The Churches of Paris, from Clovis to Charles X

by Sophia Beale

Little is known of the internal regulations of these colleges, but the discipline instituted by S. Columba, about a hundred years later, was very severe. Religious offices were held three times during the day, and as often during the night. Each day office consisted of prayers and three psalms, and in the night ones, from October to February, the monks were to chant thirty-six psalms and twelve anthems at three different times; but on Saturday and Lord's Day nights, twenty-five psalms and as many anthems. That such training raised up a set of men who went by the names of "Ordo Apostolicus," "Ordo Divi Colombæ," is not astonishing, although by themselves they were called "Famuli Dei," the servants of God.

That S. Germanus was a remarkable man there is no doubt, as we also owe the discovery of S. Geneviève to his foresight; for when he saw her at Nanterre, on his way to Britain, he was so impressed by her piety that he consecrated her to the service of God.

The church in Paris was probably founded in commemoration of some miracle performed by the bishop during his sojourn in that city, perhaps by his namesake S. Germain of Paris, who held the memory of his brother of Auxerre in great esteem and veneration. That its origin was very ancient is shown by the record of certain gifts from King Childebert and Queen Ultrogothe. It was probably a round church in its early days, as in 866, when it was pillaged and destroyed by the Normans, it was called S. Germain-le-Rond, and it must have been in that edifice that S. Landry, bishop of Paris, was buried. Formerly a chapter composed of a dean, a precentor, thirteen canons, and eleven chaplains, served the church, and it ranked immediately after the cathedral; but in 1744, its chapter was merged into that of Notre-Dame, and it became a simple parish church.

The Quai and Place de l'École, situated near S. Germain, owed their names, as early as the 13th century, to a public school of great celebrity, which was established about, or soon after, the time of Charlemagne. S. Germain was rebuilt by King Robert, and again in the 12th century, to which period the tower belongs. The principal door, the choir, and the apse are of the 13th century; the porch, the greater part of the façade, the nave and aisles, and the chapels of the chevet, are of the 15th and 16th centuries. The cloister which surrounded the church has disappeared, as also the dean's house which stood in the space between the church and the Louvre. It was in traversing the cloisters of S. Germain that Admiral Coligny was shot, and it was the great bell of this church which gave the signal for the massacre of S. Bartholomew. S. Germain was the parish church of the Louvre and the Tuileries, and some of the royal children were baptised there; and many a time the kings went there in great state to perform their paschal duties.

The portico projects in front of the three principal West doors, and is the work of Master Jean Gaussel. It was constructed in 1435, and is a mass of very beautiful carving. Some of the corbels are examples of the grotesque imagery of the period. The interior was decorated with frescoes some years ago, but they are in a parlous, peeling, condition. Two of the statues are old, S. Francis of Assisi, and S. Mary of Egypt holding the three little loaves which nourished her in the desert. The central doorway is of the 13th century, the two side ones are of the 15th. The whole is decorated with statues of various Saints—amongst others S. Germain, S. Vincent, and S. Geneviève holding her candle, which a hideous little demon is trying to extinguish. Round the tympanum, the subject of which is the Last Judgment, are the Wise and Foolish Virgins, the Apostles and the Martyrs. Abraham sits on one side holding a napkin on which are three little souls; while upon the other is a cauldron from the lower regions containing three lost souls (one mitred), and two horrible demons—one tormenting a soul with a whip, the other throwing a poor creature into the flames, having already torn his flesh into shreds. The gargoyles are peculiarly grotesque: a grinning savage is being ejected from the jaws of a hippopotamus; a man carries a hooded ape on his shoulders; and a showman is making a monkey dance. A corbel shows us a quantity of rats persecuted by a cat—the rats being the wicked who encumber the earth; the cat, the demon who awaits their souls.

The plan of the church is cruciform; the entire length is 240 ft., and the width at the transepts 120 ft. The interior is very plain, that is to say, what remains of the old church after the embellishments of the renovating architects of 1745. These gentlemen fluted the pillars of the choir, and converted the mouldings of the capitals into garlands and flowery festoons, giving the whole a grandly Classic appearance. Happily they left the arches pointed, instead of filling them in with round-headed ones as at S. Séverin; and, likewise, we may be thankful that the nave was not "improved," and that the bosses and the ornament of the Lady Chapel were allowed to remain in their primitive beauty. Among the subjects of the bosses may be cited a S. Christopher crossing a torrent with the infant Christ on his shoulder; and a S. Germain in episcopal vestments, painted and gilt, may be seen upon an openwork ground in the Lady Chapel.

In 1744 the choir was enclosed by a magnificent screen, the combined work of Pierre Lescot and Jean Goujon;[81] but the curé and churchwardens, upon the suppression of the chapter, lost no time in destroying this work of art, in order to open up the east end of the church to the congregation—not the only case of its kind.

Had the modern improvers of the church only pulled this down they might have been forgiven, but they did not rest until they had appointed an architect named Bacarit to "purify" the church of its "barbarie Gothique." Unfortunately for the reputation of the academicians of 1745, the project submitted to, and approved by them, appears to us, so far as it was carried out, to be a decided barbarie Classique; and even in the beginning of this century, when the Empire had introduced a sort of pseudo-Classic style, and made it fashionable, people of taste were no less severe upon the re-dressing of the old pillars and capitals in Greek garments: "Nearer to my residence, and of a kindred style of architecture, is the Church of S. Germain Auxerrois. The west front is yet sound and good. Nothing particular strikes you on the entrance, but there are some interesting specimens of rich old stained glass in the windows of the transept. The choir is completely and cruelly modernised. In the side chapels are apparently several good modern paintings; and over an altar of twisted columns, round which ivy leaves apparently composed of ivory are creeping, is a picture of three figures in the flames of purgatory. This side chapel is consecrated to the offering up of orisons 'for the souls in purgatory.' It is gloomy and repulsive. Death's heads and thigh bones are painted in white colours upon the stained wall; and in the midst of all these fearful devices I saw three young ladies intensely occupied in their devotions at the railing facing the altar."[82]