University of Virginia Library

RIGHT BANK OF THE SEINE.

1. The Old Boulevards.

Colonne de Juillet, Place Royale, Imprimerie Impériale, Porte St. Martin,
Porte St. Denis, Bourse, Vendôme Monument, Chapelle Expiatoire.

In the year 1670, during the reign of Louis XIV., the fortifications
(boulevards = bulwarks) which then surrounded Paris
were taken down and the ditches filled up[1] . This gave rise to
a street, the northern portion of which, on the right bank of the
Seine, displays a richness of architecture and an array of attractive
shop-windows, which are surpassed in no other city in the world.

There are a number of other boulevards in Paris many of
which have sprung up in consequence of the gigantic and still
incomplete street-improvements (Boulevard Hausmann, de Magenta,
du Prince Eugène, de l'Hôpital, des Gobelins, St. Jacques, d'Enfer,
du Montparnasse, des Invalides etc.), but "the Boulevards" is a
term usually applied exclusively to the line (3 M.) of broad
streets leading from the Bastille to the Madeleine and subdivided
as follows: Boulevard Beaumarchais (10 min. walk), Boulevard
des Filles du Calvaire (3 min.), Boulevard du Temple (8 min.),
Boulevard St. Martin (8 min.) Boulevard St. Denis (3 min.),
Boulevard Bonne Nouvelle (6 min.), Boulevard Poissonnière (6 min.),
Boulevard Montmartre (4 min.), Boulevard des Italiens (8 min.),
Boulevard des Capucines (6 min.), Boulevard de la Madeleine (4 min.).

With the bright and cheerful animation and admirable arrangement
of these Boulevards no line of streets in the English, or indeed
any other metropolis can vie.

The Boulevards were formerly paved, and the stones have at
different periods been employed in the construction of barricades.
Since 1850 they have been macadamized and furnished with an
asphalt pavement for foot-passengers. The trees, to which the
gas is highly prejudicial, are a source of constant trouble to the
city authorities. When dead they are replaced by full-grown

substitutes, transplanted at great expense from a more healthy
atmosphere. The small glass cabinets in which newspapers are
sold, and the establishments where Selters water and other
beverages are supplied to the thirsty wayfarer, known by the
German designation of "Trinkhalle", are all of comparatively
recent origin. The chairs (chaises et fauteuils), which may be
hired (10—20 c.) on the most animated portions of the boulevards,
belong to a company, and are often in great request.

In order to inspect the Boulevards in detail, the stranger is
strongly recommended to walk along the N. side from the Bastille
to the Madeleine and to return on the S. side. The quietest
and most favourable time is the forenoon. When the traffic reaches
its climax, between 2 and 5 p. m., the top of an omnibus is
perhaps the best point of observation. An evening walk through
the boulevards should also on no account be omitted; nothing
can then exceed the brilliancy and animation of the scene. — The
number of vehicles, from the elegant private equipage to the
ponderous waggon, which daily traverse the boulevards, is upwards
of 24,000.

The shops, as well as many of the cafés of the Boulevard
des Italiens and those adjoining it far surpass those of the Palais
Royal in brilliancy and magnificence. Cafés in the Boulevards,
see p. 15; reading-rooms, p. 17; theatres, p. 29; shops and
bazaars, p. 17.

A very frequent summer apparition on the Boulevards is the
vender of coco (liquorice water and lemon-juice), with his quiverlike
zinc vessels, shining mugs and tinkling bell.

The Place de la Bastille is selected as the most suitable
starting-point for the above-mentioned walk; as the stranger proceeds
from E. to W., the interest of the route gradually increases
and the traffic becomes more animated. From the Madeleine he
may then proceed by the Place de la Concorde and the Champs
Élysées to the Arc de l'Étoile, and return thence through the
Jardin des Tuileries, past the Palais Royal, the Hôtel de Ville
and the Caserne Napoléon, to the July Column. This circuit
comprises a large proportion of the most striking features in Paris.

The Place de la Bastille, or simply La Bastille as it is usually
termed, was formerly the site of La Bastille St. Antoine, a castle
consisting of five lofty towers connected by walls and surrounded
by a deep fosse. This building, which formed the extremity
of the ancient fortifications and commanded the Seine and the
populous suburb of St. Antoine, was spared in 1670 when
the boulevards were levelled (p. 33), and was subsequently
employed as a state-prison. On the 14th of July, 1789, it
was captured and destroyed by the revolutionists; the stones
were then chiefly employed in the construction of the Pont de
la Concorde.

The Boulevard Richard Lenoir, constructed above the covered
Canal St. Martin, which is connected with the Bassin du Canal
St. Martin on the S. side of the Place and thus with the Seine
also, was once destined by Napoleon I. to be the site of a
colossal elephant fountain, 72 ft. in height, to be erected in
commemoration of the revolution. (A model is preserved in the
Ecole des Beaux Arts, p. 151.) The steamboats pass beneath
this beautiful promenade, and their smoke is occasionally visible
as it issues from the air-holes concealed in the midst of the
small plantations.

After the revolution of 1830, however, the plan was abandoned;
the spot was employed as a burial-place for the "July champions",
and the present Colonne de Juillet erected over their remains.
The monument, which is of iron, 154 ft. in height, is surmounted
by a figure emblematical of Liberty, bearing a torch in one hand
and a broken chain in the other. In February 1818, the "February
champions" were here interred beside their comrades of 1830.
The summit of the monument commands a fine view, especially
of the cemetery Père Lachaise; the ascent is, however, less
recommended than that of the Tour St. Jacques (p. 46), and
should not be attempted by persons inclined to dizziness, on
account of the swaying motion which is sometimes felt, especially
in windy weather. Custodian's fee 20 c.

The strongest barricade of the insurgents in June, 1848,
which could not be captured without the aid of heavy artillery,
was in the neighbouring Rue du Faubourg St. Antoine diverging
to the r. (E.) On the 25th of June, the third day of the contest,
Archbishop Affre (p. 105) was here killed by an insurgent's
ball, whilst exhorting the people to peace.

Before commencing his walk along the animated Boulevards,
the stranger may, by way of contrast, visit the Place Royale, to
reach which he turns to the l. into the Rue St. Antoine and
takes the third street (Rue Royale) to the r. Passing under an
arch, he enters a large square planted with limes and chestnuts,
two sides of which are adorned with fountains. In the centre
stands the equestrian marble Statue of Louis XIII., executed by
Dupaty and Cortot, and erected in 1829 to replace the statue of
the same king erected by Richelieu in 1639, which had been
destroyed in 1792.

The square itself occupies the site of the court of the former
Palais des Tournelles, where in 1565 a tournament, which cost
Henry II. his life (p. 94), took place. Catherine de Medicis caused
the palace to be taken down and the houses (not completed till
the reign of Henry IV.), which now occupy its site, to be erected.
They are built uniformly of red brick with lofty roofs, and
have a series of arcades in front. Richelieu once occupied No. 21,
Victor Hugo No. 9 at the S.E. corner, and Mademoiselle Rachel

the house opposite until her death in 1858. The present inhabitants
of this gloomy, old-fashioned square, as well as of the adjoining
streets (Quartier du Marais), are chiefly retired officers
and persons of limited income. For a short time after the
revolution of 1792, and again in 1848, the square was named
Place des Vosges, in honour of the department of that name, which
had been the first to send contributions in support of the popular
cause.

To the N. W. of this, if the Rue Neuve Ste. Catherine be followed,
the Imprimerie Impériale, the extensive and interesting printing
establishment of the government, is reached. Admission on
Thursdays at 2 precisely, as the premises are shown once only
(1 fr.)

Returning to the Place de la Bastille and entering the Boulevards,
the stranger first traverses the Boulevard Beaumarchais.
The S. side consists of handsome and tastefully
built houses, completed since 1848, the N. side principally of
petty shops. This boulevard and that of the Filles du Calvaire
are chiefly frequented by the denizens of the Faubourg
St. Antoine with their blue blouses and printed cotton jackets.
In fine weather the decayed gentleman and retired officer of the
Quartier du Marais, recognisable by the ancient appearance of
their costume, occasionally emerge to sun themselves. No. 25 is
the Th?atre Beaumarchais, the great resort of the inhabitants of
the neighbouring Faubourg.

The Boulevard du Temple is sometimes termed the
Boulevard du Crime, owing, it is said, to the number
of melodramatic and other theatres which were formerly crowded
together on the N. side, the last of which, however, have very
recently been demolished to make way for the new Boulevard du
Prince Eugène (see below).

To the latter appellation the crime of Fieschi may possibly
have in some degree contributed. No 42 occupies the site of
the house, whence July 28th, 1835, he discharged his infernal
machine at Louis Philippe, which occasioned the death of Marshal
Mortier and several others.

Exactly opposite, on the S. side, is situated the Jardin Turc,
and near it the restaurant Bonvalet, both frequented by the respectable
denizens of the Quartier du Marais (see above). The
Cadran Bleu, exactly opposite to the Restaurant Bonvalet, was
formerly one of the most celebrated restaurants in Paris. On the
same side toy and fancy shops predominate.

The huge building on the r., which attracts the eye at the
commencement of the Boulevard St. Martin, is the Caserne du
Prince Eugène, capable of accommodating 8000 men. It is now
connected with Vincennes and its military establishments by the
Boulevard du Prince Eugène, inaugurated Dec. 7th, 1862,

by the emperor. This Boulevard runs in a S. E. direction from
the Boulevard du Temple to the Place du Trône, and intersects
the Place du Prince Eugène, where in 1865 a bronze Statue of
Eugène Beauharnais was erected. It stands on a pedestal of
green granite, bearing the inscription: "Au Prince Eugène Napoléon";
the sides are adorned with representations of the prince's
greatest battles, and at the back is recorded the passage from
his letter to the Emperor Alexander in 1814, in which he repudiates
that monarch's overtures and declares his determination of
remaining faithful to Napoleon. (In the vicinity, in front of
the Prison de la Roquette, is the Parisian place of execution).
Farther on, the Boulevard traverses the most populous portion
of the quarter inhabited by artizans. The triumphal arch, in commemoration
of the Russian and Italian campaigns, which it was
proposed to erect in front of the columns of the Place du Trône
and of which a model in wood was temporarily constructed,
will probably never be executed.

The new Boulevard de Magenta diverges to the N. and
the Boulevard St. Martin commences at the Château d'Eau, a
handsome fountain consisting of three stories, the lowest 90 ft.
in diameter. A flower-market is held here on Mondays and Thursdays
(p. 18). The Boulevard lies on a slight eminence, which in
the middle, between the houses, was levelled in 1845 for the
convenience of carriages. Here are situated the Théâtre des
Folies Dramatiques, the Théâtre de l'Ambigu Comique and the
Théâtre de la Porte St. Martin.

The Porte St. Martin is a triumphal arch, 54 ft. in height
and 54 ft. in breadth, erected by the city in 1674 in honour of
Louis XIV. The inscriptions and reliefs commemorate the victories
of that monarch; on the S. side are represented the capture
of Besançon and the defeat of the Triple Alliance (Germans,
Spaniards and Dutch), on the N. the taking of Limbourg and the
victory over the Germans. On the 31st of March, 1814, the
German and Russian armies entered Paris by the Barrière de
Pantin and the Rue du Faubourg St. Martin, and passed through
the Porte St. Martin and the Boulevards to the Place de la Concorde
(p. 78).

The broad, new street, which here diverges to the r. and l.
and intersects Paris from N. to S., is the Boulevard de Sébastopol
and the Boulevard de Strasbourg (comp. p. 45).

The Porte St. Denis, another triumphal arch erected by the
city in 1672, to commemorate the brilliant successes of Louis XIV.
in Holland and the district of the Lower Rhine, is 72 ft. in height
and of more symmetrical proportions than the Porte St. Martin.
The archway is 43 ft. in height and 25 ft. in width. The Latin
inscription on the S. side is to the following effect: To Louis
the Great, for having within 60 days crossed the Rhine, the Waal,

the Meuse and the Issel, conquered three provinces and captured
40 fortified cities. On the obelisk to the r. is the vanquished and
mournful Holland on a dead lion, to the l. the river-god of the
Rhine. Above the archway is represented Louis's passage of the
Rhine at Tollhuis below Emmerich, where the river had been
rendered unusually shallow by a long drought. The relief and
inscription at the back commemorate the fact that the same
monarch took Mæstricht in 13 days.

In July, 1830, both these gateways were the scene of the most
sanguinary conflicts; here, too, in June, 1848, the first engagement
between the insurgents and the military took place.

The visitor next reaches the Boulevard Bonne Nouvelle
(Théâtre du Gymnase, p. 28), the Boulevard Poissonnière
and the Boulevard Montmartre. The Théâtre
des Variétés is No. 7, on the S. side, see p. 28; No. 21 is a
magazine of aquariums, where a large and interesting aquarium
is exhibited (1 fr.).

The traffic now increases in animation and the shops in splendour.
In the Boulevard Poissonnière may be mentioned the
Bazar de Voyage, No. 14; Henri, the well-known perfumer, No. 20;
Barbedienne and Co., dealers in bronzes, Nr. 30; Bazar de l'Industrie,
on the S. side, No. 27; in the Rue Montmartre the "Ville
de Paris"; then the Passage des Panoramas, and on the N. side
the more recently constructed Passage Jouffroy, both containing
numerous attractive shops.

Cafés and restaurants, and on the S. side shops, are now the
most conspicuous buildings. "Au Prophète" on the S. side is a
vast and brilliantly lighted depôt for ready-made clothes.

The Rue du Faubourg Montmartre at its junction with the
Boulevards was on Feb. 24th, 1848, closed by a strong barricade
which several times baffled the attempts of the municipal guard
to take it.

Before entering the Boulevard des Italiens, the stranger should
turn into the Rue Vivienne, opposite to the Passage Jouffroy,
which leads him to the Place de la Bourse. The Exchange, or
Palais de la Bourse, is a handsome building in the Grecian style,
surrounded by a colonnade of 66 Corinthian pillars. At the corners
stand four statues emblematical of Commerce (by Dumont),
Commercial Equity (by Duret), Industry (by Pradier) and Agriculture
(by Seurre).

The hall of the Bourse, 116 ft. in length and 76 ft. in width,
is opened at 12 o'clock (free access from 12 to 5 o'cl.; sticks
and umbrellas must be given up at the entrance, 10 c.). Numerous
vehicles, especially private carriages, soon drive up, and
the money-seeking throng crowds into the building. The parquet,
at the end of the hall, is a railed-off space which the sworn
brokers (agents de change) alone are privileged to enter. They

congregate round the corbeille, another railed-off space in the
centre, and make their offers in loud tones. Other groups, especially
near the parquet, are occupied in taking notes, or concluding
sales or purchases, the prices being regulated by the
transactions which take place in the parquet. Occasionally an
offer is made to the brokers in the parquet, or instructions
handed over to them to effect sales.

The tumultuous scene is best surveyed from the gallery, to
which the S. side-entrance leads. The noise, the shouting, the
excited gestures of the speculators and the eager cupidity of
all produce a disagreeable impression on the mind of the spectator.
Amidst the din almost the only intelligible words are:
"Je donne, je prends, je vends!"

