only. Saint-Jacques de la Boucherie was scarcely finished when the destruction of the old Louvre began.
Since then the great city has grown daily more and more deformed. Gothic Paris, which swallowed up the Paris of the bastard Roman period, vanished in its turn; but who can say what manner of Paris has replaced it?
There is the Paris of Catherine de Medicis, at the Tuileries;ba the Paris of Henry II, at the Hotel de Ville, or Town Hall,--two buildings still in the best taste; the Paris of Henry IV, at the Place Royale,--brick fronts, with stone corners and slated roofs, tri-colored houses; the Paris of Louis XIII, at the Val-de-Grace,--a squat, dumpy style of architecture, basket-handle vaults, something corpulent about the columns, something crook-backed about the dome; the Paris of Louis XIV, at the Invalides,--grand, rich, gilded, and cold; the Paris of Louis XV, at Saint-Sulpice,--volutes, knots of ribbon, clouds, vermicelli, and chiccory, all in stone; the Paris of Louis XVI, at the Pantheon,--a poor copy of St. Peter's at Rome (the building has settled awkwardly, which has not corrected its lines); the Paris of the Republic at the School of Medicine,--a poor bit of Greek and Roman taste, no more like the Coliseum or the Parthenon than the Constitution of the year III is like the laws of Minos; it is known in architecture as "the Messidor style;"bb the Paris of Napoleon, at the Place Vendome: this is sublime,--a bronze column made from captured cannon; the Paris of the Restoration, at the Exchange,--a very white colonnade supporting a very smooth frieze; the whole thing is square, and cost twenty million francs.
For each of these characteristic structures we find a certain number of houses, similar in taste, style, and attitude, scattered through different quarters of the city, and easily to be recognized and dated by a trained observer. Any one who has the art of seeing can trace the spirit of a century and the physiognomy of a king even in a door-knocker.
Paris of the present day, therefore, has no general character of its own. It is a collection of specimens of various ages, and the best ones have disappeared. The capital increases in houses only, and what houses! At the rate at which Paris moves, it will be renewed every fifty years. Thus the historic significance of its architecture dies daily. Monuments of art are becoming more and more rare, and it seems as if we saw them swallowed up by degrees, lost among the houses. Our fathers had a Paris of stone; our children will have a Paris of plaster.
As for the modern monuments of new Paris, we would gladly forbear to speak of them. This is not because we do not admire them as they deserve. M. Soufflot's Sainte-Genevieve is assuredly the best fancy cake that was ever made of stone. The Palace of the Legion of Honor is also a very elegant piece of confectionery. The dome of the Corn-market is an English jockey-cap on a large scale. The towers of Saint-Sulpice are two big clarionets, and that is a very good shape in its way; the telegraph wire, twisting and wriggling, makes a pretty diversity upon their roof. Saint-Roch has a doorway only comparable in magnificence to that of the church of Saint-Thomas d'Aquin. It has also a Calvary in high relief in a cellar, and a sun made of gilded wood. These are very marvelous matters. The lantern in the labyrinth of the Botanical Garden, too, is very ingenious. As for the Exchange, which has a Greek colonnade, Roman semicircular arches over its doors and windows, and a great elliptic vault of the period of the Renaissance, it is undoubtedly a very correct and very pure piece of architecture: the proof being, that it is crowned with an attic such as Athens never saw,--a beautiful straight line gracefully broken here and there by chimney-pots. Let us add, that if it be the rule that the architectural design of a building should be adapted to its purpose, so that this purpose shall be self-evident from one look at the edifice, we cannot too much wonder at a public building which might be indifferently a royal palace, a House of Commons, a town-hall, a college, a riding-school, a warehouse, a courthouse, a museum, a barrack, a tomb, a temple, or a theater. And, after all, it is an Exchange! Moreover, a building should be appropriate to the climate. This is evidently built for our cold and rainy sky. It has a roof almost as flat as if it were in the Orient, so that in winter, when it snows, the roof can be swept; and it is evident that roofs were made to be swept. As for that purpose to which we alluded just now, it fulfils it marvellously well; it is an Exchange in France, as it would have been a temple in Greece. True, the architect took great pains to hide the face of the clock, which would have destroyed the purity of the fine lines of the front; but, to make amends for this, there is that colonnade which runs round the building, and under which, on high holidays or religious festivals, the theories of stock-brokers and exchange-agents may be solemnly unfolded.
