Descend a few steps into the Nave, which is surrounded by single aisles, whose vaulting should be noticed. The architecture of this part, now pure Early Gothic, is extremely lovely. The triforium is delicate and graceful. The windows in the clerestory above it, representing kings and queens, are almost all modern. Notice the great height of the Nave, and the unusual extent to which the triforium and clerestory project above the noble vaulting of the aisles. Note that the triforium itself opens directly to the air, and is supplied with stained-glass windows, seen through its arches. Sit awhile in this light and lofty Nave, in order to take in the beautiful view up the church towards the choir and chevet.
Then walk up to the Barrier near the Transepts, where sit again, in order to observe the Choir and Transepts with the staircase which leads to the raised Ambulatory. Observe that the transepts are simple. The ugly stained glass in the windows of their clerestory contains illustrations of the reign of Louis Philippe, with extremely unpicturesque costumes of the period. The trousers are unspeakable. The architecture of the Nave and Choir, with its light and airy arches and pillars, is of the later 13th century.
The reason for this is that Suger’s building was thoroughly restored from 1230 onwards, in the pure pointed style of that best period. The upper part of the Choir, and the whole of the Nave and Transepts was then rebuilt – which accounts for the gracefulness and airiness of its architecture when contrasted with the dark and heavy vestibule of the age of Suger.
Note from this point the arrangement of the Choir, which, to those who do not know Italy, will be quite unfamiliar. As at San Zeno in Verona, San Miniato in Florence, and many other Romanesque churches, the Choir is raised by some steps above the Nave and Transepts; while the Crypt is slightly depressed beneath them. In the Crypt, in such cases, are the actual bodies of the saints buried there; while the Altar stands directly over their tombs in the Choir above it.
Look every way from this point at the tombs within sight, at the Choir and Transepts, and at the steps of the Ambulatory. Do not be in a hurry to enter. On the contrary, sit awhile longer in the body of the Nave, outside the barrier, and read what follows.
[The custodians hurry you so rapidly through the reserved part of the church that it will be well before entering the enclosure to glance through the succeeding notes, explanatory of what you are about to see. The remarks to be read as you go round the building I insert separately, in the briefest possible words, as aids to memory.
The tomb of Louis XII (d. 1515) and his wife, Anne de Bretagne (d. 1514), is the earliest of the great Renaissance tombs in France, and the first in order in this Basilica. Long believed to be of Italian workmanship, it is now known to be the production of Jean Juste of Tours, unknown otherwise, but supposed to be a Florentine. It is imitated from the Giangaleazzo Visconti, already mentioned, in the Certosa di Pavia. This tomb, the first you see, struck the keynote for such works of the Renaissance in France. It is a good and apparently French imitation of the Italian original, and it fitly marks Louis XII’s place in the artistic movement. Remember his statue by Lorenzo da Mugiano in the Louvre, and his connection with Cardinal d’Amboise and the Château de Gaillon.
The next important monument is that of Dagobert I (d. 638), the founder of the Abbey, probably erected in his honour, as a sort of shrine, by St. Louis in the 13th cent. In order to understand this tomb (which you are only allowed to see across the whole breadth of the choir), it is necessary to know the legend to which the mediæval sculptures on the canopy refer. When Dagobert died, demons tried to steal his soul; but he was rescued by St. Denis, to whom he had built this abbey, assisted by St. Maurice and St. Martin of Tours – a significant story, pointing the moral of how good a thing it is to found a monastery. The narrative is told in three stages, one above the other. (1) An anchorite, sleeping, is shown by St. Denis in a dream that the king’s soul is in danger; to the R, Dagobert stands in a little boat (like the boat of Charon); demons seize him and take off his crown. (2) The three saints come to the king’s rescue, attended by two angels, one swinging a censer, the other holding a vase of holy water; St. Martin and St. Denis see the tortured soul; the soldier St. Maurice, sword in hand, attacks the demons. (3) The three saints, attended by the angels, hold a sheet, on which the soul of Dagobert stands, praying. The Hand of God appears in a glory above, to lift him into heaven. These are on the canopy; beneath, on the tomb itself, lies a modern restored recumbent statue of Dagobert; there are also erect figures of his son Sigebert (restored), and his queen, Nantilde (original).
The tomb of Henri II (d. 1559) and his queen, Catherine de Médicis (d. 1589) – the third of any importance – was executed by the great sculptor, Germain Pilon, during the lifetime of the latter. (It was he, too, you will remember, who made the exquisite group of figures, now in the Louvre, to support the urn which was to contain their hearts.) As in many contemporary tombs, the king and queen are represented alive and kneeling, in bronze, above, and nude and dead in marble on the tomb below. (We saw a similar tomb at the Louvre.) A second monument, close by, to the same king and queen, has recumbent marble figures on a bronze couch, – Catherine is said in her devouter old age to have disapproved of the nudity of the figures on the first tomb – but as it was usual to distribute relics of French kings to various abbeys, such duplicate monuments were once common.
The tomb of Frédégonde (d. 597) from St. Germain-des-Prés, is a curious mosaic figure of marble and copper, almost unique in character. It is not of the Queen’s own age, but was added to her shrine in the 12th century. Most of these early kings and queens, founders and benefactors of monasteries, were either actually canonized or were treated as saints by the monks whom they had benefited: and tombs in their honour were repaired or reedified after the Norman invasion and other misfortunes.
Two monuments of the children of St. Louis, from other abbeys, carried first to Lenoir’s Museum, are now in this Basilica. They are of enamelled copper, with repoussé figures, executed at Limoges.