At 3 o'clock the stock-exchange terminates, the brokers assemble
and note the prices realized in the most recently concluded
transactions, and the exchange-list for the day is then issued and
at once printed. The hall remains open from 3 to 5 o'clock for
the transaction of other mercantile business. The upper apartments
are employed by the Tribunal de Commerce for its public
sessions, which are held daily, Saturdays excepted, at 10 o'clock.
The president and judges are merchants. The new Tribunal de
Commerce in the Boulevard de Sébastopol (p. 45), rapidly approaches
completion.

Opposite to the Bourse is the Théâtre de Vaudeville (p. 28).

The portions of the Rue Vivienne and the parallel Rue Richelieu,
which diverge from the Boulevard to the S., are among
the most animated business localities. The establishment "Aux
Villes de France" has an entrance in each of these streets. Rue
Richelieu, Place Louvois (Square Richelieu), Bibliothèque Impérial,
see p. 99.

Returning to the Boulevards, the stranger passes Frascati, the
once notorious gambling-house, a large building to the r. at the
end of the Rue Richelieu. The Boulevard des Italiens is
sometimes called Boulevard de Gand from the fact that, whilst
Louis XVIII. was during the hundred days (1815) awaiting the
issue of affairs at Ghent, his partisans were in the habit of assembling
here. It is the most animated and fashionable of all,
and consists almost exclusively of hotels, cafés and the choicest
shops. The upper stories of several of the best houses are let
to private clubs.

Before and after the exchange hours, petty stockbrokers frequently
assemble at the Passage de l'Opéra and exhibit the same
eager haste and excitement as in the hall of the Bourse. These
clusters, which often obstruct the pavement to the annoyance of
the foot-passengers, are generally dispersed by the police, which
is no sooner done than the offenders re-assemble in similar knots
a few paces farther off.

The Grand Opéra (p. 26) forms the N. termination of the
passage; the front is on the W. side of the Rue Lepelletier.

On the opposite (S.) side of the Boulevard stands the Café
du Grand Balcon and behind it the Opéra Comique.

The streets which diverge from the Boulevard to the N., the
Rue Laffitte, Rue Taitbout, and especially the Rue de la Chaussée
d'Antin are chiefly inhabited by wealthy bankers, moneyed men
and eminent savants, artists etc. At No. 17 Rue Laffitte, now
the property of Baron James Rothschild, Napoleon III. was born
Aug. 20th, 1808.

At the Rue de la Chaussée d'Antin the Boulevard des
Capucines commences. On an open space on the N. side, opposite
to the Rue de la Paix, the extensive new Opera-house is in
course of construction. It is intended to form the extremity of
a new Boulevard, leading to the Station de l'Ouest (Versailles-Rouen),
and which will be prolonged under the name of Rue de
l'Impératrice as far as the Rue de Rivoli. Adjacent to it is the
Grand Hôtel (p. 4). On the opposite side, at the corner in the
Rue de la Paix, Tahan, one of the best shops in Paris for
furniture and articles of carved wood; No. 37 is the depôt of
the Compagnie Lyonnaise; No. 41, au premier, Biétry's shawl
magazine.

The Rue de la Paix, which diverges to the S. from the Boulevard
des Capucines, is one of the handsomest streets in Paris
and also the residence of many of the wealthiest citizens. It
terminates in the octagonal Place Vendôme, in the centre of which
rises the Colonne Vendòme, a monument in imitation of Trajan's
column at Rome, 135 ft. in height and 12 ft. in diameter. It was
erected by Napoleon I. in 1810 to commemorate his victories over
the Russians and Austrians in 1805, as the inscription records.
A Latin inscription on a tablet above the door is to the following
effect: The Emperor Napoleon dedicated this monument, constructed
of captured cannons, in commemoration of the war terminated in
Germany within three months under his generalship, to the fame of
the great army. — The metal of 1200 cannons was employed in
the construction of the column.

The reliefs of the pedestal represent the uniforms and weapons
of the conquered armies, those which wind round the shaft exhibit
in chronological order a history of the war from the departure of
the troops from the camp of Boulogne to the battle of Austerlitz.
The figures are each 3 ft. in height; the entire series, if in a
straight line, would measure 840 ft. in length. They possess no
great artistic merit and owing to their height above the spectator
cannot easily be distinguished. A good model of the column may
be seen at the Hôtel des Monnaies (p. 148).

The original statue of Napoleon which occupied the summit
of the column was melted down in 1814, and the metal employed

in casting the equestrian statue of Henry IV. on the Pont Neuf
(p. 101). Subsequently, in 1831, Louis Philippe caused a new
statue to be cast of the metal of guns captured at Algiers and
to be placed on the summit. This was removed in December,
1863, to the Avenue de Neuilly and replaced by a statue of the
emperor in his imperial robes, similar to the original statue.

The column may be ascended by means of a dark staircase
(open from 10 a. m. to 6 p. m.). The custodian (fee 50 cent.)
provides the visitor with a lantern. The view from the summit
is, however, inferior to those from the Tour St. Jacques, Notre-Dame,
the Panthéon and the Arc de l'Etoile.

The Hôtel du Rhin, on the S. side of the square, was the
residence of Napoleon III. when acting as deputy of the national
assembly from September to December, 1848.

Returning to the Rue de la Paix and following the Rue Neuve
des Capucines, the first street to the l., the stranger will soon
reach the Boulevard de la Madeleine. The new buildings to the r.,
at the corner of the Boulevard des Capucines, occupy the site of
the Hôtel du Ministère des Affaires Etrangères, which stood here
till 1853, and was in February, 1848, the residence of Guizot,
the prime minister at that time. On the night of February 23rd,
1848, a shot fired from a window of this edifice, as it is alleged,
by a mischance, was the precursor of the events which levelled
the "July throne".

The houses of the Boulevard de la Madeleine, the N. side
of which is termed Rue Basse du Rempart, are all of recent
origin, most of them having been erected in 1855—56. One of the
most tempting shop-windows is that of Gallois Gignoux, Nos. 21—23.

The W. termination of the Boulevards is formed by the church
of La Madeleine (p. 109).

A Flower-market, of considerable importance, is held here on
Tuesdays and Fridays. One of the principal cab-stands in the
city is on the N. and W. sides of the church.

The broad but short Rue Royale leads hence to the Place de
la Concorde (p. 78). In the last house to the l. are the offices
of the minister of marine affairs.

The Boulevard Malesherbes, ¾ M. in length, inaugurated
August 13th, 1861, and leading in a direct line to the Park of
Monceaux (p. 88), diverges from the Madeleine in a N. W. direction,
and forms a continuation of the old Boulevards. It is intersected
by the new Boulevard Hausmann. About the centre of the former
is situated the new Eglise des Augustins, a late Gothic structure,
with lower and upper church, not yet entirely completed.

The remains of the illustrious victims who were guillotined in
1793 (p. 79) were originally interred in the former churchyard
of the Madeleine, at the N. extremity of the Rue de la Madeleine.
In 1815 they were removed to the royal vault of St. Denis, and

on the spot where they had for 21 years reposed, the Chapelle
Expiatoire was erected by Louis XVIII., as the inscription over
the entrance records.

The chapel is built in the form of a cross, surmounted by a
dome. The interior contains two marble groups, to the l. that
of the queen, supported by a figure emblematical of Religion
(a likeness of Madame Elizabeth, the king's sister, executed
May 12th, 1794), a work of the sculptor Cortot; underneath is
the copy of a letter from the queen to Madame Elizabeth, dated
Oct. 16th, 1793, which runs as follows:

The group to the r. presents the king and an angel addressing
him: "Fils de St. Louis, montez au ciel!" Underneath is a copy
of the king's will, dated December 25th, 1792.

Above the portal, in the interior, is an allegorical representation
of the removal of the royal remains to St. Denis, a relief
by Lemaire.

The adjacent building is tenanted by two clergymen who perform
service here. Mass every morning at 9 o'clock, at other
times admission obtained by applying to the sacristan (fee 50 c.).

2. The Boulevards de Strasbourg and de Sébastopol.

Tour St. Jacques de la Boucherie. Place du Châtelet. Fontaine St. Michel.

One of the more recent and magnificent improvements of the
present reign was the construction of the already mentioned (p. 37)
Boulevard de Strasbourg and Boulevard de Sébastopol,
intersecting the old Boulevards between the Porte St. Denis and
the Porte St. Martin, and traversing the greater portion of the city
from N. to S. The former name is applied to the direct line of
communication between the Strasbourg railway station and the
old Boulevards. Thence to the Seine the street is termed Boulevard
de Sébastopol; its prolongation, traversing the great southern quarter
of the city, and extending to the external Boulevard, has recently
been named Boulevard St. Michel. Like the old Boulevards, they are
furnished with broad asphalt pavements, rows of trees etc., and
traverse the most animated quarters of the city. The Boulevard
de Sébastopol especially, which is of more recent origin than the
other portion, presents an uninterrupted succession of handsome
edifices with numerous shops and cafés.

The Boulevard de Strasbourg, nearly ½ M. in length,
presents little worthy of note. At its commencement it is intersected
by the new Boulevard de Magenta. The Boulevard de
Sébastopol, commencing at the old Boulevards, leads to the
(3 min.) Square des Arts et Métiers, to the l., in which is situated the
new Théâtre de la Gaîté; in the rear, Rue St. Martin 292, rises
the Conservatoire des Arts et Métiers (comp. p. 102). About 8 min.
walk farther is seen, to the r., the church of St. Leu, with its
adjoining parsonage-house, built in the same style as the church,

A short distance fartehr the new and unfinished Rue Turbigo intersects
the Boulevard. Beyond it, through the second street to the
right, may be perceived the lofty iron arches of the Halles Centrales
(p. 18); 5 min. farther the Rue de Rivoli (p. 94) is crossed. To the
W. in the Rue de Rivoli, rises the solitary *Tour St. Jacques de la
Boucherie, a handsome square Gothic tower, 164 ft. in height,
erected in 1508—22, now the sole remnant of a church which was
taken down in 1789 and sold as national property. The view from
the summit (adm. 10 c.) is incontestibly the finest in Paris, as the
tower occupies a very central position; in the immediate vicinity
flows the Seine with its numerous bridges, at the spectator's feet
lie the new buildings of the Rue de Rivoli and Boulevard de
Sébastopol, the Hôtel de Ville etc. The purchase and restoration
of the tower have cost the city nearly a million francs (40,000 L.) —
In the hall on the ground-floor is a statue of the philosopher Pascal.

Beyond the Tour St. Jacques a glimpse is obtained to the l.
of the Hôtel de Ville (p. 92). — The Place du Châtelet, situated
on the Seine and intersected by the Boulevard de Sébastopol, is
next reached.

The Monument which stands here was erected by Napoleon I.
in 1807 in commemoration of his victories. Beneath are four
figures representing Fidelity, Vigilance, Law and Power; a brazen
palm in the centre is inscribed with names of battles; at the
summit a statue of Victory, with raised hands, as if in the act
of conferring wreaths of laurel. The whole is a work of Bosio.
The monument originally stood farther from the Seine, but was
removed entire to its present position on the construction of the
Boulevard de Sébastopol.

To the r. and l. of the Place du Châtelet are situated the
Théâtre Lyrique and the Théâtre du Châtelet respectively (comp.
pp. 28, 29).

The Pont au Change, of equal breatdh with the Boulevard
itself, here crosses an arm of the Seine to the Cité island, on
which is situated (to the r.) the Palais de Justice (p. 94). Opposite
to it stands the newly erected Tribunal de Commerce,
which will supersede the chamber at present employed for the
purpose at the Bourse. This handsome building with its dome
lies exactly in the line of the Boulevard de Sébastopol, and forms
a most appropriate termination to this portion of the street.
Quitting the island by the Pont St. Michel, the stranger reaches
the quay of that name with the Fontaine St. Michel, a vast and
imposing structure, but in somewhat questionable taste. In the
centre is represented St. Michel's victory over Satan, modelled
by Duret, emblematical of Louis Napoleon's victory over the revolution;
at the top, female figures personifying the four cardinal
virtues of a monarch. The inscription is as follows: "Fondé sous

le règne de Napoléon III., Empereur des Français, ce monument
a été élevé par la ville de Paris en 1860."

The reddish stone, resembling marble, which is seen in this and
many other recent structures is quarried in the Vosges mountains.

Here the Boulevard St. Michel commences and is soon intersected
by the new Boulevard St. Germain (which is to be prolonged
to the Corps Législatif); at the corner of the latter, to
the l., is situated the Musée de Cluny (p. 135); then the broad
Rue des Ecoles (in the vicinity, to the l., the Collège de France,
founded by Francis I. in 1529 and greatly extended of late
years), beyond which the Sorbonne (p. 137) is reached, and opposite
to it the Lycée St. Louis. Farther on. to the r., is the long
front of the Jardin du Luxembourg (the S. portion of which is
destined to be converted into new streets), and the Ecole des
Mines; nearly opposite to the latter the Deaf and Dumb Institute
(p. 161). To the l., near the commencement of the garden of
the Luxembourg, the Panthéon (p. 138) may be seen through the
Rue Soufflot. Farther on, to the l., through the Rue du Val
de Gràce, is seen the military Hôpital du Val de Grâce, which
at a distance somewhat resembles the Pantheon. In the Carrefour
de l'Observatoire is situated the Statue of Ney, mentioned p. 134.

3. The Palais Royal.

Place des Victoires.

In the year 1636 Cardinal Richelieu erected a palace for
himself, opposite to the Louvre, and termed it the Palais Cardinal.
After his death it was tenanted by Anne of Austria, widow
of Louis XIII., with her two sons Louis XIV. and Philip of Orleans,
then both in their minority. Thenceforward the building
was called the Palais Royal.

It was afterwards presented by Louis XIV. to his brother the
Duke of Orleans, by whose son the Regent Duke of Orleans it
was subsequently occupied. The disgraceful orgies which here
took place during the regentship of the latter are too well known
to require description. St. Simon, an eyewitness of these scenes,
thus alludes to them:

"Les soupers du régent étaient toujours avec des compagnies fort
étrangers, avec ses maîtresses, quelquefois des filles de l'Opéra, souvent
avec la duchesse de Berry (sa fille), quelques dames de moyenne vertu et
quelques gens sans nom, mais brillants par leur esprit et leur débauche.
On buvait beaucoup et du meilleur vin, on s'échauffait, on disait des ordures
à gorge déployée, des impiétés à qui mieux mieux, et quand on
avait fait du bruit et qu'on était bien ivre, on allait se coucher."

The Palais Royal now continued to be the property of the
house of Orleans. Philippe Egalité (p. 80), who was beheaded
in 1793, grandson of the regent, led a scarcely less riotous and
extravagant life than his grandfather. In order to replenish his
exhausted coffers, he caused the entire garden to be surrounded

with rows of houses which he let to merchants and others, and
thus materially improved his revenues.

The upper apartments of these buildings were formerly devoted
to play, whilst in the lower rooms, generally used as cafés,
democrats and malcontents where in the habit of assembling to
discuss their plans. Here Camille Desmoulins, one of the most
conspicuous republican ringleaders, called the populace to arms,
July 12th, 1789, and on the following day led the way to the
Bastille (p. 34) which fell on the 14th.

