Part 16

One of the most remarkable of these curiosities, one which was the favorite show-place of the young doctors of the Cochin when they had guests and sufficient candles, is now no longer to be seen. This was a representation of the fort of Port-Mahon, in which he had been imprisoned by the English, cut in the face of the rock in high relief by an old soldier of the king, named Lescure, who had become a stone-cutter after his retirement from the army. This is situated in the quarry of Port-Mahon, under another quarry in the quarter of the Tombe-Issoire, which was discovered by Lescure, who kept his discovery to himself and passed his leisure in executing this record of his past career. When it was completed, he began to talk, and in order to enable his visitors to reach it easily he undertook the construction of a stairway uniting the two quarries; he had scarcely commenced it, when the earth gave way, and the unfortunate artist was crushed in the débris.

Notwithstanding the care taken to shore them up, the roofs of the abandoned quarries still give way occasionally under the superincumbent weight. In May, 1879, a house in the Passage Gourdon, Boulevard Saint-Jacques, sank through the earth; in the following year, a tree in the Luxembourg garden, near the Médicis fountain, did the same thing, and in July of this year, 1880, the lightning fell in this garden, and at almost the same moment two houses in the Boulevard Saint-Michel began to sink, as well as a large section of the sidewalk. These events naturally produced a great excitement in the quarter, and measures were taken to prevent a possible recurrence of such happenings. Proprietors proposing to build in these suspected districts are now required to conform to certain regulations of the inspector-general of quarries, who examines the subsoil under their properties.

[Illustration: PARTY OF STUDENTS LUNCHING DURING A VISIT TO THE CATACOMBS.

Engraved from a flash-light photograph.]

The Cimetière des Saints Innocents,--said to have dated from the time of Philippe-Auguste,--which thus contributed to the first furnishing of the catacombs, was one of the institutions of mediæval Paris. Surrounded by its arcades of _charniers_, it had long been one of the most popular resorts of the city, and the Danse Macabre, earlier than the famous one at Bâle, painted along fifteen of these arcades, with inscriptions "to incite the people to devotion," only incited them to dance themselves. It was believed that the Duc de Berry had caused these paintings to be executed after the assassination of the Duc d'Orléans, the king's brother, in 1407, and the verses written under each personage were attributed to Jean Gerson, who was "inspired by serious contemplation to appeal, by the presentation of death, to his contemporaries of this fifteenth century--so abounding in calamities of every nature." The contemplation of death ceased to appal them,--for the space of six months, from August, 1424, to Lent, 1425, the people were in the habit of assembling in the cemetery on Sundays and fête-days, grotesquely attired to represent various classes of society, and, led by a mask disguised as Death, dancing frantically over the graves and along the charniers heaped with skeletons. In this _ronde infernale_ might be recognized some obnoxious abbot, or procureur, or bourgeois, or serjent, travestied and caricatured; the people, "seeking for the moment to forget their cares and sorrows, mocked at that death which they no longer scarcely feared, for it was, at this disastrous epoch, very often for them a deliverance." Too close familiarity with the _Camard_--"the flat-nosed," the death's-head--had bred the proverbial lack of respect.

There is not very much information available concerning this Danse Macabre,--it is known that it was the most important mural painting of the cemetery of the Innocents, and it is now attributed to Jehan d'Orléans, _valet de chambre_ and painter in ordinary to Charles VI, familiar companion of Jean, Duc de Berry. The first record that is known of it is found in the memoirs of a contemporary, printed under the title of _Journal de Paris sous Charles VI et Charles VII, à l'année 1424_, and which gives this "ITEM: _l'an iiiie xxiv fut faite la Danse Macabre à Saint-Innocent, et fut commencée environ le moys d'aoust et achevée au carême ensuivant_,"--begun in August, 1424, and finished in the following Lent. In the library of the city of Grenoble is the only known copy of a work illustrating this painting with wood-cuts,--"_cy finit la d[=a]se macabre imprimée par ung nommé Guy Marchant demeurant en Champ Gaillart à Paris le vingt-huitiesme iour de septembre mil quatre c[=e]t quatre vings et cinq_,"--printed by Guy Marchant, Champ Gaillart, Paris, September 28, 1485. The earliest known wood-engraving is the German one of Saint Christopher, dated 1423,--one year before the execution of the Danse Macabre on the walls of the Innocents. The famous Dance of Death in Bâle was not executed till 1439, and Holbein--to whom it has been attributed--was not born till 1498. The Paris dance is thus much the earlier, and in the reproduction given by Guy Marchant the varying buffoonery of the grotesque figures of death is remarkable,--they laugh, they become astonished, they become enraged,--the "serious contemplation," which they were to inspire, seems far away to our modern eyes, so conventional in their conception only of a conventional horror, silent, menacing, without any shade of humor.

