apse. The low-arched roofs rest upon fourteen very graceful though not lofty pillars with richly-foliated capitals and polygonal bases. Arcades, supported by light columns, surround the walls, which are entirely covered by paintings. The roof is adorned by fleurs-de-lis upon an azure ground.
Quitting the lower chapel by a narrow and winding staircase, which still awaits its restoration, you arrive beneath the porch of the upper one, and, entering, suddenly find yourself in an atmosphere of rainbow-tinted light. The characteristics of this beautiful sanctuary which at once strike you are those of lightness, loftiness, and splendor. A few feet from the floor the walls disappear, and slender, five-columned pillars spring upwards to the roof, supporting the rounded mouldings by which it is intersected. The space between these pillars is occupied by four great windows in the nave, while in the apse the seven narrower ones are carried to the roof. Half-figures of angels bearing crowns and censers issue from the junction of the arches, and against the pillars stand the majestic forms of the twelve Apostles, in colored draperies adorned with gold, each of them bearing a cruciform disc in his hand. It was these discs which received the holy unction at the hands of the Bishop of Tusculum when the building was consecrated.
The walls beneath the windows are adorned by richly gilt and sculptured arcades filled with paintings. No two of the capitals are alike, and the foliage is copied, not from conventional, but from natural and indigenous, examples.
The windows are all of the time of St. Louis, with the exception
of the lower compartments, which were renewed by MM. Steinheil and Lusson, and the western rose-window, which was reconstructed under Charles VIII. The ancient windows are very remarkable, not only for the richness of their coloring, but for the multitudes of little figures with which they are peopled. Subjects from the Old Testament occupy seven large compartments in the nave and four windows in the apse, the remaining ones being devoted to subjects from the Gospels and the history of the sacred relics. The translation of the crown and of the cross affords no less than sixty-seven subjects, in several of which St. Louis, his brother, and Queen Blanche appear; and notwithstanding the imperfection of the drawing, these representations very probably possess some resemblance to the features or bearing of the originals. In the
window containing the prophecies of Isaias the prophet is depicted in the act of admonishing Mahomet, whose name is inscribed at length underneath his effigy.
The altar, which was destroyed, has not yet been replaced. That of the thirteenth century had in bas-relief on the retable the figures of our Lord on the cross, with the Blessed Virgin and St. John standing beneath, painted, on a gold ground. A cross hung over it, at the top of which was balanced the figure of an angel with outspread wings, bearing in his hands a Gothic ciborium, in which was enclosed the Blessed Sacrament. And why not still? Why is the mansion made once more so fair when the divine Guest dwells no longer there? When the magistracy assembles to resume its sittings, Mass is said. One Mass a year said in the Sainte Chapelle!
[5] A branch from the crown of thorns was presented to the church at Treves. Two of the thorns also are in that of Santa Croce in Gerusalemme at Rome.
[6] Mémoire sur les Instruments de la Passion.
[7] Until the Revolution the tomb of Pierre de Montereau still existed in the abbey church of St. Germain des Près, where he had built an exquisitely beautiful chapel to the Blessed Virgin, and where he was buried, at the age of fifty-four.