The appellation of Palais Egalité was then given to the Palais
Royal, and subsequently that of Palais du Tribunat, during the
years 1801—1807 when Napoleon assembled the Tribunate there.
From 1807 to 1814 the palace itself was unoccupied; in 1815,
during the hundred days, it was the residence of Lucian Bonaparte.

On the Restoration of the Bourbons in 1815 the Orleans
family again came into possession of the Palais Royal, and it was
occupied by Louis Philippe until 1830, when he ascended the throne.

Shortly before the outbreak of the revolution of July, he
here gave a sumptuous ball in honour of the Neapolitan notabilities
then visiting Paris, which gave rise to Salvandy's witticism:
"Nous dansons sur un volcan."

On the 24th of February, 1848, the mob destroyed the royal
apartments in the most ruthless manner. Notwithstanding the
request: "Respectez les tableaux," which some well-meaning hand
had written on the walls, the pictures generally shared the same
fate as the other objects of value. The fact, that 50,000 lbs. of
glass and china alone were broken in the palace, may serve to
convey a faint idea of the extent of the devastation. After this
the palace was termed the Palais National. Under the present
regime it has resumed its original name.

The apartments in the S. wing of the Palais Royal, opposite
to the new Louvre buildings, are now tenanted by Prince Napoleon,
cousin of the emperor and son of Jerome, formerly king
of Westphalia.

Beyond its historical associations, the Palais Royal possesses
little that is worthy of note. The garden contains bronze copies
of the Apollo Belvedere and Diana of Versailles and several modern
works: A youth preparing to bathe, by Espercieux; Boy
struggling with a goat, by Lemoine; Ulysses on the sea-shore, by
Bra; Eurydice bitten by the snake, by Nanteuil.

The Palais Royal is, however, the great point of attraction
for the stranger, when considered as the nucleus of the commercial
life of Paris. It is situated almost in the heart of the city and
has not inaptly been termed "la Capitale de Paris". The majority
of foot-passengers proceeding from the Louvre and the adjoining
quarters of the town on the l. bank of the Seine to the
western boulevards usually traverse the arcades of the Palais

Royal, so that, especially on the W. side, it presents a most
animated scene from noon to midnight.

The lower stories of the houses are almost exclusively occupied
by shops which exhibit a tempting display of "objects de luxe".
These, though inferior to the similar establishments in the Boulevard
des Italiens, are among the best of the kind in Paris. The
rent of these shops is high, the smallest realizing 120—150 l.

The most brilliant portion of the Palais Royal is the Galerie
d'Orléans (S. side), an arcade 300 ft. in length and 40 ft. in
width, covered in with glass and paved with slabs of marble. It
was constructed in 1830 and occupies the site of the disreputable
stalls which formerly stood here.

The first floors of most of the houses are employed as cafés
and restaurants. The best of these, however, the Trois Frères
Provençaux, Véfour, and Café de la Rotonde are on the ground-floor.
The last-named enjoys the sole privilege of placing chairs
in the garden for the convenience of its guests, a monopoly
purchased for an annual sum of 40,000 fr. (1600 L.) from the
former Café de Foy. In the N.E. corner is the Café des Aveugles,
in the N.W. the entrance to the Théâtre du Palais Royal; in
the S.W. portion of the palace itself is the Théâtre Français.
The E. side is termed Galerie Valois, the W. side Galerie Montpensier,
the N. side Galerie Beaujolais.

The Garden, to which allusion has already been made, is
about 310 yds. in length and 130 yds. in breadth. It is somewhat
scantily shaded by a quadruple row of elms. In the centre
is a round basin of water, near which a military band generally
plays on summer afternoons. On each side are long, enclosed
flower-beds.

The small cannon on the grass at the S. extremity of the
flower-garden is fired by means of a burning-glass when the sun
is at the meridian.

On the N. and S. sides are small kiosks or stands where
newspapers are lent out at 5 c. each. The chairs under the elms
are let at 10 c. each.

The garden presents a most brilliant aspect in the evening,
when, in addition to the 200 lamps of the arcades, each shop
contributes its utmost to turn night into day. All the entrances
to the garden are closed at midnight; the gallery, being a thoroughfare,
alone remains open.

The long street on the N. side of the Palais Royal is the
Rue Neuve des Petits Champs, which is terminated to the E. by
the small, circular Place des Victoires, with an equestrian statue
of Louis XIV. In 1686 an equestrian statue of that monarch
was here erected, and the Place called after him. The monument
was destroyed in 1792 and superseded by a pyramid inscribed
with a list of victorious battles fought by the republican army,

whence the Place derives its present appellation. This pyramid
was in its turn replaced by a statue of General Desaix (p. 97)
in 1806, which was in 1814 melted down to aid in the construction
of the monument of Henry IV. on the Pont Neuf (p. 98).
The present monument was erected in 1822 from a design by
Bosio. The figure of the horse, in a rearing attitude, rests on
the hind-legs and tail; the rider is garbed as a Roman general.
The long inscriptions record that the statue was erected to replace
the original one, destroyed "per infanda tempora". The
reliefs at the sides represent the king's passage of the Rhine
and the distribution of military honours.

4. The Louvre and its Collections.

Of all the public edifices in Paris the **Louvre (lupara)
(the Old and the New) is the most important, and on account of
its vast and valuable collections the most interesting to strangers.
It occupies the site of a fortress, which Francis I. caused to be
demolished in 1541 in order to make way for the present palace.
It was subsequently occupied by Catherine de Medicis and her
son Charles IX. Here, Aug. 19th, 1572, the marriage of the
Princess Margaret of Valois with the king of Navarre, afterwards
Henry IV. of France, at which most of the Huguenot chiefs were
present, was solemnized. Five days later, on the night of Aug.
24th, the order emanated hence for the massacre of the Huguenots,
at a signal given by the neighbouring church bell of St. Germain
l'Auxerrois. From this palace the guards went forth and assassinated
Admiral Coligny at his residence, the Hôtel Ponthieu near the
Place du Louvre, on the spot where the Café Coligny now stands,
Rue de Rivoli 114. Tradition alleges that out of one of the S.
windows of the palace Charles IX. fired upon his subjects, and
an inscription to that effect was accordingly engraved under the
window in question: "C'est de cette fenêtre que l'infâme Charles IX.,
d'exécrable mémoire, a tiré sur le peuple avec une carabine." Six
years later, however, this inscription was erased, it having been
discovered that that portion of the building had not been erected
till the reign of Henry IV. The window whence the shot was
actually fired was in that part of the palace afterwards demolished
by Louis XIII. to make room for improvements.

After the murder of Henry IV. (by Ravaillac, May 14th, 1610),
whose remains were laid out on a bed still existing, Louis XIII.
only occasionally resided in the palace. The subsequent monarchs
were accustomed to reside at St. Germain, Versailles or in the
Tuileries. The Louvre then became the seat of various government
establishments, and was rapidly falling to decay when Napoleon
I. ordered it to be entirely restored in 1805. As early
as 1796 several apartments were poorly fitted up for the reception

of the treasures of art captured in the Italian war. Since
that time the destination of the Louvre has remained the same.

The apartments on the basement story contain Statuary from
the Assyrian and Egyptian down to modern times; on the first
floor are Pictures, Drawings, Antiquities, valuable
Relics etc., on the second floor Marine and Ethnological
collections.

All the collections are accessible daily (Mondays excepted)
from 10 to 12 to visitors with a passport (or visiting-card), from
12 to 4 open to the public. The morning hours are the quietest
and most favourable for the enjoyment of the collections. In
the afternoon, between 1 and 4 o'clock, the crowd is generally
very great, especially in the Picture Gallery. The fact that
upwards of 4000 L. is annually paid for the care of sticks and
umbrellas will convey some idea of the vast influx of visitors.

The annexed plan will serve to afford a clue to the position
of the various chambers and their contents; the openings
in the lines denote entrances. — Sticks and umbrellas must be
given into custody at the doors; a charge of 10 c. each is made.
The principal entrance is below the clock, in the hall leading
from the Cour du Louvre to the Place Napoléon.

Some of the most interesting objects in the different collections
on the Basement-story are here enumerated:

The *Assyrian Antiquities (Musée Assyrien) (separate entrance
in the hall between the Cour du Louvre and Place du Louvre)
are the result of excavations made (1843—45) in the vicinity
of Niniveh, under the superintendence of M. Bolta, French consul
in Syria. The winged bulls with human heads and the reliefs
on the walls are similar to those contained in the British Museum.
Fragments of a vast palace, perhaps upwards of 4000 years old,
are especially remarkable. The winged bulls, which formed the
entrance to the palace, are monoliths. Adjacent are two heroes,
each holding a young lion under one arm and a scourage in the
other hand, alleged to represent the Assyrian kings Nebuchadnezzar
and Senaccherib. The various specimens of Assyrian
hieroglyphics, which are to be seen here, have hitherto defied
the research of the antiquary.

The following hall contains

Antiquities from Asia Minor. By the wall: *Frieze of the
temple of Artemis Leucophrys (Diana with the white forehead)
at Magnesia near Ephesus. *Vase from Pergamos, presented in
1838 by Sultan Mahmoud. Fragments, of other edifices, Greek
inscriptions etc.

Then the Collection of Casts (Sculptures Moulées), continued
on the staircase leading to the collections of the first-floor, and
comprising a number of well-known antiques.

To the l. a room with Assyrian Antiquities is entered, which
as well as the following, contains a collection of remarkable
Phœnician sarcophagi, on which the head of the deceased is
represented in elaborate carving. The next room contains reliefs
from the palace of Nineveh of a less remote date (7th cent. B. C.)

The last room is dedicated to Ancient Greek Reliefs and
Sculptures. In the centre a trilateral altar with representations
of the twelve great gods, on the r. a damaged group of Orestes
and Pylades. A *Metope and a fragment of the frieze of the
Parthenon at Athens; Metopae from the temple of Zeus at
Olympia; reliefs, some of them of beautiful workmanship; inscriptions;
architectural fragments etc. The contiguous cabinets
contains sarcophagi and fragments of buildings from Jerusalem.

The *Egyptian Museum (separate entrance opposite the
Assyrian Museum) on the basement story contains the larger
antiquities (the smaller see p. 68), (A.) gods, kings, statues
and sphynxes, (B.) basreliefs, (C.) shafts of pillars with hieroglyphics
and inscriptions, (D.) sarcophagi, pyramids, votive-tablets.
Of these the most interesting are perhaps the following:

Close to the entrance. *A. 23, a huge Sphynx of reddish
granite, representing king Meneptah, son of Ramses II., who
reigned in the 15th cent. before Christ, believed to be the
"Pharaoh" who oppressed the Israelites. The emblem of royalty
is engraved on the chest and right shoulder.

*D. 8 and 9, two sarcophagi of grey granite and basalt, with
admirably preserved inscriptions and insignia.

*D. 38, to the l. in the centre of the wall: cast of a bas-relief
termed the Zodiac of Denderah, brought from the ruins
of a temple of Isis in the village of Denderah in Upper Egypt.
The female figures at the corners represent the four cardinal
points. The original is in the library (p. 99).

D. 29, a royal monolith chapel, of reddish granite, 9½ ft.
high and 4½ ft. in breadth, raised from the bottom of the harbour
of Alexandria in 1825, dating from B.C. 580.

A. 12, adjacent to the latter, a small group in reddish granite
representing king Ramses II., adorned with the Pschent, a peculiar
head-dress; on either side are the gods Osiris and Horus. Figures
of the goddess Pacht with the lion's head occur frequently.

From the 2nd Room, containing Smaller Egyptian Monuments,
a staircase leads to the first floor. Before ascending, however,
the stranger is recommended to complete his inspection of the
collections of the basement story.

From the same room a long corridor diverges, destined for
the Algerian Museum, still incomplete, which contains several
antiquities found in Algiers, inscriptions, busts, statues and
architectural fragments of the Roman imperial period. Among the
most interesting objects are a mosaic, representing Neptune and

Amphitrite, and a fragment of a mosaic from Carthage representing
a man on horseback. At the extremity of the passage are a few
Arabian inscriptions.

The Renaissance Sculptures (entrance from the court), dating
from the commencement of the 16th cent., are arranged in

five compartments. Passing through to the fast corner apartment
on the r., the Salle de Michal (d. 1514), the visitor should
here inspect the *basrelief of St. George and the Dragon, and
*two recumbent stone figures, the female figure with the rosary
particularly good.

Salle de Jean de Douai, or Jean de Bologne (Giovanni da
Bologna): *two prisoners, unfinished marble statues by Michael
Angelo; a *haut-relief in bronze, the "Nymph of Fontaincbleau"
by Benvenulo Cellini; *Mercury and Psyche, by Adrian de Vries
(1593).

Salle de Jean Goujon (d. 1572): *Diana with the stag, the
celebrated "Diane Chasseresse", a large group, at the side two
dogs, a likeness of Diane de Poitiers, the favourite of Henry II.

Salle des Anguiers (François Anguier d. 1699, Michel Anguier
d. 1686): pyramidal monument to the Duc Henri de Longueville
(d. 1633), who after the death of Bernard of Weimar in the
30 Years' War succeeded him in the command of his army. By
Francheville (1548), a large group in bronze, representing the
four nations conquered by Henri IV., which formerly stood on
the Pont Neuf beside the equestrian statue of that monarch. A
few fragments of the latter are all that now remain.

In the small room to the l. (at present closed), at the entrance,
a cast of the celebrated carved wood chimney-piece in
the council-chamber of the Palais de Justice at Bruges, with
statues of (in the centre) Charles V., (to the l.) Mary of Burgundy
and Maximilian I. of Austria, (to the r.) Charles the Bold and
Margaret of York. Also the tombstones of Charles the Bold
(d. 1477) and Mary of Burgundy (d. 1482), casts from the originals
at Bruges.

The Modern Sculptures (entrance from the court) are contained
in five different halls to the l.

Salle de Coyzevox (1640—1720): Busts of Richelieu and
Bossuet; tombstone of Cardinal Mazarin.

Salle de Puget (1620—1694): Milo, the athlete of Crotona,
torn to pieces by a lion, a celebrated group in marble (p. 66);
Perseus releasing Andromeda; Alexander and Diogenes, a high
relief; Caryatides, casts from those of the Hôtel de Ville at Toulon.

Salle des Coustou (Nicolas 1658—1733, bis brother Guillaume
1678—1746): Louis XV. as Jupiter, and Maria Lesezinska his
consort as Juno. By Bouchardon (1698—1762): Cupid cutting
his bow from the club of Hercules.

Salle de Houdon: Diana, a bronze statue by Houdon (d. 1828);
Ganymede with the eagle, by Julien.—Cupid and Psyche, by Delaistre.

Salle de Chaudet (d. 1810): Narcissus, by Caldelari; Nisus
and Euryalus, by Roman (d. 1835); Biblis metamorphosed into
a fountain, by Dupaty (d. 1825); colossal bust of Napoleon I. in
bronze, by Bartolini; a young Neapolitan trtoie-catcher, by
Rude (d. 1854), Cupid with the butterfly, by Chaudet; the shepherd
Phorbas carrying the young Œdipus by the same; *Cupid and Psyche,
two different groups, both admirable by Canova (d. 1822); the
nymph Salmacis, by Bosio (d. 1843); Zephyr and Psyche by Rutschiel
(d. 1837); *son of Niche struck by an arrow, by Pradier (d. 1852).

