Buch lesen: «The Churches of Paris, from Clovis to Charles X», Seite 7

The paten belonging to Suger's lost chalice. It is a serpentine disc incrusted with golden fishes.

A rectangular plaque of gold, repoussée and gilt, bearing inscriptions in Greek.

A statuette of the Blessed Virgin, in silver, repoussée, chased, and parcel gilt and enamelled. The Virgin holds a fleur-de-lys, enriched with precious stones, in her right hand. It was given to the abbey by Jehanne d'Evreux, in 1334.

A sceptre with a statuette of Charlemagne upon a lily, of the reign of Charles V.

Another statuette of the Blessed Virgin in silver repoussée and parcel gilt; with a little rock-crystal reliquary enclosing a piece of the swaddling clothes.

In the Bibliothèque:

A cameo (sardonyx) head of Augustus, formerly one of the gems of the reliquary containing the skull of S. Hilary. The reliquary was in the form of a mitred head, after the manner of that of S. Denis. The shoulders were vested in a cope, and this cameo set in the centre of the orphrey. The reliquary was made during the administration of Jérôme de Chambellan, grand prior from 1583 to 1606, but part of the mounting holding the pearls and stones seems to be of earlier date. There are three sapphires and three imitation rubies, separated by six bouquets composed of three pearls.⁶⁰

A little chalcedony bust of Annius Verus as Bacchus, inscribed: Verinus consulis probat tempora. The bust bears a striking likeness to some medals and coins of the little son of Marcus Aurelius. It was the custom of the Roman consuls to send presents upon their appointments; thus, in sending this bust to a friend, some consul engraved the inscription, which signifies: The little Verus will remind you of my consulate. In the list by Dom Félibien of the treasury at S. Denis, this is called: Tête d'un enfant faite d'une agate orientale.

One of the most precious of the treasures was the Bacchic cantharus, called the Cup of the Ptolomies. It is a sardonyx cup upon a pedestal, with handles of vine stalks, and covered with bas-reliefs. It is supposed to have gained its name from having belonged to Ptolomy XI., the husband of Cleopatra, who bore the surname of Dionysos or Bacchus. From the subjects of the bas-reliefs, it was undoubtedly consecrated to Bacchus. It has also been called the Cup of Mithridates, as having perhaps belonged to the celebrated collection of vases formed by the famous King. Singular though it may appear, this cup dedicated to Bacchus was given to S. Denis by one of the Carlovingian Kings; was it some blundering over the names, Dionysos and Dionysius? The gold foot was added to give it the form of a chalice, says Tristran de Saint-Amant, and the "grossier distique latin," placed upon this foot, "était profondément gravé sur l'or et la gravure remplie d'émail de couleur d'acier braze." The following inscription is easily read in the engraving in Félibien's history, but not the date: Hoc vas Christe tibi mente dicavit tertius in Francos regmine Karlus.⁶¹

It has been thought that it was Charles the Simple who made the donation, but Félibien remarks that Charles le Gros as well as Charles le Chauve were also designated Charles III. In any case, it is known to have been in the treasury as early as the 9th century. In 1790, it was placed in the Cabinet de Médailles, but some years after it was stolen with the great cameo and other valuables. The thieves were arrested in Holland, and the cup and the cameo restored to the Bibliothèque; but the mounting of the latter and the foot of the cup had been melted up. According to a tradition referred to by Marion de Mersan, the queens of France drank consecrated wine from this cup upon their coronation day. Another tradition asserts that Henri III., in direful need of money, borrowed the cup, and pawned it to the Jews of Metz for a million of livres tournois.

A beautiful aqua-marine bust is the authentic portrait of the daughter of Titus, wife of Flavius Sabinus. It is signed Evodus, the name of a Greek artist known by two other signed gems. It formed part of the reliquary known as escrain or oratoire de Charlemagne. Félibien speaks of it thus: "Ce reliquaire n'est qu'or, perles et pierreries. Sur le haut est répresentée une princesse que quelques uns estiment être ou Cléopâtre, ou Julie, fille de l'empereur Titus." Some of the stones are gone, but one of the remaining sapphires is an antique intaglio representing upon one side a dauphin, and upon the other a monogram surmounted by a cross of the 5th or 6th century. The letters of the monogram are ΜΑΘΥ, possibly the initials of the owner, or the designation of the Virgin: ΜΑΡΙΑ ΜΗΤΗΡ ΘΕΟΥ (Marie, mère de Dieu).