Another image of this mediæval Death has been preserved to our day. This is the small alabaster statue, formerly known as the _Mort Saint-Innocent_; now preserved in the museum of the École des Beaux-Arts. It stood under the fifth arcade, when issuing from the church, in the charnier of "Messieurs les Martins," and had been executed by their order. It was kept enclosed in a box of which the church wardens had the key, and on All-Saints'-day it was exhibited to the people until noon of the next day. Although attributed to Germain Pilon, it is probably anterior to his time, and is now considered to be the work of a sculptor named François Gentil, a native of Troyes. As shown in the illustration, on page 278, it represents a corpse in the process of dissolution, "a much more striking figure than a skeleton;" it is about a mètre in height, stands upright, with a menacing expression, in its right hand it holds the folds of a shroud or winding-sheet, while the left rests upon the top of a species of shield on which is engraved the following quatrain, which was indicated by a dart placed between the fingers of the left hand:

"Il n'est vivant, tant soit plein d'art, Ni de force pour résistance, Que je ne frappe de mon dard, Pour bailler aux vers leur pitance."

Which may be translated "There is none living, however artful or strong to resist, that I do not strike with my dart, to give to the worms their share." Underneath this somewhat trite observation is a sort of monogram, the upright of which is supported by an M. When the church, the cemetery, and the charniers of the Innocents were all suppressed in 1786, this figure was transferred to the church of Saint-Jacques-la-Boucherie, afterward to the Musée des Monuments français, by M. Alexandre Lenoir, then to the Louvre, and finally to the Beaux-Arts.

"In the Middle Ages, Death played a very important part; in the arts, the games, and the ornamentation, his image was everywhere. The churches, the cemeteries, and the charniers were covered with epitaphs and with sinister phrases relating to death, and paraphrases of the _De profundis_ and the _Dies iræ_. At every step, says the author of the _Légende des trépassés_, the thought of the life eternal presented itself, sombre and terrible;--the melancholy chants and lamentations sobbing under the vaults of the churches hung with black, the hurried tolling of the death-bell which seemed to appeal for help and to sound the tocsin of eternity, the slow and solemn processions of the monks and the penitents intoning in the public squares the seven psalms of penitence, the great dance macabre performed in the cemeteries and the city streets, the representation of the Last Judgment by the brothers of the Passion, ... the bell-ringer of the dead making his nocturnal round,--all these formed an ensemble of awe-inspiring scenes well calculated to alienate the living from the frailties of this world."

[Illustration: ENTRANCE TO THE CATACOMBS, PLACE DENFERT-ROCHEREAU.

After a drawing by A. Sauvage.]