The *Ancient Sculptures (Musée des Marbres Antiques)
(approached by the principal entrance) occupy the S.W. wing
of the Louvre and a wing of the new building to the S. In
order to facilitate the stranger's search for the objects here
enumerated, their height in feet and inches is given.

The Salle des Caryatides is the hall in which Henry IV. solemnized
his union with Margaret of Valois; here, too, after his
assassination his body was placed. Here in 1593 the Ligue held
its sessions, and here in the following year the Duke of Guise
caused four of its most zealous members to be hanged. Subsequently
(1659) this hall was employed by Molière as a theatre,
in the performances of which he himself played a prominent part.

The Caryatides which support the gallery at the N. end, and
whence the hall derives its appellation, are by Jean Goujon, who
being a Huguenot was here shot whilst at work on the Night
of St. Bartholomew. The finest works are in the centre: 712.
*Germanicus as Mercury, sometimes termed "the Orator" (5 ft.
6 in.); 711. *The Borghese Vase, of Pentelic marble, with
Bacchanalian relief (5 ft. 3 in.); 710, *Jason (4 ft. 9 in.); 709.
*Silenus with the infant Bacchus; l. 694. Boy with a goose
(2 ft. 10 in.); l. 698. The "Venus Accroupie" or stooping
Venus (2 ft. 11 in.); In the room shut off by partitions: 134.
Centaur overcome by the young Bacchus (4 ft. 6 in.); l. Lion
from Platæa; Hercules with the Apples of the Hesperides;
r. 527. Recumbent Hermaphrodite (4 ft. 6 in. in length).

The principal apartments of the collection, separated by half-partitions
only, are now entered. At the extremity of the long
gallery the Venus of Milo is visible. The visitor turns to the
r. to the

Salle du Tibre. 249. The Tiber as a river-god, recumbent,
at the side Romulus and Remus and the she-wolf, a large group
in marble, 5 ft. 4 in. high, 9 ft. 9 in wide. In the centre:
144. *Achilles; l. Recumbent Fountain-nymph; 234. Antinous
as Hercules.

Salle du Héros Combattant. 262. The **"Borghese Gladiator"
(6 ft. 1 in.), a celebrated work of the Greek sculptor Agasius;
l. 272. Roman portrait-figures as Venus and Mars; l. 281. *Wounded
Amazon (5 ft. 9 in.); l. 282. *Venus of Arles (6 ft.) found at
Arles in Provence in 1651; 281. Wounded Amazon (5 ft. 9 in.).

Salle de Pallas. This room contains several draped statues
restored as Muses; among them: l. 299. Praying nymph, erroneously
restored as Euterpe (6 ft. 2 in.); l. 306. a so-called
Polyhymnia; 310. Pallas (Minerva) with helmet and shield (9 ft.
4 in.), the drapery much admired, found in 1797 at Velletri near
Rome, hence termed the "Pallas of Velletri".

Salle de la Melpomène. 348. Melpomene (12 ft. 1 in.), the
Muse of Tragedy, the drapery admirable. In front of the statue
modern mosaics by Belloni from designs by Gérard; r. Bust of
Alexander the Great.

In the adjacent room: The **"Venus of Milo" (6 ft. 3 in.),
a Venus Victrix treading on a helmet, found in 1820 in the island
of Melos or Milo, the gem of the whole collection, a perfect

master-piece of the best period of Greek art. The two adjacent
statues of Venus of a late Roman period may be contrasted
with it.

Salle de la Psyché. 403. and 383. Dancing Fauns (4 ft. 2 in.);
l. 387. Psyche tormented (4 ft.); l. Euripides, with a list of his
dramas; 391. Young Athlete.

Salle de l'Aruspice. Large Sarcophagus found at Salonica,
representing combats of Greeks and Amazons in life-size relief,
on the cover the recumbent statues of the spouses for whom it
was destined; r. 452. Reposing Mercury; r. 441. Daughter of Niobe.

Salle d'Hercule et Télèphe. l. 180. Venus Victrix; l. 450. Hercules
with his son Telephus in his arms, at the side the hind
by which the latter was reared (7 ft. 6 in.); r. 462. Zingarella
(gipsy), or Diana (?) (4 ft. 10 in.), flesh portions of bronze.

Salle de la Médée. l. 486. Drunken Silenus; Sarcophagus with
reliefs representing the revenge of Medea; r. 496. Cupid and
Psyche; r. Sleeping Ariadne; l. 671. Faun, a bust.

Salle de Pan. l. 446. Barbarian; r. 192. *Minerva "au collier"
(6 ft. 5 in.).

Salle d'Apollon. r. 19. *Apollo Sauroctonos (lizard - slayer),
the youthful Apollo about to transfix a lizard on the stem of a
tree, formerly in the Villa Borghese at Rome (4 ft. 7 in.); l. Pedagogue
and younger son, from the great group of the Children
of Niobe.

Salle de Diane, so named from the celebrated "Diana of
Versailles" formerly preserved here, now in the Picture Gallery

(p. 60). 216. Dog (1 ft. 5 in.), formerly in the Villa Borghese
at Rome; 230. Marsyas suspended from a pine-tree, awaiting
the execution of the sentence of Apollo that he should be
flayed alive (8 ft. 2 in.).

To the r. of this gallery is a suite of apartments of inferior

interest to the above, to which access has been denied for some
years past. They were in February, 1867, in process of being
re-decorated, and their contents re-arranged. An enumeration of
the more interesting objects they formerly contained may, however,
be found useful.

The Rotonde contains several busts of Roman emperors; 7. and
11. Prisoners, probably barbarian chiefs who figured in the triumphal
processions of some Roman emperor.

Salle des Empereurs. 411. Mars (5 ft. 10 in.).

Salle des Saisons. 46. Venus Genitrix (5 ft.), bearing in her
hand the apple of Paris; 20. Wounded Gladiator (2 ft. 7 in.).

Salle de la Paix. 92. Demosthenes (4 ft. 2 in.), in a sitting
posture, in his hand a scroll (probably the history of Thucydides). —
The eight granite columns are from the cathedral at Aix-la-Chapelle.

Salle des Romains, consisting of three rooms. 116. Roma, a
bust in marble (2 ft. 9 in.); 126. Antinous, a bust in marble
(2 ft. 11 in.); 697. Marcus Aurelius (7 ft. 10 in.); 113. Augustus
(4 ft. 6 in.).

Finally on the ground-floor (entrance from the court) is situated
the Collection of Engravings (Musée de Chalcographie),
accessible for purposes of study only.

The First Floor of the Louvre contains the following collections:
in the Grande Galerie or New Louvre, connecting the Old
Louvre with the Tuileries, in the S. wing, pictures of the Italian,
Spanish, Dutch and German schools; in the parallel wing facing
the Place Napoleon, and in the transverse wing uniting the two,
pictures of the French school; in the Old Louvre, drawings,
engravings, Greek, Roman, Etruscan and Egyptian antiquities,
the Musée Napoléon III. (or Campana; antique terracottas and
inscriptions, mediæval and renaissance curiosities), and the Musée
des Souverains, containing souvenirs of the French kings and of
Napoleon I.

In a N. wing of the Second Floor is the considerable Musée
de la Marine, together with the Musée Ethnographique.

Entering from the Cour du Louvre the vestibule which connects
it with the Place Napoléon, the visitor ascends by a staircase
to the l. to the first floor (W. wing). Here the room of
the bronzes is situated to the l., and beyond it that of the drawings
(p. 70); to the r. the terra-cottas, beyond which is the
Picture Gallery.

The first room to the r. of the staircase should first be entered,
which, as well as the smaller one adjacent, belonging to the Musée
Napoléon III., contains Antique Terracottas, being a portion of
the Campana Collection, purchased from the Papal government
and consisting of 12,000 different specimens (the remaining portion
see p. 67). Most of them were discovered in Etruscan tombs.
There are among them numerous cinerary urns with partially
painted reliefs and Etruscan inscriptions recording the names and
ages of the deceased.

The contiguous Salle des Sept Cheminées contains *chefs d'œuvre
of the Modern French School.

r. 240. Gérard (d. 1837), portrait of the artist Isabey.

256. Granet (d. 1852), lower church of S. Francesco at Assisi.

*274. Gros (d. 1835), Bonaparte in the plague-hospital at Jaffa.

252. Girodet-Trioson (d. 1824), Atala's Interment, from the
work of Chateaubriand.

236. Gérard, Cupid and Psyche.

279. and opposite to it 282. Guérin (d. 1833), Agamemnon
and Clytemnestra.

152. David (d. 1825), Belisarius.

*Géricault (d. 1823), Shipwreck of the Medusa; to the r. and
l. his *Hussar and *Cuirassier, the two latter purchased from the
collection of Louis Philippe in the Palais Royal for 23,400 fr.
(936 L.).

David, Portrait of Pope Pius VII., painted in 1805.

Madame Lebrun, two portraits.

*Prudhon (d. 1823), Crime pursued by Justice and Divine
Vengeance.

*Gros, Battle of Eylau.

Girodet-Trioson, Endymion; Déluge.

*David, The Sabine women interpose between the Roman and
Sabine combatants; above it, Leonidas.

The Salle des Bijoux (to the W.; on the r. of the entrance)
contains a collection of Plate, Jewellery and Ornaments, chiefly
mediæval and of the renaissance period.

From the adjoining Vestibule a handsome wrought-iron door,
of the time of Henry II., leads to the l. into the Galerie d'Apollon,
100 yds. in length. The painting on the central compartment
of the ceiling, by Delacroix, completed in 1852, represents Apollo's
contest with the Python. The oriel window at the extremity of
the hall is erroneously (see p. 50) believed to be the same from
which Charles IX. fired on the people on the night of St. Bartholomew.
The walls are adorned with representation of the
busts of celebrated French artists in *tapestry from the Gobelins
(comp. p. 145), recently manufactured there. In the centre Enamelled
Ornaments and Jewellery, vases, goblets, fayence
articles etc.

To the r. the picture-gallery is entered. Catalogues may be
purchased at the entrance, the Italian and Spanish schools 2 fr.,
Dutch and German 1 fr., French 3 fr., all bound together 7 fr.
75 c. These catalogues contain copious and interesting information
with regard to the pictures and their history, the artists
and their biography, and are indispensable to those who desire
an intimate acquaintance with the gallery; for the ordinary visitor,
however, they are superfluous. For visitors of the former class
the "Essai d'une analyse critique de la `Notice des tableaux italiens
du Musée du Louvre', accompagné d'observations et de documents
relatifs à ces mêmes tableaux", by M. Mündler, is also a most
valuable companion (price 2½ fr.). — By an arrangement very
recently introduced, the pictures are all to be furnished with
tablets, recording the names of the artists, the dates of their

birth and death, and descriptions of the paintings taken from
the official catalogue. This has already been effected in the
Salon Carré (see below) and is in course of progress in the Italian
Gallery (p. 62).

It should be observed that in the official catalogues the artists'
family names are arranged alphabetically; thus, instead of Raphael,
Sanzio (or Santi); instead of Titian, Vecellio. The Italian
school, for example, commences with the name of Albani (No. 1)
and terminates with Zampieri (Domenichino, No. 502). The
Italian and Spanish pictures are provided with red numbers, the
Dutch and German with blue, and the French with black. In
order to obtain permission to copy in the Louvre or Luxembourg,
a written application must be addressed to the Sénateur Surintendant
des Beaux Arts (Comte de Nieuwekerke).

The subjoined lists will suffice for the visitor whose time is
limited and enable him to form some acquaintance with the most
celebrated works in the gallery. A more lengthy enumeration would
be beyond the scope of the present volume. The finest pictures
are generally so surrounded with artists and their easels, that the
visitor occasionally finds considerable difficulty in approaching
them. On Sundays the gallery is usually over-crowded. The
entire gallery is nearly ¾ M. in length.

The **Grand Salon Carré, or entrance-hall, contains the
choicest gems of the entire gallery. The light is, however, unfortunately
somewhat too subdued. Each picture deserves the
most careful inspection. In the annexed list the year of the
artist's death is appended where his name is mentioned for the
first time, but afterwards omitted.

In the centre of the hall is placed the celebrated and admirably
preserved **Diana with the Stag, which seeks the goddess's
protection (6 ft. 1 in.), sometimes termed the "Diana of Versailles",
because formerly there preserved, or "Diane à la Biche".

The enumeration commences on the r. of the entrance.

442. Perugino (d. 1524), Madonna and Child, with St. Rosa
and St. Catharine and two angels, purchased from the King of
Holland's collection for 53,000 fr. (2120 L.).

447. Poussin (d. 1665), Portrait of himself.

*465. Titian (Vecellio, d. 1576), Entombment of Christ, purchased
by Louis XIV. from the celebrated collection of the Cologne
banker Jabach, then resident in Paris.

28. Correggio (Allegri, d. 1534), Sleeping Antiope, watched
by Jupiter in the form of a Satyr, formerly erroneously termed
a "sleeping Venus".

337. Guido Reni, Dejanira abducted by the centaur Nessus.

242. Luini (d. about 1530), Salome, daughter of Herodias,
with the head of John the Baptist.

138. Annibale Caracci (d. 1609), The Virgin appearing to
St. Luke and St. Catharine.

403. Solari, or Il Gobbo (d. 1509), Madonna and Child.

94. Bronzino (d. 1572), Portrait of a sculptor.

419. Rembrandt (d. 1669), Portrait of a woman.

239. Fra Sebastiano del Piombo (Sebast. Luciano, d. 1547),
Meeting of Mary and Elisabeth.

*104. Paolo Veronese (Caliari, d. 1588), The Repast in the
house of Simon the Pharisee, 31 ft. long, 14½ ft. high.

*376. Raphael (Sanzio, d. 1520), Virgin and sleeping Child,
with St. John.

*471. Titian, Girl at her toilette, behind her a man holding
a mirror, known as "Titien et sa maîtresse".

460. Rubens (d. 1640), Portrait of his second wife with her
two sons.

**546. (bis). Murillo (d. 1682), Conception of the Virgin, purchased
from the collection of Marshal Soult in 1852 for the
enormous sum of 615,300 fr. (24,612 l.). The artist evidently
borrowed his idea from the passage: "And there appeared a great
wonder in heaven; a woman clothed with the sun, and the moon
under her feet, and upon her head a crown of twelve stars."
Rev. XII. 1.

*121. G. Dow (d. about 1674), La femme hydropique, the
artist's master-piece, purchased 150 years ago by an Elector Palatine
for the sum of 2500 L. and presented to Prince Eugene.

150. Van Dyck, A Portrait.

*378. Franc. Francia (Raibolini, d. 1517), Portrait of a man,
once erroneously attributed to Raphael.

162. J. van Eyck (d. 1441), Virgin and Child crowned by
an angel, at her feet the person for whom the picture was painted.

204. Dom. Ghirlandajo (d. 1495), Meeting of Mary and Elisabeth.

*484. Leonardo da Vinci (d. 1519), Portrait of Mona Lisa,
wife of Francesco del Giocondo of Florence.