The Coupe de Chrosroës I., King of Persia, of the dynasty of the Sassanides (531-579) is of transparent rock-crystal, engraved with a representation of the King sitting upon his throne. In the history of the abbey, published in 1625, by F. I. Doublet, we find this cup mentioned as having been in the treasury, under the name of Solomon's cup, for more than ten centuries, "et donnée par l'Empereur et Roy de France Charles le Chauve." How it got into the hands of the King is not known. Chrosroës was defeated by Justinian, general of Tiberius Constantine, Emperor of the East; so that possibly the cup found its way to Constantinople after the battle. Félibien's description of it is: "Espèce de sous-couppe d'or ornée de crystaux de différentes sortes de couleurs. Au milieu l'on y voit un Roy assis dans son trône."

Such are a few of the treasures formerly at S. Denis. The church is lovely now, garnished only with its tombs and glass; what it must have been upon a great festival a couple of hundred years ago, or still farther back, imagination must be left to picture to itself. Even now, upon the fête of the Saint (October 9th), the effect of the procession, as it winds up and down the aisles and steps, is very fine, and quaint, too; for the Suisses wear black hats and feathers, cloaks, breeches, and stockings, after the style of Lawrence's "Kemble as Hamlet"; indeed, they seem to be the Dane, according to the courtly painter, personified. The costume of the boys, also, is different to that of the other churches. They wear violet cassocks, white cottas, scarlet capes with yellow edges, and red skull caps. The whole affair, the old canons bearing the relics, the boys in their quaint attire, the old-world vergers and beadles, the lights few and far between in the great dim church, the vistas of arched aisles ending in darkness, and the sparse congregation, give the impression of some period long before the end of this prosaic 19th century. The châsses are in their old places upon the raised apse behind the altar; but they are of no artistic value. The setting of the jewels is there, but the jewels are gone. The church remains one of the grandest of its date, but its contents have been mended, patched, and re-made. Still, it is an exquisitely beautiful relic, left us by the ages of Faith.

S. Denis still goes barefoot, but not for love. Stern necessity keeps it so, or thrusts its cold feet into wooden shoes. It carries its red flag also, and waves it menacingly at all who love peace and quiet. Likewise, it perambulates in processions; but its relics are rags and hungry children. From a haven of rest, raised up with perhaps some grains of foolish superstition; from an artistic centre of all that was beautiful; from the trysting place of enthusiasts, diluted probably with a certain amount of bigotry, S. Denis has become faithless, hopeless, and restless; bigoted in its excessive Communism, unjust in its perversion of true Socialism, flaunting its Anarchic oriflamme in the face of law and order. It is a strange contrast; but perhaps the cause and effect are nearer allied than is generally supposed.

SAINTE-ELIZABETH

Situated in the Rue du Temple, the church dedicated to the great Hungarian princess formerly faced the entrance to the grim fortress of the Templars, where the poor little Dauphin sighed out his infant life. The church was built for the nuns of the third order of S. Francis, of which S. Elizabeth was a member; and the first stone was laid in 1628 by a very different sort of Queen, Marie de' Medici. The exterior, with its Doric pilastered doorway, and the interior, with its poor glass and indifferent sculptures, are alike utterly uninteresting; but the white marble font, bearing the date of 1654, and the woodwork which ornaments the aisle of the sanctuary, are worth a visit. The latter consists of a series of little panels representing scenes from the Old and New Testament in bas-relief, of the end of the 16th century, and are said to have been originally in a church at Arras. There is nothing in the building worthy of its patron, that most perfect of saints, whether we think of her as woman, as queen, or as mother.