These are doubtless very superb structures. Add any number of fine streets, entertaining and diversified like the Rue de Rivoli, and I am not without hope that Paris, seen from a balloon, may yet present that richness of outline, that wealth of detail, that diversity of aspect, that union of the grandiose and simple, of the unexpected and the beautiful, which characterize a checkerboard.
Nevertheless, admirable as Paris of the present day may seem to you, recall Paris of the fifteenth century; reconstruct it in imagination; gaze at the sky through that amazing thicket of spires, steeples, and towers; let the Seine flow through the center of the vast city, interrupt its course with islands, let it curve around the arches of its bridges in broad pools of green and yellow more variable than a serpent's skin; draw distinctly on the blue horizon the Gothic profile of old Paris; let its outlines shimmer in the fog which clings about its many chimneys; drown it in profound darkness, and watch the strange play of lights and shadows in this gloomy labyrinth of buildings; throw a moonbeam upon it which shall reveal it dimly and lift the great heads of the towers above the fog; or recall that dark picture, light up the myriad of sharp angles of spire and gable as they lurk in the shadow, and make them all stand out, more indented than a shark's jaw, against the coppery sunset sky,--and then compare the two.
And if you would receive an impression from the old city which the modern one can never give you, climb, some holiday morning, say at sunrise on Easter or Whitsunday,--climb to some high point whence you overlook the whole town, and listen to the call of the chimes. See, at a signal from the sky,--for it is the sun that gives it,--those countless churches quiver simultaneously. At first a scattered tolling passes from church to church, as when musicians give notice that they are about to begin. Then, all at once, see,--for at certain moments it seems as if the ear had also its vision,--see as it were a column of sound, a vapor of harmony rise at one and the same moment from every tower. At first the vibrations of each bell ascend straight, pure, and as it were apart from the rest, into the clear morning sky; then, little by little, as they increase, they melt into one another, are blended, united, and combined into one magnificent harmony. It ceases to be anything but a mass of sonorous vibrations incessantly set loose from countless spires, floating, undulating, bounding, whirling over the city, and prolonging the deafening circle of its oscillations far beyond the horizon. Yet that sea of harmonies is not a chaos. Deep and wide as it may be, it has not lost its transparency; you may see each group of notes, as it escapes from the several chimes of bells, take its own meandering course. You may follow the dialogue, by turns solemn and shrill, between the small bell and the big bell; you may see the octaves bound from spire to spire; you watch them spring winged, light, and sibilant from the silver bell, fall maimed and halting from the wooden bell; you admire in their midst the rich gamut perpetually running up and down the seven bells of Saint-Eustache; you behold quick, clear notes dart through the whole in three or four luminous zig-zags, and then vanish like lightning flashes. Yonder is the Abbey of Saint-Martin, shrill and cracked of voice; here is the surly, ominous voice of the Bastille; at the other end the great tower of the Louvre, with its counter-tenor. The royal peal of the Palace flings resplendent trills on every hand, without a pause; and upon them fall at regular intervals dull strokes from the belfry of Notre-Dame, which strike sparks from them as the hammer from the anvil. At intervals you see passing tones of every form, coming from the triple peal of Saint-Germain-des-Pres. Then again, from time to time this mass of sublime sounds half opens and makes way for the stretto of the Ave-Maria, which twinkles and flashes like a starry plume. Below, in the very heart of the harmony, you vaguely catch the inner music of the churches as it escapes through the vibrating pores of their vaulted roofs. Certainly, this is an opera worth hearing. Usually, the noise which rises up from Paris by day is the talking of the city; by night, it is the breathing of the city; but this,--this is the singing of the city. Hearken then to this tutti of the steeples; over all diffuse the murmur of half a million men, the never-ending murmur of the river, the endless sighing of the wind, the grave and distant quartet of the four forests ranged upon the hills in the horizon like huge organ-cases; drown, as in a demi-tint, all that would otherwise be too harsh and shrill in the central chime,--and then say if you know of anything on earth richer, more joyous, more mellow, more enchanting than this tumult of bells and chimes; than this furnace of music; than these ten thousand brazen voices singing together through stone flutes three hundred feet in length; than this city which is but an orchestra; than this symphony which roars like a tempest.