546. Murillo, Conception of the Virgin, similar to one of the
same subject before mentioned (No. 546, bis).

378., 380., 381. Raphael, Three small pictures, Madonna with
Elisabeth, St. Michael and St. George.

**377. Raphael, The Holy Family, with the young St. John
St. Elizabeth and St. Joseph.

140. An. Caracci, Mourning for the dead Saviour.

453. Poussin (d. 1665), Landscape.

87. Phil. de Champaigne (d. 1674), Portrait of Cardina
Richelieu.

293. Metsu (d. 1658), An officer paying his respects to
young lady.

*375. Raphael, Virgin and Child with St. John ("la belle jar-
dinière").

526. Terburg (d. 1681). Officer offering gold to a young wife.

228. and 229. Claude Lorrain (Gelée, d. 1682), Small Landscapes.

79. Phil. de Champaigne, Christ in the Sepulchre.

477. Rigaud (d. 1743), Portrait of the celebrated preacher
Bossuet.

288. Memling (d. 1484), John the Baptist.

208. Holbein (d. 1554), Portrait of Erasmus.

*481. Leonardo da Vinci, Virgin and Child and St. Anna.

438. Andrea del Sarto (Vannucchi, d. 1530), Holy Family.

433. Rubens, Tomyris, queen of the Scythians, placing the
head of Cyrus in a vessel filled with blood.

**103. Paolo Veronese, The Marriage at Cana, the largest
picture in the collection, 32 ft. long and 21 ft. high, occupying
almost the entire S. wall, containing numerous portraits: Eleanor
of Austria, the young queen of France, at her side Francis I.;
then Mary of England in a yellow robe, Sultan Soliman near a
negro prince; at the corner of the table the emperor Charles V.
with the golden fleece. The musicians are portraits of Venetian
painters of the day. Paolo Veronese himself, in white, plays on
the violoucello, behind him Tintoretto with a similar instrument,
on the other side Titian with a bass viol, Bassano with a flute, etc.

*27. Correggio, St. Catharine dedicated to the infant Jesus.

142. Van Dyck (d. 1641), Portrait of Charles I. of England.

382. Raphael, St. Michael overthrows the wicked Angel.

*211. Hans Holbein, the Younger (d. 1543), Anne of Cleve,
wife of Henry VIII. of England.

The adjoining Grande Galerie (about ¼ M. in length),
which is now entered, contains the Italian, Spanish, German and
Dutch schools. A chronological order is observed in the numbering
of the pictures, those of the same master being placed as
near together as possible: r. denotes to the right, and l. to the
left of the entrance from the Salon Carré.

First Division: Italian School.

The first numbers on the r. belong to the earliest Italian
schools.

209. Giotto (d. 1336), St. Francis of Assisi receiving the
stigmata.

174. Cimabue b. (1240), Madonna surrounded by Angels.

196. Sandro Botticelli (Alessandro Filipepi, d. 1515), Madonna.

l. 214. Fiesole (Fra Giovanni da Fiesole, d. 1455), Coronation
of the Virgin; below are seven small pictures representing the
miracles of St. Dominic.

l. 72. Benozzo Gozzoli (d. after 1485), Triumph of St. Thomas
of Aquinas.

l. 234. Fra Filippo Lippi (d. 1469), Madonna with Saints.

l. 214 (bis) Giovanni di Pietro, surnamed Lo Spagna (d. after
1530), Adoration of the Child.

l. 292. Pinturicchio (Bernardino di Benedetto, d. 1512, Madonna.

l. 318. Francia (Francesco Raibolini, d. 1517), Crucifixion.

r. 486. Copy executed in the 16th cent. of Leonardo da Vinci's
Last Supper at Milan.

*l. 468. Titian, Jupiter and Antiope.

l. 240. Luini, Holy Family.

l. 81. Bonifazio (d. 1562), Raising of Lazarus.

*l. 464. Titian, Christ crowned with thorns.

r. 242. Luini, Equipment of Cupid, a fresco.

*r. 458. Titian, Madonna with St. Stephen, St. Ambrose and
St. Maurice.

r. 389. Copy of Raphael's Madonna of Loretto.

r. 453. Giorgio Vasari, The Salutation.

l. 474. Titian, Portrait.

l. 107. Paolo Veronese (Caliari), The disciples at Emmaus;
the other figures are said to represent the painter and his family.

l. 108. P. Veronese. Portrait.

Second Division: Italian and Spanish Schools.

r. 136. Annibale Caracci, Virgin and Child, St. Joseph offering
the latter cherries ("la Vierge aux cerises").

l. 326. Guido Reni, Christ delivers to Peter the Keys of Heaven.

*l. 372. Sassoferrato, Madonna.

l. 328. Guido Reni, Ecce Homo.

l. 329. Guido Reni, Penitent Magdalene.

l. 332. Guido Reni, St. Sebastian.

67. Battoni, Madonna.

l. 113. Canaletto (Canale, d. 1768), View of Venice, Church
of S. Maria della Salute.

r. 207. Luca Giordano (d. 1705), The Infant Jesus receiving
from angels the instruments of his sufferings.

r. 74. Pietro da Cortona (Berretini, d. 1669), Nativity of
the Virgin.

l. 494. Domenichino (Zampieri, d. 1641), St. Cecilia.

*l. 360. Salvator Rosa (d. 1673), Skirmish among the ruins
of a temple.

l. 186. Poussin, Landscape.

l. 361. Salvator Rosa, Rocky landscape.

r. 57. Guercino (Barbieri, d. 1666), Circe.

l. 651. Murillo, Beggar-boy, "cherchant à détruire ce qui
l'incommode".

l. 317. Procaccini (d. about 1626), Virgin and Child, John
the Baptist, St. Francis and St. Catharine.

l. 320. Guido Reni, David with Goliath's head.

*l. 546. Murillo, the Nativity, a very large picture.

*l. 547. Murillo, Virgin and Child, the latter playing with a
rosary ("la Vierge au chapelet").

*l. Velasquez, Portrait of the Infanta Margaretha Theresia,
(d. 1673), first consort of the Emperor Leopold I.

In the centre of this compartment: 348. Daniele da Volterra
(Ricciarelli, d. 1566), David slaying Goliath, a picture with
two sides.

Third Division: German and Dutch Schools.

l. 279. Quintin Massys or Messys (d. 1530), The money-changer
and his wife.

*l. 206. Holbein (d. 1554), Portrait of Nic. Kratzer, a Bavarian,
Astronomer-royal to Henry VIII. of England.

*l. 207. Holbein, William Warham, Archbishop of Canterbury.

Fourth Division: Dutch School.

l. 255. Jordaens (d. 1678). Feast of the Magi ("le roi boit").

l. 256. Jordaens, "Concert de famille".

l. 253. Jordaens, The four Evangelists.

l. 413., 414. and 415. Rembrandt, Portrait of himself.

l. 416. Rembrandt, Portrait of an old man.

r. 153., 154. Van Dyck, Portraits of men.

r. 105., 106. A. Cuyp (d. after 1672), Starting for a ride,
The ride.

l. 428. Rubens, Mary as queen of heaven.

l. 464. Rubens, Landscape.

r. 431. Rubens, Crucifixion.

r. 459. Rubens, Portrait.

r. 470. Ruisdael (d. 1681), Forest scene.

r. and l. 434—454 Rubens, a series of large pictures designed
by order of Marie de Medicis, queen of Henry IV. of France, in
commemoration of events in her life, destined to adorn the Palais
du Luxembourg, and partly executed by the artist himself,
partly by his pupils, in 1621—25. The most successful are: r.
454. Victory of Truth; 436. Education of the Princess; l. 438.
Her nuptials (Oct. 5th. 1500); *l. 441. Birth of Louis XIII.

Under and between these pictures of Rubens, returning to the
commencement of the series:

l. 512. Teniers (d. 1694), The Prodigal son, or rather a scene
in a tavern.

l. 472. Ruisdael, Landscape in a storm.

l. 518. Teniers, "Extérieur de cabaret".

l. 417. Rembrandt, Portrait of a youth.

l. 425. Rubens, Departure of Lot.

*l. 458. Rubens, Portrait of Baron Henri de Vicq, Dutch ambassador
in Paris, purchased in 1850 from the collection of the
King of Holland for 15,984 fr. (640 L.).

l. 412. Rembrandt, Portrait of himself.

l. and r. Several pictures by Dow (d. 1674); Mieris (Francis,
d. 1681; William, d. 1747); Ostade (Adrian and Isaac); Teniers,
genre-paintings.

l. 369. Ostade (Adrian, d. 1685), The painter himself and
his family.

r. 514. Teniers, Temptation of St. Antony.

r. 292. Metzu (d. 1658), Vegetable-market at Amsterdam.

l. 224. de Hooch or Hooge (Peter, d. about 1540), Interior of
a Dutch dwelling.

r. 129. Dow, "La lecture de la Bible".

r. 41. Bol (d. 1681), Portrait of a mathematician.

l. 572. Wouverman (d. 1668), Cavalry attack.

l. 527. Terburg (d. 1681), Music-lesson.

r. 143. Van Dyck, The children of Charles I. of England.

r. 528. Terburg, A lady singing.

r. 400. Potter (d. 1654), Oxen and sheep.

l. 147. Van Dyck, Portrait of Francis de Moncade.

r. 471. Ruisdael, A storm at sea.

r. 137. Van Dyck, Madonna.

r. 149. Van Dyck, Portrait.

l. 152. Van Dyck, Portrait of himself.

l. 144. Van Dyck, The Counts Palatine Lewis and Rupert.

462. Rubens, Carousal of peasants and dance.

French School.

The first five rooms contain the French masters down to
Louis XIV.

1st Room. Older Pictures: Death of Christ and saints
on a gold ground; series of portraits by François Clouet, dit
Janet (d. 1572) and his pupils, etc.

2nd Room. Twenty-two pictures by Eustache Lesueur (d. at
Paris 1655) from the life of St. Bruno.

3rd Room. Scenes from classical mythology, most of them
by Lesueur.

4th Room. Fifteen large sea-pieces by Joseph Vernet (d. 1789),
representing the harbours of France.

A large, oblong hall is next entered, principally dedicated
to pictures by Nicholas Poussin (d. at Rome 1665), and by
Claude Lorrain (d. at Rome 1682), all of which deserve careful
inspection. Among them may be mentioned, r.:

435. Nicolas Poussin, Rape of the Sabines.

298. Jean Jouvenet (d. in Paris 1717), Raising of Lazarus.

521. E. Lesueur, St. Paul preaching at Ephesus.

297. Jouvenet, Miraculous draught of fishes.

222. Claude Lorrain, Seaport.

496. Santerre (d. at Paris 1717), Susanna bathing.

225. Claude Lorrain, Harbour.

415. Nicholas Poussin, Rebecca at the well.

A lofty saloon with vaulted ceiling is now entered, containing
four large pictures by C. Lebrun from the life of Alexander.
In the four lunettes of the ceiling are paintings by Charles Müller,
bearing reference to the history of French art: St. Louis and the
Sainte Chapelle, Francis I. in the studio of one of his artists,
Louis XIV. commencing the construction of the Louvre, Napoleon
l. directing the Louvre to be completed. To the r. of this
is situated the Salle des Etats, in which the annual opening of
the Chambers by the Emperor takes place. Opposite the visitor,
on the l. side:

432. N. Poussin, Baptism in the Jordan.

475. Rigaud (d. at Paris 1743), Portrait of Louis XIV.

349. Mignard (d. at Paris 1695), The Virgin with a bunch
of grapes.

446. Poussin, Time rescues Truth from the attacks of Envy
and Discord, ordered by Cardinal Richelieu as a ceiling-painting.

223. Cl. Lorrain, Disembarcation of Cleopatra at Tarsus.

250. Lesueur, St. Gervasius and St. Protasius refuse to offer
sacrifice to Jupiter.

476. Rigaud, Portrait of Philip V of Spain (d. 1746).

76. C. Lebrun (d. at Paris 1690), Death of Meleager.

In the Second Saloon pictures by modern masters, on the r.:

329. C. van Loo (d. at Paris 1765), Hunters' breakfast.

261. Greuze (d. at Paris 1805), The paternal curse.

262. Greuze, The chastised son.

*263. Greuze, The broken pitcher.

330. C. van Loo, Portrait of Maria Lescziuska, Consort of
Louis XV.

*82. Madame Lebrun (Elisabeth Louise Vigée, d. 1842), Portrait
of herself and daughter.

276. Gros (d. at Paris 1835), Francis I. and Charles V. visiting
the tombs of St. Denis.

154. David (d. at Brussels 1825), Paris and Helen.

633. C. Vernet (father of Horace, son of Joseph), Hunting scene
in the forest of Meudon.

*281. Guérin (d. at Rome 1833), Æneas relating to Dido the
fate of Troy.

On the short wall:

499. Sigalon (d. at Rome 1837), The love-letter.

*494. L. Robert (d. at Venice 1835), Festival of the Madonna del
Arco at Naples.

*493. L. Robert, Reaper in the Pontinian marches.

On the left side (towards the Place Napoléon):

577. Tocqué (d. at Paris 1772), Portrait of Maria Lesczinska.

150. David, Oath of the Horatii.

321. Lethière, Brutus condemning his sons to death.

235. Gérard (d. 1837), Entry of Henry IV. into Paris.

A passage now leads to the Galerie des Sept Mètres, so-called
from its breadth, which contains a selection of pictures of the
older Italian school. At the entrance *Diana, an ancient marble
statue found at Gabii near Rome. On the W. wall:

r. 252. Andrea Mantegna (d. 1506), Wisdom conquers Vice.

43. Giorgione (Barbarelli, d. 1511), Madonna with saints and
portrait of the person for whom the picture was painted.

472 Titian, Portrait of a man.

*384. Raphael, Portrait of the Princess Joan of Arragon.

89. Titian, Portrait of a man.

437. Andrea del Sarto, Caritas, a woman with three children.

88. Bordone, Vertumnus and Pomona.

*95. Johann Stephan of Calcar (born at Calcar on the Lower
Rhine in 1499, d. at Naples in 1546, one of Titian's best pupils),
Portrait of a man.

469. Titian, Portrait of Francis I. of France.

*277. Palma ("Il Vecchio", d. 1548), Adoration of the Shepherds.

241 Luini, Virgin and sleeping Child.

On the E. wall:

l. *251. Andrea Mantegna, Dance of the Muses, an allegory.

470. Titian, Portrait of Alphonso of Avalos, Marquis of Guasto,
commander of the armies of the emperor Charles V. in Italy and
his wife Mary of Arragon, a celebrated beauty, to whom Cupid
Flora and Zephyr are represented as doing homage.

99. P. Veronese, Ahasuerus and Esther ("l'évanouissement
d'Esther").

459. Titian, Holy Family with St. Catharine and a white rabbit,
("la Vierge au lapin").

480. Leonardo da Vinci, John the Baptist.

385. Raphael, Portrait of a youth, erroneously said to be
Raphael himself.

483. L. da Vinci, Portrait of a woman.

*482. L. da Vinci, The Virgin in the Sepulchre.

