[Illustration: CHAPEL OF CHÂTEAU AT VINCENNES.]
From the time when Julius Cæsar addressed his legions on the little island of _Lutetia Civitas Parisiorum_ to the present day, two millenniums of history have been enacted there, and few spots are to be found in Europe where so many associations are crowded together. In Gallo-Roman times the island was, as we have seen, even smaller, five islets having been incorporated with it since the thirteenth century. Some notion of the changes that have swept over its soil may be conceived on scanning Félibien's 1725 map, where no less than eighteen churches are marked, scarce a wrack of which now remains on the island. We must imagine the old mediæval Cité as a labyrinth of crooked and narrow streets, with the present broad Parvis of Notre Dame of much smaller extent, at a higher level, enclosed by a low wall and approached by steps. Against the north tower leaned the Baptistery (St. Jean le Rond) and St. Denis of the Ferry against the apse. St. Pierre aux Boeufs, whose façade has been transferred to St. Sévérin's on the south bank, stood at the east corner, St. Christopher at the west corner of the present Hôtel Dieu which covers the site of eleven streets and three churches. The old twelfth-century hospital, demolished in 1878, occupied the whole space south of the Parvis between the present Petit Pont and the Pont au Double. It possessed its own bridge, the Pont St. Charles, over which the buildings stretched, and joined the annexe (1606), which, until 1909, existed on the opposite side of the river.
The traveller who stands on the Parvis before the Church of Our Lady at Paris beholds the embodiment and most perfect expression of early Gothic architecture, the central type and model of the new style created by the genius of the masters of the Isle de France in the late twelfth and early thirteenth centuries. On the west front the builders have lavished all their artistic powers in a synthetic exposition of their outlook on life and eternity. As the worshipper approaches the central portal his eye is arrested by a representation of the ultimate and most solemn fact of human destiny, the Last Judgment. On the lintel the dead are seen rising from their graves at the last trump; prelate, noble and serf in one equality of doom. Above, the fine figure of St. Michael is seen weighing souls in the balance. At his left the damned are hauled in chains by grinning demons to Hell: at his right the elect raise joyful eyes toward Heaven. Crowning the tympanum is Christ the Judge, flanked by angels, and by the Virgin and the Baptist kneeling in intercession while He shows His wounded hands. On the archivolts are, to the right of the spectator, demons and damned souls and quaint personifications of death: to his left the heavenly host, choirs of angels, seated prophets and doctors and the army of martyrs. On the jambs are the five wise and five foolish virgins; apostles and saints on the embrasures of the door; below them reliefs of the virtues, each symbolised above its opposite vice. On the central pillar stands Christ in act of blessing; below Him, bas-reliefs typifying the seven liberal arts.[180]