BOOK FOUR
CHAPTER I
Kind Souls
It was some sixteen years previous to the date of this story, on a fine morning of the first Sunday after Easter, known in France as Quasimodo Sunday, that a living creature was laid, after Mass, in the Church of Notre-Dame, upon the bedstead fixed in the square outside, to the left of the entrance, opposite that "great image" of Saint Christopher, which the carven stone figure of Master Antoine des Essarts, knight, had contemplated on his knees until the year 1413, when it was thought proper to pull down both saint and believer. Upon this bed it was customary to expose foundlings to public charity. Whoever chose to take them, did so. In front of the bedstead was a copper basin for alms.
The sort of living creature lying on the board upon this Sunday morning, in the year of our Lord 1467, seemed to excite in a high degree the curiosity of the somewhat numerous group of people who had gathered around the bed. This group was largely composed of members of the fair sex. They were almost all old women.
In the foremost rank, and bending over the bed, were four who by their grey hoods and gowns seemed to belong to some religious community. I know no reason why history should not hand down to posterity the names of these four discreet and venerable dames. They were Agnes la Herme, Jehanne de la Tarme, Henriette la Gaultiere, and Gauchere la Violette, all four widows, all four good women from the Etienne Haudry Chapel, who had come out for the day by their superior's permission, and conformably to the statutes of Pierre d'Ailly, to hear the sermon.
However, if these worthy Haudriettes were, for the time being, obeying the statutes of Pierre d'Ailly, they were certainly wilfully violating those of Michel de Brache and the Cardinal of Pisa, which so barbarously condemned them to silence.
"What on earth is it, sister?" said Agnes to Gauchere, gazing at the little foundling as it shrieked and writhed upon its bed, terrified by so many observers.
"What is the world coming to," said Jehanne, "if that is the way the children look nowadays?"
"I don't know much about children," added Agnes; "but it must surely be a sin to look at this thing."
"It's no child, Agnes."
"It's a deformed monkey," remarked Gauchere.
"It's a miracle," continued Henriette la Gaultiere.
"Then," observed Agnes, "it's the third since Laetare Sunday; for it's not a week since we had the miracle of the mocker of pilgrims divinely punished by Our Lady of Aubervilliers, and that was the second miracle of the month."
"This foundling, as they call it, is a regular monster of abomination," added Jehanne.
"He howls fit to deafen a chorister," said Gauchere. "Will you hold your tongue, you little screamer!"
"To think that the Bishop of Rheims should send this monstrosity to the Bishop of Paris," went on La Gaultiere, clasping her hands.
"I believe," said Agnes la Herme, "that it's a beast, an animal, a cross between a Jew and a pig; something, in fact, which is not Christian, and should be burned or drowned."
"I'm sure I hope," exclaimed La Gaultiere, "that no one will offer to take it."
"Oh, good gracious!" cried Agnes, "I pity those poor nurses in the Foundling Hospital at the end of the lane, as you go down to the river, just next door to his lordship the bishop, if this little monster is given to them to suckle. I'd rather nurse a vampire."
"What a simpleton you are, poor La Herme!" cried Jehanne; "don't you see, sister, that this little wretch is at least four years old, and that he would have less appetite for your breast than for a piece of roast meat."
In fact, "the little monster" (for we ourselves should find it hard to describe him otherwise) was no new-born baby. He was a very bony and very uneasy little bundle, tied up in a linen bag marked with the monogram of M. Guillaume Chartier, then Bishop of Paris, with a head protruding from one end. This head was a most misshapen thing; there was nothing to be seen of it but a shock of red hair, an eye, a mouth, and teeth. The eye wept, the mouth shrieked, and the teeth seemed only waiting a chance to bite. The whole body kicked and struggled in the bag, to the amazement of the crowd, which grew larger and changed continually around it.