379. Raphael, St. Margaret.

283. Raphael, Portrait of Count Balthasar Castiglione.

173. Conegliano (Cima, d. after 1517), Virgin and saints.

186 Raphael, Portrait.

Returning through the Galerie d'Apollon to the large French
picture-gallery (Salle des Sept Cheminées, p. 47), the visitor now
turns to the r. and by a door in the corner enters the halls of
the Musée Napoléon III. (suite of rooms towards the Seine), an
admirable collection of Etrurian and Greek vases, Greek and
Phœnician inscriptions, busts, tombstones, idols, bronzes, statuettes,
antiquities etc., some of them from the Campana collection (p. 56),

others brought from Syria by E. Renan, from Macedonia and
Thessaly by Henzey, and from Asia Minor by Perrault.

Paintings on the ceiling: 1 st Room. Alaux, Nic. Poussin being
introduced to Louis XIII. (Phœnician inscriptions; statues, statuettes,
busts and inscriptions from Cyprus; vases, phials and
terracottas from Rhodes; in the cabinets by the window amulets and
ornaments from different districts of Syria, Moabitish pottery etc.
— 2nd Room. Steuben, Francis I at the battle of Marignano.
(Red vases for domestic purposes, amphoræ etc.) — 3rd Room.
Eug. Devéria, Louis XIV. at Versailles inspecting Puget's marble
group of Milo of Crotona (p. 54). (Etruscan vases, commencing
with those of the rudest form.) — 4th Room. Fragonard, Andrea
del Sarto showing his picture of "Caritas" to Francis I. (Etruscan
terracottas, reliefs, cinerary urns etc.) — 5th Room. Heim, Revival.
of the arts in France, with eight small lateral pictures. (Vases
of the most ancient style.) — 6th Room. Fragonard, Francis I.
knighted by Bayard. (Ancient vases.) — 7th Room. Schnetz,
Charlemagne and Alcuin, founder of the university of Paris.
(Vases of more modern style.) — 8th Room. Drolling. Louis XII.
saluted as father of his people by the states-general at Tours.
(Small vessels in clay, drinking-cups etc.) — 9th Room. *Léon
Cogniet, Bonaparte in Egypt. (Objects in glass; also a collection
of *frescoes from houses of Pompeii, presented in 1825 by Francis I.
of Naples.)

The visitor should now retrace his steps to the Salle des
Sept Cheminées and by a door to the l. enter the Musée de
Charles X., which contains a valuable collection of smaller Greek,
Etruscan, Roman and Egyptian *Antiquities; the paintings on the
ceilings date from 1827, and are as follows:

1st Room. Ingres, *Deification of Homer. — Collection of vases
of glass and enamel.

2nd Room. Heim, Jupiter entrusts Vulcan with the fire for
the destruction of Herculaneum and Pompeii. — Vases on the
table well deserving inspection, found in S. Italy.

3rd Room. Meynier, Nymphs of Parthenope (Naples) emigrating
to the Seine. — Collection of beautiful Greek terracottas,
statuettes, urns etc.

4th Room. Picot, Cybele protecting Herculaneum from total
destruction. — Etruscan vases in the glass cases.

5th Room (passage-room, the so-called throne-room). Gros,
Allegorical painting in honour of Louis XIV. — This and the
four following rooms contain Egyptian Antiquities.

6th Room. Picot, France unveils Egypt. — Egyptian Antiquities:
carved stones with hieroglyphics (scarabæi), amulets, figures
of animals, idols, Isis and Osiris, figures in brass and clay.

7th Room. Abel de Pujol, Egypt seeking Joseph's protection
from the seven plagues. — Collection of mummies, scarabæi,

hieroglyphics on parchment and linen etc. Bust of the celebrated
archæologist Champollion.

8th Room. *Horace Vernet, Raphael and Michael Angelo in
the presence of Pope Julius II. — Collection of Egyptian implements,
weapons, manufactures, ornaments and carving.

9th Room. Gros, "Le génie de la France aide l'art et l'humanité".
— Collection of mummies, inscriptions, bronze utensils,
weapons, scarabæi.

In the centre of the large Staircase Hall which is now entered,
sarcophagi and statues; among the latter Rameses II. in a sitting
posture. In the recess a colossal black statue of Isis.

Turning to the l. the visitor now enters the Musée des Souverains.
The first two rooms, with richly gilded ceilings, contain
Sèvres vases and a silver statue of Henry IV. when a boy,
the third contains a complete model of a chapel of Henry III.
(1578); in the fourth, armour of French monarchs; the chair of king
Dagobert; the reputed crown of Charlemagne ("dite de Charlemagne",
for it is a well known fact that the genuine crown is
at Vienna), worn by Napoleon at his coronation; reminiscences of
French kings; prayer-books (one of Charles the Bald, richly ornamented
with carved ivory and precious stones); weapons, the
font of "St. Louis"; costumes of various orders; the helmet and
shield of Charles IX., richly plated with gold; the sceptre, "main
de justice", sword and spurs of Charlemagne; a valuable cabinet
of Marie Antoinette; candelabra of polished stones, presented to
Marie de Medicis by the republic of Venice; *jewel casket of
queen Anna; writing-table of Louis XVIII. employed by him when
a prisoner; coronation robes of Charles X.; secretaire of Louis Philippe,
bearing traces of having been broken open (February, 1848).

The fifth room is a spacious apartment, exclusively devoted
to *Souvenirs of Napoleon I. It contains the emperor's camp
bed, his grey coat and the three-cornered hat, the round hat he
wore in St. Helena, his state and coronation robes, richly decorated
saddles etc.: also the cradle of the king of Rome, "ayant depuis
servi au Duc de Bordeaux".

The three next rooms contain the Picture Gallery of the
Musée Napoléon III., devoted exclusively to mediæval paintings.

1st Room. Byzantine Pictures, most of them figures of saints
on a gold ground, some with Greek inscriptions.

2nd Room. On the principal wall: 263. Portrait of Pope
Sixtus IV., of the Flemish school; 267. Portrait of Dante, of the
same school; 270. Portrait of Thomas Aquinas, by a Flemish master;
99. A battle, a curious picture by Paolo Uccello, who died in Florence
about 1479 in his 83rd year; 236. Dante and Beatrix, two
portraits in the same frame, of the Italian school.

3rd Room. 279. Francis Pourbus (Flemish school of the 16th
cent.), Portrait of Marie de Medicis; 225, Raphael's School,

St. Catharine; 252. School of Bologna (17th cent.), Portrait of
Gregory II.; 247. Sassoferrato, Virgin and Child; 246. Same master;
250. Copy of the same subject.

The visitor now enters a suite of apartments of various sizes
(a staircase ascends from the first of these to the Naval Muscum),
occupying one half of the N. wing and comprising Mediæval and
Renaissance Curiosities of the Musée Napoléon III. The first
two rooms contain carved Oak Furniture and Italian Fayence.
The next room contains specimens of the Fayence Work of the
celebrated Bernard de Palissy (d. 1589), consisting principally of
dishes with moulded representations of snakes, frogs, lizards, fishes,
plants etc.

The 4th Room is devoted to Metallic and Bronze Articles, such
as knives, locks, embossed plates etc. Two Bronze Reliefs are
here especially worthy of note, the originals of which were
executed in marble by Pierre Bontemps in 1552 for the tombstone
of Francis I. in the burial chapel of St. Denis; they are
placed on the side walls opposite to each other. On the wall
opposite to the window is a beautiful enamel picture from the
manufactory of Limoges, representing the various events of the
Passion.

In the 5th Room mediæval Glass and Porcelain. Opposite to
the window, on the wall, a Glass Mosaic, representing the lion
of Venice, executed by Antonio Fasolo in the manufactory of Murano
in the 16th cent.

The 6th Room, the Salle Sauvageot, contains a collection of
mediæval miniature pictures, carved wood. vases etc., bequeathed
to the Louvre by M. Sauvageot. Between the windows a life-size
portrait of Henry II.

In the 7th Room, the last of the Musée Napoléon III., the
attention of the visitor will be arrested by an *Altarpiece of carved
ivory, about 6 ft. in height, a perfect master-piece of its kind,
dating from the end of the 14th cent. It was brought from the
town of Poissy, and stands by the wall, opposite the window.

The 8th Room, the central apartment of this N. wing, situated
immediately over the entrance to the Cour du Louvre from the
Rue de Rivoli, contains Crayon Drawings, most of them portraits.
The following suite of rooms, occupying half of the N.
and half of the W. wings, is devoted exclusively to a very extensive
and valuable collection of Drawings, of great interest in
the study of art, some of which are not without attraction for
the ordinary visitor.

9th Room. Drawings of the Early French School.

10th Room. Crayon Drawings, miniatures, Chinese pictures etc.

11th Room. Drawings of the Modern French School. Here
is preserved an unfinished oil painting by David, probably intended

to represent the revolutionist meeting in the Jeu de
Paume (p. 170). One of the four finished heads is that of Mirabean.
The nude figures serve to show the amount of care David
bestowed on anatomical proportions.

12th Room. Modern French School. Antoine Watteau.

13th Room. French School. Charles Lebrun.

14th Room. Lesueur, Sketches of his illustrations of the life
of St. Bruno (p. 65).

15th Room. Claude Lorrain, N. Poussin, Lesueur.

16th Room. Dutch and German Schools: Dürer, Holbein,
Rubens, Rembrandt, Teniers etc. On the wall facing the visitor:
Cavalry skirmish, sketch by Rubens from Leon. da Vinci.

17th Room. Bolognese School. Ceiling Painting: Mauzaisse,
Divine Wisdom giving laws to kings and legislators.

18th Room. Italian School: Drawings, two in crayons, by
Correggio. Ceiling-painting: Drolling, Law descends to the earth.

19th Room. Italian School: Drawings by the most celebrated
masters, Leon. da Vinci, Michael Angelo, Raphael, those
of the first particularly well executed. On the ceiling: Blondel,
France receives the Charter from Louis XVIII.

20th Room. Earlier Italian School. On the ceiling: Blondel,
France victorious after the battle of Bouvines.

At the egress from the collection of drawings are placed the
tools with which the foundation-stone of the New Louvre was
laid, July 25th, 1852. They were presented by the architect
Visconti, who died before the completion of the structure.

Contiguous to the small ante-chamber, with bronze copies of
celebrated antiques, on the r., is the Hall of the Bronzes of the
Musée Napoléon III. The handsome door of wrought iron leads
to an isolated saloon, containing a valuable collection of ancient
utensils, weapons and statuettes. A magnificent view is enjoyed
hence. In the centre-cabinet are preserved ornaments in gold
and silver, mirrors, buckles, keys, seals, bracelets; also a gilded
helmet found at Amfreville in the Departement Eure, in 1861.
By the window a gilded bronze statue of Apollo, over life-size;
l. antique Apollo; then seats, candelabra, busts and statuettes.
In the cabinet on the r. several toilet caskets with engraving,
found at Palestrina near Rome, vases, lamps etc. In the cabinets
by the wall are statuettes; l. beautiful selection of *Roman
weapons, helmets, shields, swords, lances etc.

Having thus completed his circuit of the first floor of the
Louvre, the visitor should not omit now to proceed to the *Musée
de la Marine, situated on the second floor (ascent by the stair
mentioned at p. 70; comp. ground-plan, p. 57).

This museum contains a valuable collection of various objects
connected with ship-building, navigation etc., such as models of

vessels and machines, plans and drawings of harbours and piers,
weapons and relics of historical interest. For the non-professional
visitor the following objects are perhaps those most deserving
of inspection:

1st Room. The French fleet from 1786 to 1824. No. 33.
Large plastic representation of the embarkation and transport of
the obelisk of Luxor (p. 8); 34. The erection of the obelisk in
the Place de la Concorde. On the principal wall an inscription
to the memory of the heroic Lieutenant Bellot of the French
navy, who perished in 1853 in an Arctic expedition, placed there
by English residents in France.

2nd Room. 150. Machine for adjusting the masts of a ship.
3. Relief-plan of the town and harbour of Brest: Models of ships.

3rd Room. Models of pumps and machines; 349. Ship in the
stocks about to be launched; 5. Relief-plan of the town and
harbour of Lorient; 522. Model of the "Valmy", a ship of the
line of the first class.

4th Room 621. Large model of a 120 gun ship, occupying
the entire apartment

5th Room. 960. Bell from the chapel of the citadel of St. Jean
d'Ulloa (Mexico), which was pierced by a cannon-ball from a
French corvette in 1838; small sailing-vessels etc.

6th Room. 885 to 958. Large obelisk decorated with relics
of the frigates "Boussole" and "Astrolabe", which had been sent
on a voyage of discovery under the command of Captain de Lapérouse
in 1783, and foundered at sea. Traces of the ill-fated
expedition had been discovered by the English Captain Dillon in
the island of Ticopia in 1828, whereupon a French vessel was despatched
for the purpose of bringing home the relics 956. Letter
written by Lapérouse; 780. Bust of Lapérouse. — Busts of
celebrated French navigators and naval heroes. — Models of ships.

7th Room. 721. Model of the steam vessel of war "le Véloce".

8th Room. Rigging and ships chains. Two relief-plans of
Toulon, dating from 1790 and 1850.

9th Room. Fire-arms of various calibres.

10th Room Scientific instruments, sextants etc.; also a very
large geographical globe.

11th Room. 640. Model of "le Louis XV.", a man of war of
the middle of the last century. 640. Model of "La Réale", an
admiral's ship built at the close of the 17th cent. and artistically
adorned by the celebrated sculptor Puget (p. 54). The original
carving in gilded wood (No 760—775) hangs on the wall.
4. Relief-plan of the town and harbour of Rochefort.

The adjoining rooms contain the Musée Ethnographique,
recently founded.

1st Room. Curiosities from Africa, most of them presented
by M. Delaporte, consul at Cairo. 32. Model of the slip from

which "le Majestueux", a man-of-war of the first class, was
launched at Toulon in 1829; 659. Model of the machine by
means of which the "Rivoli", a ship of 72 guns, was raised in
the harbour of Venice in 1812.

2nd Room. A collection of the spoil captured in various
French naval expeditions, consisting principally of curiosities from
Japan, China and Mexico. Model of the pagoda of Juggernaut
in India surmounted by the image of Wischnu, the principal
deity of the Indians, to whose shrine every Indian is bound to
make a pilgrimage at least once in his life.

Beyond this are three rooms with curiosities from China,
most of them collected during the French expedition of 1860:
porcelain, paintings, boxes, idols, models of Chinese buildings,
weapons etc.

American Antiquities. The commencement of a collection
of implements, tools, idols and ornaments, most of them of stone,
from Mexico, Chili and Peru, resembling in many respects the
Egyptian antiquities, and proving that the aboriginal inhabitants
of America were, on the discovery of America by Columbus (1492)
not far behind the Egyptians in civilization. The collection is
temporarily placed in a passage on the second floor near the
outlet of the Musée Ethnographique.

On quitting the old Palais du Louvre, the visitor should direct
his steps to the magnificent New Buildings connecting the Louvre
with the Tuileries on the N. side. This gigantic work was commenced
in 1848 from designs by Visconti and rapidly completed
(1850—56) under Napoleon III. at a cost, as it is estimated, of
75 million francs (3 million L.).