The use of _charniers_ to receive the bones of the dead, disinterred to make room for more recent corpses in the century-old cemeteries, was peculiar to Paris, and began with the Cimetière des Innocents at an unknown date. The word seems to have first been used in France in the eleventh century;--the historian, Raoul Glaber, quoted in MM. Firmin-Didot's important work on Paris, previously cited, tells us that after a terrible famine, "as it was no longer possible to inter each body separately because of their great number, the pious people who feared God constructed in divers localities charniers, in which were deposited more than five hundred corpses." A dictionary of architecture, published in Paris in 1770, defines the word as meaning a "gallery or portico, formerly constructed around the parish cemeteries, in which the catechism is taught, and in the lofts of which are stored the fleshless bones of the dead. They may be found in several parishes of Paris." Their use was not entirely discontinued till the close of the last century. A pious regard for the relics of the departed led to the search for some honorable place in which to store this constantly increasing multitude of skeletons; sheds or penthouses were used, chapels, the lofts of cloisters and churches. In Paris there were six important churches, the cemeteries of which were surrounded by extensive galleries, lit by rich windows and ornamented with elaborate funerary monuments, and eight other parishes of minor importance; one of the latest built of these, that of Saint-Philippe-du-Roule, prided itself on having its steeple and its charnier in miniature. The two most important were that of the Innocents, the popular cemetery, and that of Saint-Paul, the aristocratic one.

To the accidental and isolated places of storage in the former succeeded a series of symmetrical constructions, built independently of each other, yet rapidly succeeding one another, and apparently all by funds proceeding from pious legacies and donations in the fourteenth century. These different galleries enclosed from twenty to twenty-five arcades each, and were largely open to the air, so that their ghastly contents were plainly visible. Some of them, it is thought, had no roofs, or very imperfect ones. Notwithstanding these charnel-houses and the reeking soil of the cemetery itself, a deposit for refuse and offal of every description, this locality was one of the most thronged in the mediæval city. The present Halles Centrales and the Marché des Innocents, which occupied the same site from 1785, are but the legitimate successors of the busy commerce carried on in this locality from the earliest times. Louis XI authorized the construction, in the Rue de la Ferronnerie, against the walls of the charniers, of little stalls or sheds to be let to poor trades-people on condition that they did not display their merchandise on the public street, very narrow in this quarter,--a restriction which was speedily disregarded. "An ordinance of Henri II, on highways, directed that this street should be widened, May 14, 1554; it was not executed, and, fifty-six years later, to the day, Henri IV was assassinated here, May 14, 1610." It may be remembered that the temporary obstruction of the narrow street, which compelled the royal coach to halt, gave Ravaillac his opportunity. In 1669, the charnier des Lingères was ordered to be demolished, and two years later it was reconstructed to form the northern wall of the Rue de la Ferronnerie.

Even the very imperfect sanitary science of the Middle Ages recognized this cemetery as a centre of infection, and innumerable complaints were addressed to the civic authorities from reign to reign. Toward the middle of the eighteenth century, these protestations became more frequent, and various reports were made upon the subject. In 1737, the Parlement, by a decree dated July 9th, appointed a committee of experts, consisting of MM. Lemery and Hunault, physicians of the Hôtel-Dieu, and Geoffroy, _médécin chimiste_, all three of them members of the Académie des Sciences, to report "upon the grounds for the complaints which have been made for more than forty years, perhaps for more than a century, upon the infection caused by the Cimetière des Innocents." The report of this commission, dated May 22, 1738, gives some lively details concerning the manners and customs of the times that may be sought for in vain in other and less candid records. "Two causes of these evil odors may be observed,--the fecal matter which the inhabitants of the neighboring houses throw into the cemetery, partly in a trench that has been made along the sides of the houses that are on the Rue de la Ferronnerie, and the infection from the graves during the time that they are open and being refilled. The first cause is the most obvious; the second does not seem to exercise any injurious effect on the health of the neighborhood.... Do the exhalations from the cemetery augment in time of epidemics?... The experience of the past does not seem to furnish any grounds for these slight suspicions.... The soil is not exhausted, but it is less fit to bring about the dissolution of the dead bodies."