The most costly, though not to my mind the most beautiful, of the Renaissance tombs is that of François Ier (d. 1547). On the summit are kneeling figures of the King, his wife Claude, and their three children. The reliefs on the pedestal represent the battles of Marignano and Cerisole. This tomb, like that of Louis XII, is ultimately based on the Visconti monument in the Certosa, but it exhibits a much later and more refined development of French Renaissance sculpture than its predecessor. It is by Germain Pilon, Philibert Delorme, and (perhaps) Jean Goujon. The architectural plan is noble and severe: but it lacks the more naïve beauty of Jean Juste’s workmanship.
It was the curious custom to treat the bodies of French Kings (who, as royal, were almost sacred) much as the relics of the Saints were treated. Hence the head and heart were often preserved separately and in different places from the body to which they belonged. François Ier himself was interred here: but an urn to hold his heart was placed in the Abbaye des Hautes Bruyères, near Rambouillet. This urn is a fine Renaissance work by Pierre Bontemps. Taken to Lenoir’s Musée des Monuments at the Revolution, it was afterwards placed beside the king’s tomb in this Basilica.
Look out in the Apse for the Altar of St. Denis, and his fellow-martyrs. Near it used once to hang the Oriflamme, that very sacred banner which was only removed when a King of France took the field in person. It was last used at Agincourt. A reproduction now represents it.
The other monuments can be best observed by the brief notes given as we pass them. The arrangements for seeing them are quite as bad as those in our own cathedrals, and it is impossible to get near enough to examine them properly. Therefore, take your bearings from the Nave before you enter, and try to understand the architecture of the choir as far as possible before you pass the barriers.
Disregard the remarks made by the guide (who expects a tip), and read these brief notes for yourself as you pass the objects.]
Enter the enclosure.
North Aisle: L, several good mediæval recumbent tombs, mostly from other abbeys, named on placards. Read them.
Then, Tombs of the Family of St. Louis, recumbent, also named: 13th and 14th cents.
**Tomb of Louis XII, and his wife Anne de Bretagne, by Jean Juste of Tours. After the Certosa monument. Beneath, Twelve Apostles; four allegorical figures of Virtues: king and queen, in centre, recumbent; above, on canopy, king and queen kneeling. On base, reliefs of his Italian victories.
R, column commemorating Henri III, by Barthélemy Prieur.
Stand by steps leading to raised Ambulatory, only point of view for **Tomb of Dagobert, on opposite side of choir, 13th cent. Legend of his soul, see above. Erect statues of Sigebert, his son, and Nantilde, his queen. Insist on time to view it with opera-glass.
L, **Tomb of Henry II and Catherine de Médicis. King and queen recumbent, in marble, below; kneeling, in bronze, above. At corners, the four cardinal virtues, bronze. Also after Certosa.
Ascend steps to Ambulatory.
Below, monuments of the Valois family.
Above, L, second monument of Henri II and Catherine de Médicis, recumbent marble on bronze mattress. Observe monograms of H and D, as on Louvre.
Proceed round Ambulatory. Chapels to the L have stained-glass windows of 12th and 13th cents. Interesting subjects, which note in passing. **Beautiful view across the church as you pass the transepts.
In the centre of the apse of the Choir (above the tombs in Crypt), is the Altar of St. Denis, with his fellow-martyrs, St. Rusticus and St Eleutherius – modern imitation of the original shrine, broken at the Revolution. During the neuvaine (nine days after St. Denis’ day – Oct. 9) the Reliquaries are exposed in the Nave, near the barrier. On one side of the Altar is a reproduction of the Oriflamme.
Beyond this Altar, continue along the South Side of the Ambulatory, to the Sacristy. Modern paintings, here, relating to the History of the Abbey. Labels beneath describe their subjects.
Adjoining it is the Treasury, containing only uninteresting modern church utensils.
Beyond the Sacristy, Tomb of Frédégonde, from St. Germain-des-Prés. Hands, feet, and face probably once painted.
Descend steps from ambulatory.
Descend to Crypt.
This, the oldest portion of the existing building, was erected by Suger, to contain the Tombs of the Three Martyrs, buried under their altar. Its architecture is the most interesting of all in the Basilica. Notice the quaint Romanesque capitals of the columns. In the centre, bones of the Royal Family, within the grating. Neglect them, and observe the arches.
In the Crypt Chapels, uninteresting modern statues (Marie Antoinette, Louis XVI, colossal figures for the Monument of the Duc de Berry, etc.). Neglect these also, and observe rather the architecture and good fragments of glass in windows, particularly a very naïve Roasting of St. Lawrence.
Return to church.
Monument of Du Guesclin, 1380.
Louis de Sancerre, 1402.
Renée de Longueville, from the Church of the Célestins.
Blanche and Jean, children of St. Louis, enamelled copper, Limoges; from other abbeys.
**François Ier, his wife, Claude, and their three children, above. On pedestal, Scenes from his battles; High Renaissance work: Philibert Delorme, Germain Pilon, and Jean Goujon. More stately, but less interesting than Louis XII.
**Urn, to contain heart of François Ier, from the nunnery of Hautes Bruyères.
Louis d’Orléans and Valentine of Milan, from the Church of the Célestins.
Charles d’Étampes; 1336, with 24 small figures of saints.
Leave the enclosure and return to the church. I advise you then to read this all over again, and finally, go round a second time, to complete the picture.
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.
I notice all these decorative treatments here merely in order to suggest to the reader the way in which the knowledge he has gained of the fabric of St. Denis may be utilised to examine works of art from the great Abbey both here and at Cluny. You will find it useful to visit both collections on your return from such a church, in order to mentally replace in their proper surroundings works now divorced from it. Some other good objects from the same Treasury may also be seen at the Bibliothèque Nationale.