 
"AVE GEMMA SPECIOSA!
MULIERUM SYDUS, ROSA!
EX REGALI STIRPE NATA,
MUNDO LICET VIRO DATA
NUNC IN COELIS CORONATA;
CHRISTO TAMEN DESPONSATA.
UTRIUSQUE SPONSALIA,
SIMUL SERVANS ILLIBATA;
SARAM SEQUENS FIDE PIA,
ET REBECCAM PRUDENTIA,
O DILECTA! O BEATA!
NOSTRA ESTO ADVOCATA,
ELIZABETH EGREGIA!⁶²
 

SAINT-ÉTIENNE DU MONT

Upon the summit of the hill which rises up from the Seine, opposite and on the south side of Notre-Dame, is the church of S. Étienne du Mont. Some few years ago this "mountain" was an interesting hunting ground to the archæological explorer and the collector of bric-à-brac; but it has been so cut through by new streets and boulevards that it has almost been improved out of existence. At the foot of it, in a little street turning on from the Quai de la Tourelle, is all that remains of the famous college of the Bernardins, now used by the sapeurs-pompiers. The college was founded by an Englishman, Stephen of Lexington, Abbot of Clairvaux, in 1244, upon some ground belonging to the rich abbey of S. Victor; Alphonse, the brother of S. Louis, being the titular founder and protector of the establishment. The great church, begun in 1338 by Pope Benedict XII. and Cardinal Curti, to replace the one built by Stephen Lexington, was never finished, but was considered, in the 14th century, to be of great beauty. (Pope Benedict, as Jacques Fournier, was professor of theology in the college.) But more fortunate than the church, the refectory has remained intact in all its beauty until our own time, though unfortunately, in 1845, it was sadly mutilated in order to adapt it for use as a barrack. A portion of the cloister may still be seen in the Rue de Poissy, a pointed arch built into the modern wall of a house with square windows in between. It is time the municipality of Paris or the Society for the Preservation of Ancient Buildings bestirred itself to restore the few fragments of old Paris which yet remain. The Revolution did much damage, but often it only put the conventual buildings to secular uses without destroying them, leaving for later governments, and those moreover professedly religious, to utterly demolish the mutilated monasteries and churches, in order to make straight streets and spacious boulevards, which, beautiful as they are, do not prevent us from regretting the past.

The convent of S. Geneviève was founded by Clovis, and so extensive were its lands and dependencies that ere long it drew to it a large population of workmen and labourers for the cultivation of its land. A priest, one of the monks of the abbey, was appointed to take spiritual charge of these people; and from this commencement grew the parish of S. Étienne. Originally the congregation met and worshipped in the crypt of the abbey church, which was dedicated to Our Lady; then the chapel was placed under the protection of S. John the Evangelist, and called St. Jean-du-Mont. But at the beginning of the 13th century the congregation outgrew its chapel, and in 1224 the Bishop of Paris authorised the building of a church by the side of the abbey, to be consecrated to the memory of S. Étienne, the proto-martyr. This first church, in fact, was only a part of the abbey; having had no separate entrance of its own, it could only be entered by a doorway from the choir of S. Geneviève. The reason for changing its name for the third time was probably the demolition of a church dedicated to S. Stephen to make space for Notre-Dame. The memory of the first of martyrs being dear to the citizens, nothing would be more appropriate than the naming of a new church to take the place of the old one, although upon a different site. The first mention of S. Étienne is in the History of Guillaume le Breton, in the year 1221.

This first church lasted three hundred years, and then again, the population having increased enormously, S. Étienne was found to be too small for its congregation, and another and finer church was projected. In 1491 it was deemed better to rebuild than to patch up and enlarge the church; but many years passed in projects and delays, and it was only in 1517 that the work was actually commenced. Abbot Philippe Lebel finished the choir in 1537, and in 1541 the Bishop of Mégare consecrated the altars in the name of the Bishop of Paris; but that the church was not finished in 1552, or even in 1563, the diocesan permission to apply the Lenten offerings to the work is sufficient proof. The jubé was commenced in 1600, the porches nine years later, and the chapel of the Virgin (rebuilt) was only finished in 1661. It was Queen Marguerite de Valois, the lady who so strangely prances about Paris upon a white palfrey at dead of night in the much-admired controversial opera, who laid the first stone of the great portal in 1610; and, moreover, she gave a sum of three thousand livres to aid the work; but what was this when so much was wanted? All was not complete until 1626, and meanwhile the alms during Lent were appropriated to the building fund. However, a glance at a slab of black marble on the north wall of the nave will tell us that on the 25th February, 1626, the Sunday called Sexagesime, under the pontificate of Urban VIII., and in the reign of Louis XIII. of gracious memory, the church and the high altar were dedicated to the glory of God and of the Virgin Mary by the "révérendissime messire Jean-François de Gondi," archbishop of Paris. Another inscription informs the reader of a wonderful accident which took place on this occasion: —