The portal is decorated with a group representing Intelligence
and Labour, the former unfolding the plan of the edifice, the
latter with a cornucopia; beneath is a statue of France leaning
on a sceptre.

In niches on the exterior, at the entrance to the Place du
Carrousel in the Rue de Rivoli (Pavillon de Rohan), are placed
statues of the following celebrated generals of the first Republic
and Empire: Hoche, Kléber, Lannes, Masséna, Desaix, Marceau,
Soult and Ney.

The galleries of this new structure (Place Napoléon) are occupied
by a long series of statues of literary celebrities: La
Fontaine, Pascal, Mézeray, Molière, Boileau, Fénélon, La Rochefoucauld,
Corneille etc.

The ministerial offices of the state and imperial household
are now situated in this edifice. Here, too, is the Louvre Library
(private library of the emperor). On the ground-floor the Impérial
Stud, comprising the Emperor's private saddle-horses (among

others Buckingham, ridden by him at Magenta, and Ajax at
Solferino) and the gorgeous carriages of state. A second extensive
stud is situated on the Quai d'Orsay, at the corner of the
Avenue Rapp, at the extremity of the Pont de l'Alma (p. 85).
Permission to inspect these establishments is obtained by addressing
a written application (p. 92) to General Fleury, "Premier
Ecuyer de S. M. l'Empereur", at the Tuileries.

5. The Tuileries.

Palais et Jardin des Tuileries. Arc de Triomphe du Carrousel.

Between the Louvre and the Tuileries extends an open space,
1600 ft. in length, bounded on the N. side by the new structure
above mentioned. The E. and narrower portion (400 ft. broad)
of this space, contiguous to the Palais du Louvre, is termed the
Place Napoléon III. It is intended to adorn these large squares
with equestrian statues of Napoleon I. and Louis XIV.

The space in front of the Tuileries, the Place du Carrousel,
is of double the width, and derives its name from a tournament
held here in 1662 by Louis XIV. Here, in front of the central
entrance to the court of the Tuileries which is separated from
the Place by an elegant iron railing, rises the *Arc de Triomphe
du Carrousel, 45 ft. in height, 48 ft. in width and 26 ft. in
thickness, and consisting of three lateral and one transversal
arcade. This structure was erected by Napoleon I. in 1806 in
imitation of the triumphal arch of Severus at Rome. Handsome
as it undoubtedly is, its proportions do not harmonize with the
vast dimensions of the surrounding palaces.

The Marble Reliefs on the front of the arch represent the
battle of Austerlitz (r.) and the capitulation of the Austrian
General Mack at Ulm; those in the rear the conclusion of peace
at Tilsit (r.) and the entry into Munich; those on the N. side
represent the entry into Vienna, S. side the conclusion of the
peace at Pressburg.

The Marble Statues over the columns represent soldiers of the
empire in their respective uniforms; in front: a cuirassier, dragoon,
chasseur à cheval and carabinier; in the rear: a grenadier, carabinier,
artillery-man and sapper.

The arch is surmounted by a Quadriga, or chariot with four
horses, a group in bronze designed by Bosio, replacing the celebrated
horses of Lysippus which formerly occupied the summit,
but were restored by the allies in 1814 to their original position
over the portal of St. Mark's at Venice.

The Parade of the Imperial Guard, with military music,
takes place daily at 12 o'clock in the railed off court of the
palace.

From the latter a passage leads towards the S., whence on the
28th of June, 1836, Alibaud fired a pistol at Louis Philippe who
was on the quay, on the point of starting for Neuilly. On the
N. side the palace-court possesses another entrance, where Feb.
28th, 1848, the royal carriage was waylaid and the attendants
murdered by the infuriated populace.

The Palais des Tuileries was founded in 1564 by Catharine
de Medicis and designed by the architect Philibert Delorme. It
occupies the site of a former brick or tile-yard, whence its
appellation. Additions were made to the palace at various periods:
it is now upwards of 1000 ft. in length and 105 in width, and
its dimensions alone entitle the exterior to inspection. It was
not till the year 1856 that the principal façade towards the garden
acquired some degree of symmetry.

In former times the Tuileries was never employed by the
sovereigns of France as a permanent residence. On Feb. 1st,
1800, it became the principal abode of Bonaparte when first consul,
since which period it has been regarded as the official residence
of the reigning monarch.

The N. wing, the Pavillon Marsan, was during the reign of
Louis Philippe occupied by the Duchess of Orleans. The S. wing
is termed the Pavillon de Flore. Between these two is situated
the Pavillon de l'Horloge. The latter contains the Salle des
Maréchaux, a hall occupying the entire width of the building and
two stories in height, adorned with portraits of eminent French
marshals and generals. Adjoining this hall are the Throne-room,
the Galerie de Diane, the Salon du Premier Consul and the other
state-apartments employed for the celebration of great court festivals.
The chambers occupied by the imperial family are situated
on the S. side, between the Pavillon de l'Horloge and the Pavillon
de Flore. The latter, together with the contiguous portions
of the Louvre, were taken down in 1861 and are now in process
of re-erection. In the N. half of the palace are the chapel and
the theatre. In this portion of the building the Convention held
its meetings.

Within the last 12 years the apartments of the Tuileries have
been fitted up in a style of almost unparalleled magnificence.
They cannot perhaps lay claim to numerous works of high art,
but contain hangings, carpets, mirrors and decorations of the most
gorgeous description. The private apartments are not shown,
but in the absence of the imperial Family access may be obtained
to the others on application by letter to the "Ministre de la maison
de l'Empereur".

No edifice in Paris is so rich in historial associations as the
Tuileries. On Oct. 5th, 1789, Louis XVI. was conveyed from
Versailles to Paris by the "Dames de la Halle" and took up his
abode in this palace. Successes had emboldened the revolutionists.

The well known manifest of the Duke of Brunswick was used
as a pretext for deliberating on the dethronement of the ill-fated
monarch. On Aug. 10th, 1792, an armed mob appeared in front
of the palace. The fidelity of the national guard posted in the
palace yard and garden began to waver The king, yielding to
the earnest solicitations of his friends, quitted the palace with
his family about 8 p. m. and repaired to the Manège or riding-school,
situated on the N. side of the garden (in the present Rue
de Rivoli), where he passed the night.

The withdrawal of the king at first appeared likely to avert
the impending contest. The maddened populace, however, soon
found some pretext for commencing hostilities. After a fierce
contest the palace was taken by storm, and the greater number
of its gallant defenders, consisting of a number of French nobles
and the Swiss guard, mercilessly butchered. Of the latter alone
800 men and 26 officers fell victims to their unwavering constancy,
"ne sacramenti fidem fallerent" (lest they should become
perjured), as the inscription under the Lion monument at Lucerne
records.

On Aug. 13th, the king was conducted as a prisoner to the
Tour du Temple the ancient residence of the knights Templar
in the Rue du Temple, now removed to make way for a new
market-place. The 10th of the month had already sealed the
fate of the kingdom.

The kingdom of the Restoration was also here terminated,
July 29th, 1830, by the capture of the Tuileries and by the flight
of Charles X. from St. Cloud to Rambouillet.

The July kingdom, likewise, met with its death-blow in a similar
manner, Feb. 24th, 1848. The conflict between the insurgents
and the royal troops gradually approached the Tuileries. To defend
the palace would have been no difficult matter. Louis
Philippe, however, trusted by making concessions to secure the
throne to his grandson, the Count of Paris. He preferred abandoning
the palace to the popular fury. About 1 p. m. he quitted
the Tuileries by the garden and repaired with his family to the
Place de la Concorde whence two fiacres conveyed the fugitives
to St. Cloud.

The capture of the palace was succeeded by the most frightful
scenes of devastation. The royal carriages and furniture were
burned in the palace yard, the throne at the foot of the July
Column (p. 35). The apartments of the Duchess of Orleans
(d. 1858) alone were spared.

On Feb. 26th, 1848, the Provisional Government (Dupont de
l'Eure, Lamartine, F. Arago, Ledru-Rollin etc.) decreed that the
Tuileries should be converted into an asylum for invalid artizans.
Although this decree was never carried into effect, the palace
served during several months as a hospital for the wounded.

The *Garden (Jardin des Tuileries), 2230 ft. long and 870 ft.
broad, retains the same general features as when it was first
designed in the reign of Louis XIV. by the celebrated landscape-gardener
Le Nôtre. Some alterations took place in 1858:
the smaller garden laid out by Louis Philippe was extended as
far as the central basin and separated from the public garden
by a ditch and an iron railing. Several of the sculptures, which
formerly constituted one of the principal ornaments of the public
garden, are now placed in the imperial garden (jardin reservé),
to which access cannot be obtained except during the absence
of the imperial family.

The entrance to the public garden from the river (S.) side
is by an archway under the Terrasse du Bord de l'Eau, once the
playground of the King of Rome, then of the Duke of Bordeaux
and afterwards of the Count of Paris. At the end of this terrace
are the Orangeries. Passing under the terrace, the visitor enters
the "parterre" (flower-beds and lawns), on which the utmost care
is bestowed, bounded on the W. side by a shady grove of lofty
trees. The public garden is surrounded on the three other sides
by terraces which (especially that on the W. side) afford a beautiful
prospect of the Seine, the Place de la Concorde and the
Champs Elysées as far as the Arc de l'Etoile.

The Terrasse des Feuillants on the N. side derives its appellation
from a Benedictine monastery of the "Feuillant" order
which stood here previous to the revolution and where the republican
club founded by Lafayette in 1791 held its sittings.
A public tennis-court now occupies the site (entrance for spectators
on the S. side). The riding-school mentioned at p. 76 1 was
in the immediate vicinity.

A number of marble and bronze Statues adorn the garden.
The following are arranged along the railing which separates
the Jardin Reservé from the public garden: 1. The Listening
Slave, a bronze cast, executed in 1688, from the well-known
original in the gallery at Florence; 2. Phidias, by Pradier; 3. Dying
Warrior, by Cortot; 4. Pericles, by Debay; 5. Truth triumphant;
6. Boreas carrying off Orythia, by Regnaudin; 7. Themistocles,
by Lemaire; 8. Theseus killing the Minotaur, by Ramey jun.;
9. Spartacus, by Foyatier; 10. Laocoon, a copy in bronze of the
celebrated antique in the Vatican; opposite to it Ugolino with
his sons (?); at the E. extremity of the Allée des Orangers stands
a Hercules, by Bosio; at the opposite extremity, a Meleager;
other statues surround the basin.

In each of the groves to the r. and l. of the broad central
walk is a semi-circular space with a white marble enclosure.
These are termed Carrés d'Atalante and were constructed in 1793,
from designs by Robespierre, as seats for the council of old men

who were to preside over the floral games in the month of Germinal
(March 21st to April 19th).

At the W. extremity of this small grove is an octagonal basin
300 yds. in circumference, with a fountain in the centre. Beyond
it are four fine groups in marble: S., The Nile, by Bourdot, The
Rhine and Moselle, by Van Cleve; N., The Rhone and Saone, by
G. Coustou, The Tiber, by Van Cleve. The 16 children which
surround the Nile are emblematical of the fertility occasioned by
the inundations of the river which usually rises at these periods
to a height of 16 ells above its usual level. The Nile is a copy
of the antique in the Vatican, the Tiber of one in the Louvre
(p. 55).

The pillars at the entrance from the Place de la Concorde
are surmounted by two handsome groups (by Coyzevox) of Mercury
and Fame on winged steeds. This outlet derives its appellation
of Porte du Pont-tournant from a swing bridge which
formerly existed here.

"La Petite Provence" is a term applied to this W. side of the
garden from its sunny aspect. It is a favourite resort of nurserymaids
and children, as well as of elderly persons, who repair
hither to avail themselves of the shelter and warmth which this
spot affords.

The garden of the Tuileries is, indeed, the favourite resort
of Parisians of all classes, more especially the N. side, sometimes
termed the Côté des Chaises from the numerous chairs which
stand here and may be hired for 10—20 c. The other portions
of the garden are furnished with wooden benches for the accommodation
of visitors. The Allée des Orangers (the older trees
250—300 years old, the younger 100 years), which in summer
here diffuse the most delicious fragrance, occupies the ground
which during the reign of terror (1793) was a potato-field Here,
too, is one of the inevitable Parisian cafés.

The garden of the Tuileries is opened soon after daybreak
and is closed in winter at 4, in summer at 9 o'clock. Visitors
are apprised of the closing of the gates by the beat of a
drum. The sentinels here, as well as those at the Louvre and
the Palais Royal, are usually soldiers of the imperial guard or
Zouaves.

6. Place de la Concorde.

The largest and most strikingly beautiful square in Paris is
the **Place de la Concorde, 400 paces in length and of nearly
the same width, bounded on the S. by the Seine, W. by the
Champs Elysées, N. by the Rue de Rivoli and E. by the garden
of the Tuileries. From the centre of the square a view is obtained
of the Palais du Corps Législatif (p. 152), the Madeleine, the

Tuileries and the Arc de Triomphe de l'Etoile. When viewed by
gas-light, the scene is scarcely less striking, the lamps in the
direction of the Champs Elysées as far as the Triumphal Arch
forming an apparently interminable avenue. The two magnificent
edifices of exactly uniform exterior on the N. side of the
square, separated from each other by the Rue Royale leading to
the Madeleine, served as Garde-Meubles of the crown before the
time of the first revolution: that to the E. is now the seat of
the minister of the marine.

One hundred years ago the site of this magnificent Place was
little more than a piece of waste ground. After the peace of
Aix-la-Chapelle (Oct. 18th, 1748) which terminated the Austrian
war of succession, Louis XV. "graciously permitted" the mayor
and municipal dignitaries (échevins) to erect a statue to him.
The work was at once commenced, but was not completed till
1763, when the equestrian statue in bronze by Bouchardon was
erected in the Place, which then received the appellation of
Place de Louis XV. The pedestal was adorned with four figures
by Pigalle, emblematical of Strength, Wisdom, Justice and Peace.
Soon after the erection of the statue the following pasquinade
appeared on the pedestal:

A few days later was added the sarcasm: A third termed the statue a "statua statuœ".

The Place was at that period surrounded by deep ditches
(filled up in 1852), and the new buildings on the N. side were
in course of construction, when, May 30th, 1770, during an exhibition
of fireworks in honour of the nuptials of the Dauphin
(afterwards Louis XVI.) with Marie Antoinette, such a panic was
occasioned by the accidental discharge of some rockets that upwards
of 1200 persons lost their lives in the confusion which
ensued or by being precipitated into the ditches, and 2000 more
were severely injured.

On August 11th, 1792, the day after the storming of the
Bastille, the statue of the king was removed by order of the
Convention and melted down, the metal being chiefly employed
for the coinage of pieces of two sous. A daubed clay image of
the "Goddess of Liberty" was then placed on the pedestal, and
derisively termed "La Liberté de boue". The Place itself received
the name of Place de la Révolution.

