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The Catacombs of Paris…
Often the subject of many a horror movie, the catacombs maintain a place in countless imaginations as one of gruesome terror. Those who are claustrophobic refuse to enter thinking that as they make their way thru the passageways, the walls will close in around them, the bones coming to life! And there are many who are convinced that ghost roam these halls (well, actually they might).
Despite these fears, the Catacombs are a popular, yet dark feature in The City of Light with thousands of visitors lining up each day to roam the corridors and gaze upon the millions of bones that line the walls and walkways.
With so many famous cemeteries in Paris (Cimetière du Père Lachaise, Cimetière de Montmartre, Cimetière du Montparnasse), however, how did the catacombs come to be?
Limestone quarries, located on the outskirts of the city, provided construction materials for the city’s building and allowed for growth and expansion before the 18th century. Around this time, Parisian cemeteries were increasingly becoming overpopulated and many improper burials resulted in open graves and unearthed corpses. The stench of decomposing flesh and the risk of disease led those who resided close to these cemeteries to complain to the authorities.
In 1763, Louis XV issued an edict which banned all burials within the city, however, the Church fought back, not wishing to disturb the dead. In 1780, massive rains caused flooding which resulted in a wall around the cemetery of Les Innocents to collapse, spilling rotting corpses onto the neighboring properties. Finally, French authorities were forced to take action.
The quarries were deemed an appropriate spot to relocate the bones and corpses from the overcrowded cemeteries. In 1786, the Tombe-Issoire quarries were blessed and consecrated and they became what we now know as the Paris Catacombs. Moving the bodies from Les Innocents took over two years and was followed by the relocation of bones from cemeteries throughout the city. By the French Revolution, however, the practice of burying the newly dead directly into the catacombs was instituted.
The process of transferring the bones was finally completed in 1860 and seven years later, the catacombs were opened to the public.
Access to the Catacombs, one of the fourteen City of Paris museums, is located near the Denfert Rochereau metro station in the Square de l’Abbe Migne. After waiting in the never-ending queue, you will descend via a staircase of 130 steps leading down 20 meters below ground. The area is dimly lit, and at times, narrow and low. There are many signs engraved on the walls, however, most will not be of any assistance in navigating the passageways. Architects and engineers of the Quarry Inspection Department marked their underground construction work during the 18th century. The number of the work site, initials and the year are engraved in the stone and are interesting to note. Other signs refer to the Arcueil Aqueduct, built between 1613 and 1623, on order from Marie de Medici, to bring water to the city from springs in Rungis and many of the passageways are identified by the avenues that run above them.
After a lengthy walk and an encounter with a display on the history of the catacombs, we soon came to the entrance to the ossuary, where a sign above the black and white doorways read “Stop, this is death’s empire!”. Stepping through the entryway, it is here that you finally encounter the remains of several million Parisians.
The first bones were thrown here randomly and it wasn’t until 1810, when Héricart de Thury, Inspector General of the Quarries, developed the area. Long bones and skulls were arranged decoratively to form a back wall, or hague, behind which the other bones are piled. Thury also created signage to indicate which Parisian cemetery the bones originated. His use of geometric shapes on the masonry pillars and decorative arrangement of the bones is fascinating and reminded me of the Capuchin Crypt in Rome, where bones are used to decorate the walls and used to make various objects within the crypt.
After a lengthy walk, I became separated from my companions and found myself completely alone. Though I was enthralled by the process of photographically capturing the unique bone formations, it suddenly dawned on me that I might have taken a wrong turn. Trying to remain calm, I continued on, positive that I was on the correct path toward the exit.
Finding the fountain “de la Samaritaine” (of the Samaritan woman) was a welcome sight. Knowing that this would be part of the tourist passageways, I realized that I must be on the correct path. The fountain is a well, around which a small circular area was designed, surrounded by wall of bones from the Les Innocents. The well was installed so that the quarry workers could make mortar for use in the construction of the hagues.
Finally, encountering other visitors, I found signs referring to the major events of the French Revolution, “Fighting at the Réveillon factory in Faubourg
Saint-Antoine on 28 April 1789” (where a workers’ protest ended in a massacre) and “Fighting at the Château des Tuileries on 10 August 1792” (where Swiss guards fought against Parisian units). During this time, the ossuary was used as a morgue and those killed in combat were brought to this location.
Nearing the end of the tour, my companions were alerted to my approach by the clicking of my camera. Here, I found them in the Crypt of the Passion, or the “tibia rotunda”. A supporting pillar is circled by skulls and tibias and form an impressive barrel shape. In 1897, a concert was held here between midnight and two in the morning. Over one hundred thrill-seeking attendees listened to Chopin’s Funeral March and the Danse Macabre as well as other pieces by Camille Saint-Saens.
Those same thrill-seekers are still fascinated by the Paris Catacombs today. Though open to the general public, access is limited to a small part of the network. Since, 1955, it has been illegal to enter other parts of the catacombs, however, the Cataphiles, urban explorers, have explored parts of the catacombs deemed off limits. Some areas have been reported to have been restored and turned into creative spaces by the Cataphiles, one with a secret amphitheater, complete with a giant cinema screen, projection equipment, a couple of films and seats and a neighboring area with a fully stocked bar and a restaurant. As many as 300 Cataphiles have been reported to enter the catacombs each week via secret entrances. Non-Cataphiles and tourists are not welcome.