"Et pendant les cérimonies de la dédicace, devs filles de la paroisse tombèrent dv hauvlt des galleries du cœvr, avec l'appvy et devx des ballvstres, qui fvrent miraculeusement préservées, comme les assistants; ne s'étant rencontré personne sovbs les rvines, vev l'affluence dv pevple qvi assistaient avs dites cérimonies."

Before the Revolution the curé was always one of the regular canons of S. Geneviève. At the end of the 16th century he was assisted in his duties by a community consisting of twenty-four priests. In 1791, when the parishes of the city were reorganized, it was determined to remove the relics, the ornaments, and the monuments of the abbey church to S. Étienne, and to re-name the latter after the maid of Nanterre; but the decree was never carried out. Reforms and resolutions followed each other so rapidly that there was no time to put them into execution.

S. Étienne is a cruciform building, very much leaning to the right (as is so common in old churches), with a nave, two aisles, and nineteen chapels. The transepts scarcely project beyond the nave. The exterior is a mass of elegant ornamentation, and on the north side, under the windows, is a passage which connects the porch of the second bay with the charnier, a sort of cloister, built at the end of the Lady Chapel, exterior to the church. The enclosure within this cloister was formerly the little burial ground; the great cemetery being situated in the square which fronts the church.

There is something extremely coquettish and fascinating about the building, with its high-pitched roof, springing from a Renaissance façade, and its 15th century tower surmounted by a pepper-box lantern.

The old church of the abbey, which completely joined S. Étienne, has been entirely swept away to make room for the Rue Clovis; but the refectory and the tower still form a part of the Lycée Henri IV., a little turret at the easternmost angle of S. Étienne indicating the extremity of the monastery's domains.

Above the great doorway is a bas-relief of the stoning of S. Stephen and the legend: Lapis templum Domini destruit, lapis astruit. Right and left are statues of S. Étienne and S. Geneviève, the two patrons; above are Angels bearing torches. Upon the pediment is the Resurrection, and under the lintel we read: Stephano archimartyro sacrum. Two Angels above the great rose window bear the arms of Marguerite de Valois, and at the summit are the statues of S. Hilary and S. Benedict, patrons of two churches in the parish, now demolished.

The interior of S. Étienne is no less singular than the exterior. The side aisles are nearly as high as the nave, and have enormous windows. The shafts which support the vault of the nave are of great height, and the bays are of the same elevation as the side aisles. Above these bays is a clerestory, the windows of which are as broad as they are high, with depressed pointed arches. In order to diminish the enormous height of the bays, the architect conceived a curious device. At about one-third of the height of the shafts he has thrown a depressed arch from pillar to pillar, which forms an elevated passage round the church. It is arrested at the transepts, but taken up again round the choir. The passage encircling each pillar is just wide enough to enable a person to walk. These tournées, as the old records call the gallery, and the splendid jubé form a distinctive feature of the church. On the side of the nave the tournée has an open pilaster balustrade, and at the entrance of the choir it joins the jubé. On each side of this is a spiral staircase leading up first to the jubé and then, a second flight to the choir gallery, the former being formed of a single flying-arch supported by two pilasters. The whole screen is ornamented with rich carving; an Angel with palm leaves is in each spandrel, and above all is a huge crucifix, completing this beautiful and original specimen of French Renaissance, the only jubé which has survived the 17th century restorations. It was the work of a celebrated sculptor named Biart (père). Upon each side of it is a doorway, surmounted by a sitting figure, listening to the chanting of the Gospel. Ascende qui evangelizas Sion. Audiam quid loquatur Dominus meus, are the words upon the right. At the left: Quam dulcia faucibus meis eloquia tua. Levavi manus meas ad mandata tua.