Dame Aloise de Gondelaurier, a rich and noble lady, leading a pretty girl of some six years by the hand, and trailing a long veil from the golden horn of her headdress, stopped as she passed the bed, and glanced for an instant at the miserable creature, while her lovely little daughter Fleur-de-Lys de Gondelaurier, arrayed in silk and velvet, spelled out with her pretty little finger the permanent inscription fastened to the bedstead "For Foundlings."
"Really," said the lady, turning away in disgust, "I thought they only put children here!"
She turned her back, throwing into the basin a silver coin which jingled loudly among the copper pence, and made the four good women from the Etienne Haudry Home stare.
A moment later, the grave and learned Robert Mistricolle, prothonotary to the king, passed with a huge missal under one arm and his wife under the other (Damoiselle Guillemette la Mairesse), being thus armed on either hand with his spiritual and his temporal advisers.
"A foundling," said he, after examination, "found apparently on the shores of the river Phlegethon!"
"It sees with but one eye," remarked Damoiselle Guillemette; "there is a wart over the other."
"That is no wart," replied Master Robert Mistricolle; "that is an egg which holds just such another demon, who also bears another little egg containing another demon, and so on ad infinitum."
"How do you know?" asked Guillemette la Mairesse.
"I know it for very good reasons," answered the prothonotary.
"Mr. Prothonotary," inquired Gauchere la Violette, "what do you predict from this pretended foundling?"
"The greatest misfortunes," replied Mistricolle.
"Ah, good heavens!" said an old woman in the audience; "no wonder we had such a great plague last year, and that they say the English are going to land at Harfleur!"
"Perhaps it will prevent the queen from coming to Paris in September," added another; "and trade 's so bad already!"
"It is my opinion," cried Jehanne de la Tarme, "that it would be better for the people of Paris if this little sorcerer here were laid on a fagot rather than a board."
"A fine flaming fagot!" added the old woman.
"That would be more prudent," said Mistricolle.
For some moments a young priest had been listening to the arguments of the Haudriettes and the sententious decrees of the prothonotary. His was a stern face, with a broad brow and penetrating eye. He silently put aside the crowd, examined the "little sorcerer," and stretched his hand over him. It was high time; for all the godly old women were already licking their lips at the thought of the "fine flaming fagot."
"I adopt this child," said the priest.
He wrapped it in his cassock and bore it away. The spectators looked after him with frightened eyes. A moment later he had vanished through the Porte Rouge, which then led from the church to the cloisters.
When their first surprise was over, Jehanne de la Tarme whispered in La Gaultiere's ear,--
"I always told you, sister, that that young scholar Monsieur Claude Frollo was a wizard."
CHAPTER II
Claude Frollo
Indeed, Claude Frollo was no ordinary character. He belonged to one of those middle-class families called indifferently, in the impertinent language of the last century, the better class of citizens, or petty nobility. This family had inherited from the brothers Paclet the estate of Tirechappe, which was held of the Bishop of Paris, and the twenty-one houses belonging to which had been the subject of so many suits before the judge of the bishop's court during the thirteenth century. As holder of this fief, Claude Frollo was one of the one hundred and forty-one lords and nobles claiming memorial dues in Paris and its suburbs; and his name was long to be seen inscribed, in that capacity, between those of the Hotel de Tancarville, belonging to Master Francois le Rez, and the College of Tours, in the cartulary deposited for safe keeping at Saint-Martin des Champs.
Claude Frollo had from early childhood been destined by his parents to enter the ranks of the clergy. He was taught to read in Latin; he was trained to look down and speak low. While still very young his father put him at the convent School of Torchi in the University. There he grew up on the missal and the lexicon.
He was moreover a sad, serious, sober child, who loved study and learned quickly. He never shouted at play, took little part in the riotous frolics of the Rue du Fouarre, knew not what it was to "dare alapas et capillos laniare,"bc and had no share in the mutiny of 1463, which historians gravely set down as the "sixth disturbance at the University." It seldom occurred to him to tease the poor scholars of Montaigu about their capotes,--the little hoods from which they took their name,--or the bur