Travels in France during the years 1814-15. Patrick Fraser Tytler

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СКАЧАТЬ times embodied their conception of divine perfection; but the Pantheon is adapted for a holier worship, and accords with the character of a purer belief; and the vastness and solitude of its untrodden chambers awaken those feelings of human weakness, and that sentiment of human immortality, which befit the temple of a spiritual faith.

      We were involuntarily led, by the sight of this great monument of sacred architecture in the Grecian style, to compare it with the Gothic churches which we had seen, and in particular with the Cathedral of Beauvais, the interior of which is finished with greater delicacy, and in finer proportions, than any other edifice of a similar kind in France. The impression which the inimitable choir of Beauvais produced, was widely different from that which we felt on entering the lofty dome of the Pantheon at Paris. The light pinnacles, the fretted roof, the aspiring form of the Gothic edifice, seemed to have been framed by the hands of aerial beings, and produced, even from a distance, that impression of grace and airiness which it was the peculiar object of this species of Gothic architecture to excite. On passing the high archway which covers the western door, and entering the immense aisles of the Cathedral, the sanctity of the place produces a deeper impression, and the grandeur of the forms awakens profounder feelings. The light of the day is excluded, the rays of the sun come mellowed through the splendid colours with Which the windows are stained, and cast a religious light over the marble pavement which covers the floor; while the eye reposes on the harmonious forms of the lancet windows, or is bewildered in the profusion of ornament with which the roof is adorned. The impression which the whole produces, is that of religious emotion, singularly suited to the genius of Christianity; if is seen in that obscure light which fits the solemnity of religious duty, and awakens those feelings of intense delight, which prepare the mind for the high strain of religious praise. But it is not the deep feeling of humility and weakness which is produced by the dark chambers and massy pillars of the Pantheon at Paris; it is not in the mausoleum of the dead that you seem to wander, nor on the thoughts of the great that have gone before you that the mind revolves; it is in the scene of thanksgiving that your admiration is fixed; it is with the emblems of Hope that your devotion is awakened, and with the enthusiasm of gratitude that the mind is filled. Beneath the gloomy roof of the Grecian Temple, the spirit is concentrated within itself: it seeks the repose which solitude affords, and meditates on the fate of the immortal soul; but it loves to follow the multitude into the Gothic Cathedral, to join in the song of grateful praise which peals through its lengthened aisles, and to share in the enthusiasm which belongs to the exercise of common devotion.

      The Cathedral of Notre Dame is the only Gothic building of note in Paris, and it is by no means equal to the expectations we had been led to form of it. The style of its architecture is not that of the finest Gothic; it has neither the exquisite lightness of ornament which distinguishes the summit of Gloucester Cathedral, nor the fine lancet windows which give so unrivalled a beauty to the interior of Beauvais, nor the richness of roof which covers the tombs of Westminster Abbey. Its character is that of massy greatness; its ornaments are rich rather than elegant, and its interior striking more from its immense size than the beauty of the proportion in which it is formed. In spite of all these circumstances, however, the Cathedral of Notre Dame produces a deep impression on the mind of the beholder; its towers rise to a stupendous height above all the buildings which surround them; while the stone of every other edifice is of a light colour, they alone are black with the smoke of centuries; and exhibit a venerable aspect of ancient greatness in the midst of the brilliancy of modern decoration with which the city abounds. Even the crowd of ornaments with which they are loaded, and the heavy proportion in which they are built, are forgotten in the effect which their magnitude produces; they suit the gloomy character of the building they adorn, and accord with the expression of antiquated power by which its aged forms are now distinguished.

      To those who have been accustomed to the form of worship which is established in Protestant countries, there is nothing so striking in the Catholic churches as the complete oblivion of rank, or any of the distinctions of established society, which there universally prevails. There are no divisions of seats, nor any places fixed for any particular classes of society. All, of whatever rank or station, kneel alike upon the marble pavement; and the whole extent of the church is open for the devotion of all classes of the people. You frequently see the poorest citizens with their children kneeling on the stone close to those of the highest rank, or the most extensive fortunes. This custom may appear painful to those who have been habituated to the forms of devotion in the English churches; but it produces an impression on the mind of the spectator which nothing in our service is capable of effecting. To see the individual form lost in the immensity of the objects with which he is surrounded; to see all ranks and ages blended in the exercise of common devotion; to see all distinction forgotten in the sense of common infirmity, suits the spirit of that religion which was addressed to the poor as well as to the rich, and fits the presence of that Being before whom all ranks are equal.

      Nor is it without a good effect upon the feelings of mankind, that this custom has formed a part of the Catholic service. Amidst that degradation of the great body of the people, which marks the greater part of the Catholic countries—amidst the insolence of aristocratic power, which the doctrines of the Catholic faith are so well suited to support, it is fitting that there should be some occasions on which the distinctions of the world should be forgotten; some moments in which the rich as well as the poor should be humbled before a greater power—in which they should be reminded of the common faith in which they have been baptized, of the common duties to which they are called, and the common hopes which they have been permitted to form.

      We had the good fortune to see high mass performed in Notre Dame, with all the pomp of the Catholic service, for the souls of Louis XVI. Marie Antoinette, and the Dauphin, on May 16, 1814, soon after the King's arrival in Paris. The Cathedral was hung with black in every part; the brilliancy of day wholly excluded, and it was lighted only by double rows of wax tapers, which burned round the coffins, placed in the centre of the choir. It was crowded to excess in every part; all the Marshals, Peers, and dignitaries of France, were stationed with the Royal Family near the centre of the Cathedral, and all the principal officers of the allied armies attended at the celebration of the service. The King was present, though without being perceived by the vast assembly by whom he was surrounded; and the Duchess d'Angouleme exhibited, in this melancholy duty, that mixture of firmness and sensibility by which her character has always been distinguished.

      It was said, that there were several persons present at this solemn service who had voted for the death of the King; and many of those assembled must doubtless have been conscious that they had been instrumental in the death of those for whose souls this solemn service was now performing. The greater part, however, of those whom we had an opportunity of observing, exhibited the symptoms of genuine sorrow, and seemed to participate in the solemnity with unfeigned devotion. The Catholic worship was here displayed in its utmost splendour; all the highest prelates of France were assembled to give dignity to the spectacle; and all that art could devise was exhausted to render the scene impressive in the eyes of the people. To us, however, who had been habituated to the simplicity of the English form, the variety of unmeaning ceremony, the endless gestures and unceasing bows of the clergy who officiated, destroyed the impression which the solemnity of the service would otherwise have produced. But though the service itself appeared ridiculous, the effect of the whole scene was sublime in the greatest degree. The black tapestry hung in heavy folds round the sides of the Cathedral, and magnified the impression which its vastness produced. The tapers which surrounded the coffins threw a red and gloomy light over the innumerable multitude which thronged the floor; their receding rays faintly illuminated the farther recesses, or strained to pierce the obscure gloom in which the summits of the pillars were lost; while the sacred music pealed through the distant aisles, and deepened the effect of the thousands of voices which joined in the strains of repentant prayer.

      Among the exhibitions of art to which a stranger is conducted immediately after his arrival in the French metropolis, there is none which is more characteristic of the disposition of the people than the Musèe des Monumens François, situated in the Rue des Petits Angustins. This is a collection of all the finest sepulchral monuments from different parts of France, particularly from the Cathedral of St. СКАЧАТЬ