The pendant bosses of the nave and crossing are exceedingly rich in ornament – garlands of flowers, Angels' heads, the Symbols of the Evangelists, rosettes, and armorial bearings. The central boss of the transept falls 18ft., and has for ornament Angels playing instruments, the emblems of the Four Evangelists, and a Lamb encircled with thorns and bearing a crown.

The pulpit was designed by Laurent de la Hire, the painter, and sculptured by Claude Lestocard. It is a mass of rich carving. A huge Samson supports the lower part, while upon the canopy are little Angels of the winged-Cupid tribe, and at the summit a draped Angel with a trumpet. Samson is sitting upon the lion he tamed with the jawbone of an ass, and holds the strange weapon in his hand. Sauval remarked that il la porte bien (the pulpit), and certainly he appears to be doing so without much effort. The medallions upon the staircase and round the pulpit represent Evangelists and Doctors, among them Augustin and Jerome, and scenes from the life of S. Stephen, in which he figures as a preacher. The Cardinal Virtues go hand in hand in a becoming fashion with the Theological Ladies: Prudence bearing her mirror, which reflects the wisdom of the serpent hard by; Justice has her sword; Faith a heart as well as her cross; Hope leans upon her anchor; Temperance pours out water from an amphora; Courage holds a dangerous weapon of the mallet order; Charity is surrounded by the most charming of children. All these statuettes are exquisitely carved. Behind the preacher the Word of God, bearing the world, blesses those who preach the Gospel in His name; upon His head the Holy Spirit spreads His wings. Upon the edge of the canopy little Angels are playing with the crowns destined for the elect; and at the summit is a larger Angel bearing a trumpet to awake them from their long sleep. The organ is also a mass of fine carving: S. Stephen stoned; S. Geneviève and her sheep; the Elders of the Apocalypse; the "Jewish ladies of the Bible," as a German kindly interpreted, and the Passage of the Red Sea; above all, our Blessed Lord ascending to Heaven.

When the Abbey of Port-Royal was destroyed in 1710, the body of Racine was transferred to S. Étienne and placed in the crypt of the Lady Chapel by the side of Pascal; and in 1808 a Latin epitaph, composed by Boileau, which was discovered in the pavement of the church of Magny-les-Hameaux, was also transferred. Ten years later, on April 21st, 1818, a great function was held in honour of the poet and the author of those much-loved Pensées; the Academy sent a deputation, and one of their members, the Abbé Sicard, officiated.

EPITAPH ON PASCAL

 
PRO COLUMNA SUPERIORI,
SUB TUMULO MARMOREO.
JACET BLASIUS PASCAL CLAROMONTA-
NUS STEPHANI PASCAL IN SUPREMA APUD
AVERNOS SUBSIDIORUM CURIA PRAESI-
DIS ⁶³ FILIUS, POST ALIQUOT ANNOS IN SEVE-
RIORI SECESSU ET DIVINAE LEGIS MEDI-
TATIONE TRANSACTOS, FAELICITER ET
RELIGIOSE IN PACE CHRISTI VITA FUNC-
TUS, ANNO 1662, AETATIS 39º, DIE 19ª
AUGUSTI, OPTASSET ILLE QUIDEM
PRAE PAUPERTATIS ET HUMILITATIS
STUDIO ETIAM HIS SEPULCHRI HONO-
RIBUS CARERE, MORTUUSQUE ETIAM-
NUM LATERE QUI VIVUS SEMPER LATERE
VOLUERAT. VERUM EJUS IN HAC PARTE
VOTIS CUM CEDERE NON POSSET
FLORINUS PERIER IN EADEM SUBSIDIO-
RUM CURIA CONSILIARIUS, GILBERTAE
PASCAL BLASII PASCAL SORORIS CONJUX
AMANTISSIMUS, HANC TABULAM POSUIT
QUA ET SUAM IN ILLUM PIETATEM
SIGNIFICARET, ET CHRISTIANOS AD
CHRISTIANA PRECUM OFFICIA SIBI AC
DEFUNCTO PROFUTURA COHORTARETUR.
 

