Paris. Grant Allen's Historical Guides. Allen Grant

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      The first suite of rooms which we enter form some of the apartments of the original building. Observe the fine timbered ceilings.

      Room I. – Panels, etc., in wood-carving.

      Room II. —*Fine French chimney-piece, by Hugues Lallement, dated 1562, representing Christ and the Woman of Samaria at the well, brought from a house at Châlons-sur-Marne. R and L of entrance (wall A on plan), wooden seats, with canopy, holding good Gothic wood-carvings. Notice L of door, a Deposition in the Tomb; (801) Madonna and Child; then, Birth of the Virgin, with St. Anne in a bed; and below, head of a Saint, hollow, intended to contain her skull or relics. Near it (762), decapitation of St. John Baptist, German, 16th century; and (789) Death of the Virgin. R of doorway, three reliquary heads, and (783 and 784) two groups of the Education of the Virgin. Above, several representations of the Circumcision. Wall B, between the windows, (745) quaint reliquary head of St. Mabile, one of St. Ursula’s 11,000 virgins, the hair gilt, Italian, 15th century; near it, Angel of the Annunciation; Madonna and Child; and Flight into Egypt. Fine wooden chests. In the cases, collections of shoes, uninteresting.

      Room III. – Wood-carvings, more or less Gothic. Wall A, (788) Madonna supporting the dead Christ, under a canopy, 16th century; (816) Holy Women, with small figure of the donor, kneeling. (709) large carved altar-piece, end of 15th century; in the centre, Crucifixion, with quaintly brutal Roman soldiers, fainting Madonna, and Holy Women in fantastic head-dresses of the period; below, Nativity, and Adoration of the Magi; L side, above, Flagellation, with grotesquely cruel soldiers; beneath it, angels displaying the napkin of St. Veronica; R side, above, Deposition in the Tomb; beneath it, angels supporting the instruments of the Passion – a splendid piece of Flemish carving. Above, two statues of St. George. Further on (712), votive triptych against the plague, Flemish, carved, with painted flaps on the doors; L, St. Sebastian, with arrows of the pestilence; R, St. Roch exhibiting his plague-spot, with angel who consoled him and dog who fed him (see the legend in Mrs. Jameson); centre, Adoration of the Magi; the Three Kings represent (as usual) the three ages of man, and also the three old continents, Europe, Asia, Africa; hence the youngest king is represented as a Moor. Other episodes (Flight into Egypt, Return of Magi, etc.), in the background – late 15th century. Wall B, first window, stained glass, German panes, 15th century, Annunciation, in two panels (1960 and 1957). Beyond it (830), in woodwork, 16th century, Coronation of the Virgin by Christ and God the Father – a somewhat unusual treatment. Above (758), Stem of Jesse, representing the descent of Christ; notice David with his harp and other kings of Israel; late 15th century. Second window (1958 and 1959), St. Hubert and St. Lambert, companions to the Annunciation; (721) dainty little Crucifixion (16th century), in coloured German wood-carving; (1686) Flemish painting, school of Van Eyck, Crucifixion. Wall D, windows (1961 and 1962), St. Peter and St. George; (1963 and 1964) St. Hubert, and St. Antony Abbot (with his pig, staff, and bell). Wall C, altar-piece, unnumbered; subjects much as opposite; centre, Crucifixion; beneath it, Nativity, Adoration of Magi. L, Way to Calvary (with grotesquely brutal soldiers); beneath it, Annunciation (notice the prie-dieu, book, and bed in the background), and Visitation; R, Descent from the Cross, with St. John and the Marys; beneath it, Circumcision, and Presentation in the Temple. (710) Deposition from the Cross, very good, with painted wings from the Passion. All the wood-carvings in this room deserve careful attention. Inspect them all, and, as far as possible, discover their subjects.

