mass of harmonious colouring from floor to ceiling. At the evening services during Lent, it is seen to advantage; or again on Christmas Day at vespers, when it is resplendent with lights; those curious and unchurchlike glass chandeliers filled with candles, and clusters of gas jets round the walls.

Another great day is Good Friday, when Rossini's "Stabat Mater" is performed. It is always beautifully rendered, but for three-fourths of the crowd which assembles—and the church is always crammed—for most of the people it is a mere performance. So is the midnight mass on Christmas Day. Religious enthusiasm carries one away upon one or two occasions; the sentiment is exquisite; the emotions which are aroused are of the purest, and we feel almost that we are by the veritable manger listening to the heavenly Host: "Glory to God in the Highest." But alas! human beings are but mortal; and so upon experience we find that the crowds who attend the mass do so mainly as a pastime before the réveillon; that is the function of the night; eating and drinking, junkettings and merrymakings; and just a little church-going to fill up the time until the hour of feasting commences. Cardinal Manning in his wisdom saw this many years ago, and stopped the practice of saying midnight mass, a measure he probably regretted as much as any of us; for apart from its being a very ancient custom, it is a most poetic idea, appealing strongly to our best emotions and our most vivid imagination.