Another epitaph in the North aisle of the nave records the virtues and wisdom of Jacques-Bénigne Winslow, the anatomist and member of the Academy of Sciences, brought back from his evil and heretical ways by the preaching of Bossuet. Eustache Lesueur, the somewhat feeble painter of the Life of S. Bruno, was also buried at S. Étienne. Many other names adorn the list of those laid to rest in the churches or burial grounds of the parish: Vigenère, secretary to Henri III., 1598; the surgeon, Thognet, 1642; Antoine Lemaistre, and Lemaistre de Sacy, brought from Port Royal in 1710; the botanist, de Tournefort, 1708; Rollin, rector of the University, who died in 1741, in the Rue Neuve de Saint-Étienne du Mont, which was re-named after him.

But it is the glass of S. Étienne which is perhaps its chief glory. Although a great deal has been destroyed and patched up, much remains which is quite worthy of study, being, as it is, in the best style of the 16th and 17th centuries, and the work of Jean Cousin, Claude Henriet, d'Enguerrand Leprince, Pinaigrier, Michu, François Périez, Nicolas Desengives, Nicolas Lavasseur, and Jean Mounier. But, unhappily, mendings and patchings have quite destroyed our power of discovering to which artist the different windows are due. In the charnier there is a very curious composition, illustrating the allegory of the wine-press; our Lord lies upon the press in the presence of the Father and the Holy Spirit, bathed in a sea of blood, which flows from His side, His hands, and His feet. Underneath, the blood pours down through an opening into a large cask. Prelates and kings⁶⁴ carry to a cellar those barrels which have been filled with the Sacred Blood by the Doctors of the Church; while, from under a rich Classic portico, we see the faithful flocking to confess their sins, and to receive the Holy Eucharist. In the distance, the Patriarchs are digging the ground and pruning the vines, while the Apostles gather in the vintage. S. Peter throws the grapes into a vat, and a chariot drawn by the Ox, the Lion, and the Eagle of the Apocalypse, and guided by the Angel of S. Matthew, carries the Divine vintage to the four quarters of the earth. Such is the allegory of the wine-press, the Pressoir mystique, the outcome of the verse of Isaiah: "I have trodden the wine-press alone, and of the people there was none with me"; but, unfortunately for the correctness of the illustration, there is, in this window, a large concourse of people, great and small in worldly means and wisdom. The window is attributed to the Pinaigriers. Robert Pinaigrier had painted the subject for the church of S. Hilaire, at Chartres in 1530; and about a century later Nicolas Pinaigrier reproduced his father's design, with some modifications, at S. Étienne.

The emblem of the Precious Blood was adopted by many confraternities of wine merchants, which led Levieil to think that this window was given to the church by Jean le Juge, a very rich wine merchant. Sauval speaks of this subject being represented at S. Sauveur, at S. Jacques de la Boucherie, at the hospital of S. Gervais, and in the sacristy of the Célestins; and l'abbé Lebeuf notes a window in S. André des Arcs, representing Christ crushed like the grapes in a wine-press. The cathedral of Troyes and the church of S. Foy at Conches still possess windows of the same character.

The following verses describe this subject in quaint old French: —

 
"Heureux homme Chrestien si fermement tu crois
  Que Dieu pour te sauuer a souffert a la croix,
  Et que les Sacrements retenus à l'Eglise.
  De Son sang precieux ont eu commencement;
  Qu'en les bien receuant toute offence est remise,
  Et qu'on ne peut sans eux auoir son sauuement."
 
 
In te Domine Speravi non confundar in aeternum.– PSAL. XXX.
 
 
Non nobis Domine, non nobis sed nomini tuo da gloriam.– PSAL. CXIII.
 
 
"Les anciens patriarches
  Qui le futur ont sceu
  Pour leur Salut ne fu
  A cultiuer le Vigne.
 