      Room IV. – Fine Renaissance chimney-piece, by Hugues Lallement, 16th century, representing Actæon transformed into a stag by Diana, whom he has surprised in the act of bathing. (Subjects from the myth of Diana are favourites with the French Renaissance artists, owing to the influence of Diane de Poitiers.) From Châlons-sur-Marne, same house as that in Room II. Wall A (1779 and 1778), Renaissance classical paintings, part of a large series continued elsewhere; (1428) fine Renaissance carved cabinet (Diana and Chimæras); contrast this and neighbouring Renaissance work with the mediæval carvings in adjacent rooms. Wall B (6329), quaint old Flemish tapestry, representing the Angels appearing to the Shepherds; the Nativity; the Adoration of the Magi; and the Agony in the Garden. Study the arrangement of all these figures, which are conventional, and will reappear in many other examples of various arts. Wall C, R and L of fireplace, good Renaissance wood-carving. Wall D, fine cabinets. In the cases, medals.

      Room V, to the side. Debased Italian and Spanish work of the 17th and 18th centuries. Centre, Adoration of the Magi, a meretricious Neapolitan group of the 17th century, intended to place in a church as a Christmas berceau. The costumes of the Three Kings, representing the three continents, the ruined temple in which the action takes place, and the antique statue in the background of the Madonna and St. Joseph, should all be noticed. Contemptible as a work of art, this florid composition of dolls is interesting and valuable for its spirited arrangement, and for the light it casts on the conception of the subject. The room also contains other similar church furniture of the 17th and 18th centuries. Observe their theatrical tinsel style and their affected pietism, as contrasted with the simplicity, naïveté, and truth of earlier periods. Take, as an extreme example of this tendency, the relief of the Annunciation on Wall D, to the R of the entrance door, and compare it with examples of the same subject in other rooms of the collection. Wall B, facing the entrance, good case of miscellaneous woodwork containing excellent Spanish art of this bad period – a Last Supper, a St. Francis receiving the Stigmata, a Massacre of the Innocents, the Faint of St. Catherine, St. Antony the Abbot, St. Antony of Padua carrying the infant Christ, and other figures. A large gilt tabernacle, on Wall C, also contains a debased figure of St. Anthony of Padua, from an altar dedicated to the Saint. Identify as many of these saints as possible, and remember their symbols.

      We now quit the older suite of apartments, and enter a large central glass-covered court – Room VI, entirely modern. The Corridor is occupied by early altar paintings, for the most part of little value. Notice on the L, by the staircase (1701), a Giottesque Madonna and Child – Florentine, 15th century. Near it (1666), two oval panels, representing the Annunciation, divided (as frequently happens with this subject) into two distinct portions, and probably flanking a doorway in their original position – Italian, 14th century. All the paintings on this wall, mostly unsatisfactory as works of art, are valuable for their symbolism and the light they throw on the evolution of their subjects. For example: (1676), between the Annunciation pictures, represents the distribution of holy wine which has touched the relics (I think) of St. Hubert. Further on, we have a group of six Apostles; beginning from the R, St. Peter with the keys, St. John Evangelist with the cup and serpent, St. Andrew with his cross, St. Bartholomew with his knife, St. James the Greater with the pilgrim’s staff and scallop, and St. James the Less with a crosier and book. R of the staircase is a stone figure of St. Denis bearing his head, French, 15th century; also, a good statue of the Madonna, a little later. Above the doorway, R, are portions of a large Spanish altar-piece; in the centre, the Crucifixion; extreme R, Assumption of the Virgin, etc. Beyond it comes the continuation of the tabernacle already noticed, containing the six remaining Apostles, with the symbols of their martyrdom. Next, a fine Spanish altar-piece of the 15th century, from a church of St. Martin; in the centre, St. Martin dividing his cloak with the beggar; round it various other subjects, among them St. Antony with his pig, St. Stephen, in deacon’s robes, with the stones of his martyrdom, St. Jerome in the desert beating his bosom with a flint before the crucifix, St. Francis displaying the stigmata or five wounds of Christ, St. Paul the hermit with his lion, etc. R, towards the courtyard, a fine figure of Adam from St. Denis, a splendid example of the best French nude sculpture of the 14th century.

      We now enter the covered courtyard or Room VI proper, filled with fine examples of French mediæval sculpture. Several of the objects bear labels sufficiently descriptive. I will therefore only call attention to a few among them. Wall D, two wooden Flemish statues (Our Lady and St. John at Calvary), R and L of the doorway; (417) carved marble monument of the 10th or 11th century; very СКАЧАТЬ