Various remedies were proposed in the conclusion of the report: "Prevent the lodgers in the neighboring houses from throwing their water, urine, and filth into the cemetery, and, to this end, increase the number of _lunettes_ in the closets and close the windows up with gratings." This

## particularly concerned the row of houses along the Rue de la

Ferronnerie, which formed one of the long sides of the cemetery; they were five stories in height, and had been reconstructed under Louis XIV, eighty years before. A typical detail of the period may be found in the fact that there were "lunettes" only on the first floor; the dwellers in the upper stories found it more convenient to throw their refuse out of the windows than to carry it down-stairs. In fact,--says MM. Firmin-Didot's editor, from whom we gather these details,--had the private individuals any right to complain when, in building the palace of Versailles, only one thing had been forgotten,--the closets? "And yet these were the good old times, and Monsieur _Purgon_ [of Molière's _Malade Imaginaire_] was then held in great honor!"

The commission also made several recommendations concerning the cemetery, which to-day would be thought to be very insufficient. It was proposed to level the ground, to divide it into squares, to dig graves in a diagonal direction opposite to the one formerly followed, to oblige the grave-digger to take out the bones each time, to have only one common grave open all the time--instead of three, to double the size of the graves, to cover the bodies with eight inches or a foot of earth--according to the season, to open the graves by preference only in the winter, to burn the bones or transport them to the new grounds of the Porcherons, acquired by the chapter of Saint-Germain, and to exchange part of the soil taken from the graves for new soil from this locality. Another report, made by the commissioner Laumônier in 1780, advised the establishment of a provisional cemetery under the charge of the Capuchins,--"it were better," said the commissioner, "to have monks for a guardian rather than a drunkard, like that of the Innocents."

This was Maître Poutrain, who had been _fossoyeur_ here for thirty years, and who made application to be transferred to the new cemetery as soon as he heard that his old one was to be suppressed. It was not suppressed, however, till six years later, and in 1785 we find another commission from the Académie des Sciences taking testimony and adopting the recommendations of the grave-digger Poutrain as though he had been a member of their own learned body. They even accepted this statement from him:--there was a square tomb in the cemetery, near the church, then only some three feet high, and which, when he commenced his labors in the grounds, had been so high that he could scarcely reach the top with his hands. That the soil had risen, however, cannot be doubted. There were two thousand or three thousand burials a year; Poutrain said he had officiated at ninety thousand himself during his term of office; and M. Héricart de Thury has estimated the number of inhumations in the course of six centuries as high as one million two hundred thousand. This has even been considered as below the probable number, on a basis of three thousand a year, and not allowing for famines, pestilences, epidemics, and wars,--all in a space estimated at nine thousand six hundred square feet.

Another account says that the cemetery was closed on the 1st of December, 1780, in consequence of the following incident: In July of that year, a shoemaker of the Rue de la Lingerie, having occasion to go down into his cellar to get some leather, was driven back by an insupportable odor. His neighbors having been called in and due investigation made, it was discovered that the foundation wall had yielded to the pressure of the earth of the cemetery, and that the cellar was half full of decomposing bodies, mostly from a trench that had been opened on that side of the grounds in the latter part of the preceding year, for the reception of some two thousand corpses. The police forbade the gazettes and journals to give any publicity to this incident, and a commission was appointed to investigate. A decree of the Archbishop of Paris, June 10, 1786, definitely closed the cemetery, the earth was screened, the bones placed in sacks and transported in covered carts to the old quarries under the plain of Montsouris in the locality called the Tombe-Issoire, as has been stated. Those which it had been intended to transport to the cemetery of the Faubourg Montmartre were, for want of space, taken to Montrouge.

The vegetable market which had been held in the Rue de la Ferronnerie was transferred to the site of the old cemetery, and for a number of years this Marché des Innocents, with its four or five hundred immense red parasols, under which the vendors sheltered themselves, was one of the sights of Paris. In 1813, galleries of wood were constructed around the enclosure for this purpose. In the centre was placed the old fountain from the corner of the Rues Aux Fers and Saint-Denis, with the five naiads in relief sculptured by Jean Goujon supplemented by three more, more or less in the same style, by Pajou. Since the reconstruction of the Halles Centrales, the Marché des Innocents has been transformed into a public garden, surrounding this monumental fountain.