 
  "Ce pressoir fut la Venerable croix
Où le sang fut le Nectar de la Vie;
Quel sang celuy par qui le roy des Rois
Rachepta lhomme et sa race asseruie.
 
 
  "Tous urais Chrestiens le doiuent receuoir
Auec respect des Prebtres de l'Eglise,
Mais il conuient premierement auoir
L'ame constriste, et la coulpe remise.
 
 
  "Tous les cantons de ce large Vniuers
En ont gusté par les Evangelistes
Edifies ont esté les peruers
Laissant d'Adam les anciennes pistes.
 
 
  "Dans les Vaisseaus en reserue il fut mis.
Par les docteurs de l'Eglise, pour estre
Le lauement de nos peches commis,
Mesme de ceux qu'on a Venant a naitre.
 
 
  "Papes, Prelats, Princes, Rois, Empereurs
L'ont au cellier mis avec reuerence,
Ce Vin de vie efface les erreurs,
Et donne a l'Ame une saincte esperance."
 

This strange design reminds one somewhat of a little chapel near Partenkirchen, Tyrol. Up the hill is a Way of the Cross and at the summit a tiny chapel containing a life-size figure of our Lord, behind a grating. At his feet is a pool of water – I imagine with some miraculous powers; a cup fastened by a chain allows the passer-by to drink thereof. But the strange part is the supply of water which comes from our Lord's wounds, and fills the pool – symbolic of His being the living water, the well from which whosoever drinketh obtaineth everlasting life. The idea is somewhat materialistic and startling to the mundane dweller in cities, but to the simple-minded inhabitants of Tyrol it is full of poetry.

The oldest glass in S. Étienne is in the upper windows of the apse, representing the apparitions of Christ, to the disciples on the road to Emmäus, to the Magdalen, to S. Peter, and to the three Maries. In the western rose window the Eternal Father is vested in the insignia of the Pope, that common device of 16th century Ultramontanism. Far better is the design of a window on the north side of the nave: the Eternal Father seated in glory, with the book of the seven seals on His knees; the Lamb opens it, the four-and-twenty Elders sit around, and Angels pour the Divine anger from chalices upon the earth. The donors were evidently a large family, for they fill up all the lower part of the window, one behind the other, devoutly kneeling upon their knees. Some little scenes from the legend of S. Claude are charming in colour and design; so, too, are those from the life of the Virgin.

In one of the chapels of the nave we see a family repast, symbolising the wedding feast of the Gospel. The banquet is prepared, but the guests are not ready; one is going to fetch his wife, another takes an excursion to his country house, a third is inspecting a couple of oxen – but all beg to be excused.

The glass of S. Étienne was given by enthusiastic parishioners; indeed, so much rivalry took place amongst them, to fill the church with richly coloured windows, that the authorities were obliged to restrain their eagerness, and to point out that the bells, the porch, and other parts of the building required their aid.

It was at S. Étienne that Monseigneur Sibour, archbishop of Paris, was assassinated in 1857, during the neuvaine⁶⁵ of S. Geneviève. The procession had travelled round the church, and was re-entering the nave, when the assassin, a discontented priest, rushed at the prelate and stabbed him. He was carried into the presbytery, but died soon after.

The main attraction of S. Étienne is the tomb of S. Geneviève. Long before the Panthéon ceased to be the church of the maid of Nanterre, it was to S. Étienne that the faithful journeyed to pray for her intercession, and to have their belongings laid upon her coffin. Here, any day, but especially during the octave of her fête, you may see people bringing handkerchiefs, rosaries, crosses, towels, etc., to be placed in the shrine, in order to carry the Saint's blessing and help to the sick and the suffering at home. The stone coffin is said to have been found in the crypt of the abbey church during its demolition in 1801, but whether it be the original one in which Saint Geneviève was buried in 511 it is impossible to say, as it is so surrounded by ornamental ironwork that its workmanship cannot be studied; but the effect of the little chapel containing this tombeau, with its lights and flowers and stained-glass, is very charming, and during the neuvaine, when the church is ablaze with candles, and hundreds of people font queue to the shrine, it is a sight not easily forgotten.