Though this may be appealing to many, I myself, realizing how uneasy I was when I was alone during my visit, think I would rather remain in the areas that are monitored…and at least lit.
As we exited into the gift shop, we took a moment to look around at the merchandise offered and to utilize their restrooms. Stepping out onto the streets, near the intersection of Avenue Rene Coty and Rue Dareau, however, it became clear that our ending point was not near the beginning of our journey. Though we were able to swiftly determine the correct direction to return, it might be beneficial if signage pointed visitors back to the direction in which they came.
Where else in the world do you get to explore a city from below? For this reason, the Catacombs are a “must-see” and should not be missed! And, for those interested in Parisian history, this is for you!
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The Catacombs of Paris
- http://www.catacombes.paris.fr/en/homepage-catacombs-official-website
- Address: 1 Avenue du Colonel Henri Rol-Tanguy, 75014 Paris, France
- Hours: Tuesday-Sunday from 1000-2030, last admission, 1930. Closed Mondays.
- Admission: 13€, children under 18, free. Expect a long line to enter. Advance tickets may be purchased which offer a Skip the Line option for about 31€ which also includes an audio guide.
- Getting There: Located across from the Denfert-Rochereau metro stop, in the Square de l’Abbe Migne
Taking the RER B, I headed north, changing lines to the RER D at Gare du Nord. Disembarking at Gare du St. Denis, I walked out of the station only to realize that nothing looked familiar. Asking for help, I proceeded to walk in the direction which I was pointed. About ten minutes later, following signs marking the way, I finally found the basilica.
Admittedly, the exterior is quite remarkable and some time should be taken to inspect and appreciate the intricate details on all facades of the church before entering. Admission to the nave is free and well worth a walk around. From here, you can determine why the church was promoted to cathedral status in 1966, so awesome is its beauty. Be sure to visit the gallery on the left side of the cathedral which showcases many royal items from past kings. From the nave, you can spy the tombs and monuments from afar, however, if you are aspiring to a closer look (which you will), you must pay the admission to the necropolis outside at the right of the basilica.
It’s Christmastime in the city!
Located near the intersection of Via del Gambero and Via della Mercede, San Silvestro, is hardly noticeable with other, more grand churches in the area. An unassuming building of a yellowish color with architectural details in limestone, its most notable features are the four baroque statues of San Silvestro by Lorenzo Ouone, Saint Stephen by Michelangelo Borgognone, Saint Clare by Guiseppe Mazzoni and Saint Francis by Vincenzo Felice at the apex. It doesn’t stand out or appear to be a church, however, as you approach from Piazza di San Silvestro, you realize that this is not the facade of the actual church. The street exterior lures you into an atrium which sequesters it from the busy Roman streets. The walls here are embedded and decorated with fragments of early Christian and pagan monuments and sculpture, many with inscriptions, obtained from excavations and restorations and the church’s entrance is at far side. Most interesting here is an ancient sarcophagus and several antiquated columns on the right side of the atrium.
In the 17th century, the 135-step staircase was designed by little-known architect and sculptor, Francesco de Sanctis. The steps, built during a two year span, from 1723 to 1725, were intended to connect the newly built Trinita dei Monti church, owned by the French, and the Piazza di Spagna, home of the Spanish Embassy, signifying the newly-established peace between France and Spain.
After leaving the church, I was determined to head toward the recently refurbished Fontana di Trevi (Trevi Fountain), but there was a brief detour that I was determined to make.
Making my way down Via Gregoriana, I finally headed to the Trevi Fountain to see it once again devoid of the scaffolding that had marred its beautiful veneer the last time I had walked past.
Like the Spanish Steps, the well-known Trevi Fountain has become a place where tourists and locals meet and hang out, grabbing a nearby gelato while admiring the roaring water cascading from the monument.
And, while you are at it, make sure to throw a coin from your right hand over your left shoulder and make a wish! It will ensure that you will return to Rome one day!
Our first impression of Tarangire was a hot and sweaty one. Much more arid and dry than the other two parks, it was also sweltering and teeming with tsetse flies. The blue and black flags were present throughout the park and although they didn’t cause me much anguish, my travel mates suffered their piercing bites.
Throughout the park, male ostriches danced along, bobbing their bright pink necks with females remaining aloof. At one point, while driving along, we noticed what appeared to be a male ostrich resting in the grass. Waiting for it to rise, we soon noticed that it was not alone. Not only had we been fortunate to spy the mating ritual of lions while at Ngorongoro, but now, we were able to witness that of the ostrich!
A couple of hours into our trek, we made a stop at the African Galleria. Once we had utilized their facilities, we took a bit of time to walk around and inspect the amazing artwork. Yes, there were the normal masks, souvenirs and fabrics that you would find in any market, but there was also the most awe-inspiring carvings that I have ever seen. After spotting the most intricate piece of shaped wood, depicting migrating wildebeests, my curiosity got the best of me and I had to inquire about some of the prices.
