Travels in France during the years 1814-1815 by Patrick Fraser Tytler (best e ink reader for manga .txt) 📕

fine perspective of the Bridge of Peace, terminating in the noble front of the palace of the Legislative Body; to the west, the long avenues of the Elysian Fields are closed by the pillars of a triumphal arch which Napoleon had commenced; while to the north, the beautiful façade of the Palace itself, leaves the spectator only room to discover at a greater distance the foundation of the Temple of Glory, which he had commenced, and in the execution of which he was interrupted by those ambitious enterprises to which his subsequent downfall was owing. To a painter's eye, the effect of the whole scene is increased by the rich and varied foreground which everywhere presents itself, composed of the shrubs with which the skirts of the square are adorned, and the lofty poplars which rise amidst the splendour of architectural beauty; while recent events give a greater interest to the spot from which this beauty is surveyed, by the remembrance, that it was here that Louis XVI. fell a martyr to the revolutionary principles, and that it was here that the Emperor Alexander and the other princes of Europe took their station, when their armies passed in triumph through the walls of Paris.

The view from the Pont Neuf, though not so striking upon the whole, embraces objects of greater individual beauty. The gay and animated quays of the city covered with foot-passengers, and with all the varied exhibitions of industrious occupation, which, from the warmth of the climate, are carried on in the open air;—the long and splendid front of the Louvre and Thuilleries;—the bold projection of the Palais des Arts, of the Hotel de la Monnaie, and other public buildings on the opposite side of the river;—the beautiful perspective of the bridges, adorned by the magnificent colonnade which fronts the Palace of the Legislative Body;—and the lofty picturesque buildings of the centre of Paris surrounding the more elevated towers of Notre Dame, form a scene, which, though less perfect, is more striking, and more characteristic, than the scene from the centre of the Place Louis Quinze, which has been just described. It conveys at once a general idea of the French capital; of that mixture of poverty and splendour by which it is so remarkably distinguished; of that grandeur of national power, and that degradation of individual importance, which marked the ancient dynasty of the French nation. It marks too, in a historical view, the changes of the public feeling which the people of this country have undergone, from the distant period when the towers of Notre Dame rose amidst the austerity of Gothic taste, and were loaded with the riches of Catholic superstition, to that boasted æra, when the loyalty of the French people exhausted the wealth and the genius of the country, to decorate with classic taste the residence of their Sovereigns; and lastly, to those later days, when the names of religion and of loyalty have alike been forgotten; when the national exultation reposed only on the trophies of military greatness, and the iron yoke of imperial power was forgotten in the monuments which record the deeds of imperial glory.

To the general observation on the inferiority of the common buildings in Paris, there are some remarkable exceptions. The Boulevards, the remains of the ancient ramparts of the city, are in general beautiful, from their circular form, from their uniform breadth, from the magnificence of the detached palaces with which they abound, and from the rows of fine trees with which they are shaded. In the skirts of the town, and more especially in the Fauxbourg St Germain, the beauty of the streets is greatly increased by the detached hotels or villas, surrounded by gardens, which are everywhere to be met with, in which the lilac, the laburnum, the Bois de Judeé, and the acacia, grow in the most luxuriant manner, and on the green foliage of which the eye reposes with singular delight amidst the bright and dazzling whiteness of the stone with which they are surrounded.

The Hotel des Invalides, the Chelsea Hospital of France, is one of the objects on which the Parisians principally pride themselves, and to which a stranger is conducted immediately after his arrival in that capital. The institution itself appears to be well conducted, and to give general satisfaction to the wounded men who have there found an asylum from the miseries of war. We were informed that these men live in habits of perfect harmony among each other; a state of things widely different from that of our veterans in Greenwich Hospital, and which is probably chiefly owing to the cheerfulness and equanimity of temper which form the best feature in the French character. There is something in the style of the architecture of this building, which accords well with the object to which it is devoted. The front is distinguished by a simple manly portico, and a dome of the finest proportion rises above its centre, which is visible from all parts of the city. This dome was gilded by order of Bonaparte: and however much a fastidious taste may regret the addition, it certainly gave an air of splendour to the whole, which was in perfect unison with the feelings of exultation which the sight of this monument of military glory was then fitted to awaken among the French people. The exterior of this edifice was formerly surrounded by cannon captured by the armies of France at different periods: and ten thousand standards, the trophies of victory during the wars of two centuries, waved under its splendid dome, and enveloped the sword of Frederic the Great, which hung from the centre, until the 31st of March 1814, when, as already observed, they were all burnt by order of Maria Louisa, to prevent their falling into the victorious hands of the allied powers.

If the character of the architecture of the Hotel des Invalides accords well with the object to which that building is destined, the character of the Louvre is not less in unison with the spirit of the fine arts, to which it is consecrated. It is impossible for language to convey any adequate idea of the impression which this exquisite building awakens in the mind of a stranger. The beautiful proportions, and the fine symmetry of the great façade, give an air of simplicity to the distant view of this edifice, which is not diminished, on nearer approach, by the unrivalled beauty of its ornaments and detail; but when you cross the threshold of the portico, and pass under its noble archway into the inner-court, all considerations are absorbed in the throb of admiration which is excited by the sudden display of all that is lovely and harmonious in Grecian architecture. You find yourself in the midst of the noblest and yet chastest display of architectural beauty, where every ornament possesses the character by which the whole is distinguished, and where the whole possesses the grace and elegance which every ornament presents:—You find yourself on the spot where all the monuments of ancient art are deposited;—where the greatest exertions of mortal genius are preserved—and where a palace has at last been raised worthy of being the depository of the collected genius of the human race.—It bears a higher character than that of being the residence of imperial power; it seems destined to loftier purposes than to be the abode of earthly greatness; and the only forms by which its halls would not be degraded, are those models of ideal perfection which the genius of ancient Greece created to exalt the character of a heathen world.

Placed in a more elevated spot, and destined to a still higher object, the Pantheon bears in its front the traces of the noble purpose for which it was intended.—It was intended to be the cemetery of all the great men who had deserved well of their country; and it bears the inscription, above its entrance, Aux grands Hommes La Patrie reconnoissante. The character of its architecture is well adapted to the impression it is intended to convey, and suits the simplicity of the inscription which its portico presents. Its situation has been selected with singular taste, to aid the effect which was thus intended. It is placed at the top of an eminence, which shelves in a declivity on every side; and the immediate approach is by an immense flight of steps, which form the base of the building, and increase the effect which its magnitude produces. Over the entrance is placed a portico of lofty pillars, finely proportioned, supporting a magnificent entablature of the simplest order; and the whole terminates in a dome of vast dimensions, forming the highest object in the whole city. The impression which every one must feel in crossing its threshold, is that of religious awe; the individual is lost in the greatness of the objects with which he is surrounded, and he dreads to enter what seems the abode of a greater Power, and to have been framed for the purposes of more elevated worship. The Louvre might have been fitted for the gay scenes of ancient sacrifice; it suits the brilliant conceptions of heathen mythology; and seems the fit abode of those ideal forms, in which the imagination of ancient 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