As early as 1766, the Parlement of Paris had taken up the very important reform of suppressing all interments within the city, "a custom which had its origin only in the growth of the city which, in extending its limits, had gradually taken into its enclosure the cemeteries originally outside its walls." A municipal decree, in nineteen articles, forbade any further burials in the cemeteries then within the city walls, after the first day of January, 1766, or in churches, chapels, or vaults, excepting under certain limitations. This sanitary measure was, however, so vehemently opposed by all the curés of Paris that it was never enforced; the question of compelling all interments to take place in suburban cemeteries was not seriously taken up till 1804, when the grounds of Père-Lachaise were purchased by the city, and, to this day, the only interments that are forbidden within the built-up limits of the capital are the temporary ones, and the common ones for the poor,--the _fosses temporaires_, and the _fosses communes_.

[Illustration: CLOISTERS OF THE CHURCH DES INNOCENTS, SHOWING UPPER PORTIONS CONTAINING HUMAN SKULLS, AND THE FRESCOES OF THE "DANSE MACABRE."]

By a grotesque arrangement, the funeral arrangements in Paris were formerly in charge of the town-criers, the _crieurs de corps et de vins_, the _crieurs-jurés_, who held a monopoly of these public announcements, and who bawled through the streets, indifferently, the proclamation of _choses estranges_ which were lost, mules, children, horses, and the like, of wine to sell--when they carried a gilded drinking-cup, and of deaths--when they wore a sort of dalmatic sown with black "tears" and death's-heads. Their number was at first fixed at twenty-four, then at thirty, and an edict of January, 1690, raised it to fifty. They had a reprehensible fashion of announcing deaths and ringing their bell through the streets at all hours of the night: "Pray to God for the soul of Messire Suchaone, who has just died! Awake, all ye who sleep, and pray God for the dead!" The Parisian bourgeois, suddenly aroused from slumber by this hoarse appeal under his windows, entered into a state of fright, or of fury, according to his temperament. These _crieurs_ and _clocheteurs des trépassés_, moreover, formed a wealthy and influential corporation which held the monopoly of what is to-day the _Pompes funèbres_,--they furnished the serge, the robes, the mantles, the chaperons or hoods, the hangings, and the torches for the funerals, they even furnished the hired mourners when required, who preceded the cortège to the graves in black garments, "ringing their bells, drawing lugubrious sounds from grotesque instruments, appealing to the people to pray for the defunct, making an infernal uproar, and, in order to honor the dead, nearly killing the living." This corporation was in existence after 1789, but the hospitals and hospices had obtained the right of furnishing hangings for funeral ceremonies, and a decree of the year XII transferred it to churches and consistories.

The arrangements for interments, generally, were in harmony with the condition of the overcrowded and reeking cemeteries,--the bodies were usually transported to their last resting-places on men's backs or by their arms, the poor enjoyed the luxury of a bier only during this journey and were thrown half-naked into the common grave. From this period of the Revolution, these summary processes were forbidden; the bodies were obliged to be carried in wagons or cars, excepting those of children, though sometimes several coffins were placed in the same vehicle. For more seemly processions, the cars were drawn by two horses, walking, accompanied by an _ordonnateur_ and three porters in costume, or even by four _aumôniers_ on horseback supporting the canopy. In the latter case, the hearse would be furnished with no less than eight horses. For these sumptuous occasions, however, the _jurés-crieurs_ would deem it necessary to accompany the funeral cortége with a convoy of saddle-makers, harness-makers, and wheelwrights, in case the heavy funeral car should happen to upset or to become stalled in the mud. The presence of these auxiliaries in their working costumes was concealed as much as possible; they were placed in the hearse, sitting on the coffin itself, and concealed from view by the heavy black curtains of the vehicle,--here they amused themselves by playing at dice on the bier, drinking, if they had had the forethought to bring a bottle along, or sometimes by showing their faces through the openings of the black curtains and making grimaces at the four mounted aumôniers, whose dignity forbade them to reply in kind.