On January 21st, 1793, the guillotine (p. 94) here commenced
its bloody work with the execution of Louis XVI. On July 17th
Charlotte Corday was beheaded; on October 2nd Brissot, chief of

the Gironde, along with twenty-one of his adherents; on October
16th the ill-fated queen Marie Antoinette; on November 14th,
Louis Philippe, Duke of Orleans, better known as Egalité (father
of king Louis Philippe); on May 12th, 1794, the princess Elisabeth
Marie Hélène, sister of Louis XVI. On March 24th, at
the instance of Danton and Robespierre, Hébert, the most determined
opponent of all social rule, together with his partizans,
here terminated his career on the scaffold; the next victims were
the adherents of Marat and the Orleanists; then on April 8th
Danton himself and his party, amongst whom was Camille Desmoulins;
subsequently the atheists Chaumette and Anacharsis
Cloots on April 16th, and the wives of Camille Desmoulins,
Hébert and others. On July 28th, 1794, Robespierre and his
associates, his brother, Dumas, St. Just and other members of the
comité du salut public here met a retributive end, and on the
following day 70 members of the Commune whom Robespierre
had employed as his tools; on July 30th twelve other members
of the same body.

Lasource, one of the Girondists, called out to his judges:
"Je meurs dans un moment où le peuple a perdu sa raison; vous,
vous mourrez le jour où il la retrouvera." Of St. Just, Camille
Desmoulins had said: "Il s'estime tant, qu'il porte avec respect sa
tête sur ses épaules comme un saint-sacrement." St. Just replied:
"Et moi, je lui ferai porter la sienne comme un St. Denis".
(St. Denis, as is well known, is usually represented as a martyr,
bearing his head in his hands.) St. Just kept his word; a few
months later he himself fell a victim.

From January 21st, 1793, to May 3rd, 1795 more than
2800 persons here perished by the guillotine. When it was afterwards
proposed to erect a large fountain on the spot where the
scaffold of Louis XVI. had stood, the plan was strenuously and
successfully opposed by Chateaubriand, who aptly observed that
all the water in the world would not suffice to remove the bloodstains
which sullied the Place.

In 1799 the square received the name of Place de la Concorde,
in 1814 it was called Place de Louis XV., in 1826 Place
de Louis XVI., as it was intended here to erect an expiatory
monument to the memory of that monarch. About 1830 the
name of Place de la Concorde was resumed, and it was resolved
to adorn the square with some monument which should not bear
any allusion whatever to political events. An opportunity of
carrying out this resolution was soon afforded by the *Obelisk
of Luxor, a gift of Mehemed Ali, Pascha of Egypt, to Louis
Philippe.

In front of the great temple of ancient Thebes, the Luxor
of the present day, stood two beautiful ancient Egyptian obelisks.
As a token of gratitude for services rendered, the Pascha offered

one of these to the French government. In the summer of 1831
a vessel was accordingly despatched to Egypt for the purpose of
conveying home the smaller and more beautiful of these two
relics. The task, however, proved of such an arduous nature
(comp. p. 72) that the vessel did not return with its costly freight
till August 1833. The erection of the obelisk in its present
position was not finally effected till 1836. The expenses entailed
by the whole undertaking amounted to two millions of francs,
and, as the obelisk has a weight of 500,000 lbs., the sarcasm-loving
Parisians observe that the stone of which it consists has
cost 4 fr. per pound.

This obelisk, one of the most beautiful in the world, is
72 ft. in height, the pedestal on which it stands 12 ft. and the
steps by which it is approached 15 ft., so that the entire height
is about 100 ft. The obelisk itself is a monolith, a block of
solid, reddish granite or syenite, and is inscribed with three
perpendicular rows of well-defined hieroglyphics on each side.
The inscriptions are laudatory of king Rameses III of Egypt,
better known in Europe as Sesostris the Great, who reigned about
1500 years before the Christian era. The obelisk is, therefore,
upwards of 3300 years old.

On the N. side of the pedestal is represented the apparatus
employed in the removal and embarkation of the monument, on
the S. side that employed in its erection in Paris.

The inscription on the E. side is as follows: Ludovicus
Philippus I., Francorum Rex, ut antiquissimum artis Aegyptiacae
opus, idemque recentis gloriae ad Nilum armis partae insigne monumentum
Franciae ab ipsa Aegypto donatum posteritati prorogaret,
obeliscum die 25. Aug. A. 1832 Thebis Hecatompylis avectum navique
ad id constructa intra menses 13 in Galliam perductum erigendum
curavit. Die 25. Octobris Anni 1836. Anno reg. septimo.

(Louis Philippe I., King of the French, in order to hand down to posterity
one of the most ancient Egyptian works of art, and at the same
time a magnificent monument, presented by Egypt herself, of the glory
obtained by the arms of France on the banks of the Nile, caused this obelisk
to be removed from Thebes with its hundred gates, August 25th, 1832,
and within 13 months to be conveyed to France in a ship constructed
for the purpose, and to be erected. October 26th, 1836. In the 7th year
of his reign.)

The inscription on the W. side is as follows: En présence
du Roi Louis Philippe Ier, cet obélisque, transporté de Louqsor en
France, a été dressé sur ce piédestal par M. Le Bas, ingénieur,
aux applaudissements d'un peuple immense, le 25 octobre, 1836.

The two magnificent *Fountains (Fontaines de la Place de
la Concorde) constitute another striking ornament of the square.
Each of them consists of a round basin, 50 ft. in diameter, above
which rise two other basins, 20 ft. and 12 ft in diameter respectively.
The lower basin is surrounded by Tritons and Nereids,
holding dolphins which spout water into the second basin.

The fountain to the S. is dedicated to the seas. The figures
which support the second basin represent the Pacific Ocean and
the Mediterranean; the genii are emblematical of the four kinds
of fishery (the common, the pearl, the coral and the shell). The
fountain to the N. is dedicated to the rivers. The principal
figures here represent the Rhine and the Rhone, the genii are
personifications of Corn, Wine, Fruit and Flowers. The figures
and the upper basins are of bronzed iron, the lower basins of
granite. The fountains are abundantly supplied with water from
a large reservoir near the Barrière de Monceau.

The eight marble figures on pedestals of the same material
which are placed round the Place, represent the most considerable
towns of France: Lille and Strasbourg by Pradier, Bordeaux and
Nantes by Calhouet, Rouen and Brest by Cortot, and Marseilles
and Lyons by Petitot. Along the balustrades which enclose the
square are placed twenty lofty rostral columns which serve
as candelabra; the carriage causeways are bordered with forty
ornamental lamp-posts.

The Place in its present condition was not completed till
1854, when much was done to beautify and perfect it. It now
presents an imposing "tout ensemble" which is probably without
a parallel in the world.

On April 10th, 1814, a solemn service was here performed
in presence of the emperors Francis and Alexander and king
Frederick William III. in memory of Louis XVI., after which a
Te Deum was sung as a thanksgiving for their victory. Prussian
and Russian troops were on that occasion bivouacked in the
Champs Elysées, and one year later English soldiers.

7. Champs Elysées.

Palais de l'Industrie. Palais de l'Elysée. Maison de François I. Hôtel Pompéien.
Pont de l'Alma. Pont d'Jéna.

The W. continuation of the Place de la Concorde is formed
by the Champs Elysées, originally laid out by Marie de Medicis
as a pleasure ground and planted with elms and lime-trees. It
is about half-a-mile in length and intersected by regular walks
and avenues. The principal road which traverses it and leads
from the Place de la Concorde to the Arc de l'Etoile is one of
the most fashionable promenades in Paris and is usually crowded
with vehicles of all descriptions, especially between 3 and 6 p. m.

The Champs Elysées are a favourite resort of the lower as well
as of the upper classes, and abound with attractions calculated
to suit the taste of the former, such as cafés-chantants, dancing
dogs, jugglers, marionettes, show-booths, cake-stalls etc. These
sources of entertainment become most popular towards evening,
especially by gas-light, and are in great request till nearly midnight.

They afford the stranger ample opportunity of witnessing
one of the characteristic phases of Parisian life.

At the entrance to the Champs Elysées are placed two figures
of Horse-tamers, executed by Coustou and removed in 1795 from
the palace at Marly to their present position, where they form
a suitable counterpart to the winged steeds at the egress of the
Jardin des Tuileries (p. 77). A Horse-railway, which commences
at the S.E. extremity of the Champs Elysées, conveys passengers
to Boulogne (sur Seine) and Versailles.

The wood itself is little more than ¼ M. in length and extends
as far as the Rond Point (Place or Etoile des Champs Elysées),
a circular space with a fountain in the centre, half-way between
the Place de la Concorde and the Arc de l'Etoile. The principal
avenue, however, slightly ascending, extends to the latter. To
the I. diverges the broad Avenue Montaigne, where on the r. is
situated the Jardin Mabille (p. 31), and farther on, on the l.,
the Hôtel Pompéien (p. 84).

Contiguous to the Champs Elysées on the N. side is the garden
of the Palais de l'Elysée, formerly Elysée Bourbon, erected in
1718 and considerably enlarged under Napoleon III. (front in
the Rue du Faubourg St. Honoré 55—57). During the reign of
Louis XV. this mansion was the residence of Madame de Pompadour;
in 1815, during the "hundred days", it was occupied by
Napoleon I., afterwards by the Duke of Wellington and the emperor
Alexander; it subsequently became the seat of the Duchess
de Berry, and finally that of the President of the republic previous
to his election as emperor and removal to the Tuileries.

On the S. side the Champs Elysées have been compelled to
yield a considerable space to the Palais de l'Industrie, the most
considerable of the modern edifices of Paris, although by no means
the most pleasing. It was erected by a company in 1852—55
and subsequently purchased by the government. In 1855 it
was employed for the first Great Exhibition at Paris, and is
now used for the exhibition of manufactures, agricultural products
etc. The building, which has a total length of 378 yds.
and a width of 144 yds., is constructed in the form of a rectangle.
The projecting front, to the N., which contains the principal
entrance, is surmounted by a han some group representing France
with outstretched hands, awarding laurel-wreaths to Art and Manufacture.
Over the entrance archway is a high relief representing
Agriculture, Industry and Art in the act of rendering homage
to a bust of the emperor. Above the tiers of pillars on each
side are the imperial arms with four genii as bearers, under which
are inscribed the names of the emperor and empress. The frieze
which separates the basement story from the first floor records
the names of men who have acquired distinction in the pursuit
of art, science, commerce, agriculture etc. The building has recently

been purchased by the government and is destined for
annual exhibitions. An entire restoration of the interior during
the present summer (1867) is contemplated.

In the rear of the Palais de l'Industrie (towards the Seine)
the "Concerts Musard" take place in summer in the open air
(admission 1 fr.).

To the W. of the Palais is situated a round building in which
panoramas are exhibited (deserving of inspection). On the opposite
side of the road is situated the Cirque de l'Impératrice
(p. 30).

The S. side of the Champs Elysées is contiguous to the Seine
(Quai de la conférence), the bank of which is skirted by the Cours
la Reine, one of the avenues planted by Marie de Médicis, along
which the above-mentioned railway runs. One of the most tastefully
built private residences in the renaissance style is the Maison
de François I., which here forms the corner of the Cours
la Reine and the Rue Bayard. The sculptures in front, the reliefs
of the frieze representing vintage festivals, and the portraits
in the medallions were all executed by Jean Goujon, the eminent
Huguenot sculptor and one of the victims of St. Bartholomew's
night. They were removed in 1826 from Moret, near Fontainebleau,
from an edifice erected in 1528 by Francis I. for the reception
of his sister, and employed in the construction of the
present building. Adjacent is the handsome residence of Madame
Alboni, the celebrated singer of the Italian opera.

The Quartier de François I., the construction of which was
untertaken by a company in 1823, is now nearly completed.
The circular Place de François I. is adorned with a fountain.

The Avenue Montaigne, which extends from the Seine, from
the W. extremity of the Cours la Reine. to the Rond Point, was
formerly termed the Allée des Veuves. Before the time of the
first revolution it was on account of its privacy the usual drive
taken by recently bereaved widows, whom the etiquette of that
period forbade to appear in public.

About the middle of the Avenue, on the l. (No 27) is situated
the Hôtel Pompéien, erected by the architect M. Normand
for Prince Napoleon in the style of the "Villa of Diomedes"
at Pompeii. In 1866 it was sold to a company for 1,200,000 fr.,
by whom it is employed for giving concerts and also exhibited
to visitors (adm. 1 fr.). The interior deserves inspection, although
it does not convey an adequate idea of the ancient architecture,
which in the case of villas differed considerably from
that of ordinary dwelling-houses. A collection of curiosities
actually excavated at Pompeii is in contemplation. — Opposite
to it is the residence of Prince Soltikoff, erected in the mediæval
style.

In the vicinity are two much frequented Gymnastic Establishments,
that of M. *Triat, Avenue de Montaigne 36, and
M. Roux, Rue Bayard 3.

The Champ de Mars (p. 159) is reached hence, either by
the Pont de l'Alma and the Avenue Rapp (the corner-building on
the r. is an imperial stable, see p. 74), or by following the
Quai de Billy (on the r. an extensive edifice for the "Subsistances
Militaires") to the Pont d'Jéna, opposite the principal entrance
of the Exhibition of 1867.

The Pont de l'Alma was erected in 1856 to commemorate the
Crimean campaign, at a cost of 1,200,000 fr. (48,000 L.). At
the extremities are four statues, representing a Zouave, a soldier
of the line, an artillery-man and a chasseur.

The Pont d'Jéna, constructed in 1806—1813, is opposite
the Ecole Militaire, but concealed by the buildings of the Exhibition.
It is adorned with huge eagles and four colossal groups:
a Greek, a Roman, a Gaul and an Arabian, each holding an untamed
horse.

8. Arc de Triomphe de l'Etoile.

Russian Church. Chapelle St. Ferdinand.

The close of the Avenue, 1 M. in length, which extends from
the Place de la Concorde to the Barrière de l'Etoile, is formed
by the *Triumphal Arch (Arc de Triomphe de l'Etoile), the most
magnificent structure of the kind in the world. It stands on a
slight eminence, 1½ M. from the Palais Royal, and is visible
from almost every part of the environs of Paris.

Napoleon I. resolved in 1806 to erect four triumphal arches
in commemoration of his victories. Of these two only were ever
completed, that in the Place du Carrousel by the emperor himself,
and the Arc de l'Etoile (founded Aug. 16th, 1806) by Louis
Philippe in 1836, the latter having cost altogether upwards of
10 million francs (400,000 L.). It consists of a vast arch, 95 ft.
in height and 45 ft. in breadth, intersected by a transversal arch
of much smaller dimensions. The entire structure is 152 ft. in
height, 137 ft. in width and 68 in depth.

The following groups adorn the E. front: to the r., Departure
of the troops to the frontier in 1792, by Rude, the finest
of the four large groups; above it, a relief representing the death
of General Marceau (fell at Altenkirchen, Sept. 22nd, 1796;
interred at Coblentz), by Lemaire; to the l. Napoleon crowned
by the goddess of Victory in 1810, by Cortot; above it, Mustapha
Pasha taken prisoner by Murat at the battle of Aboukir, by Seurre.

On the W. front, to the r Resistance of the French nation
to the invading armies in 1814, by Etex: above it, Passage of
the bridge of Arcole (death of Muiron, Bonaparte's adjutant), by

Feuchères; — to the l., the Peace of 1815, also by Etex; above it,
the Taking of Alexandria (Kléber, who has received a wound
on the head, points out the enemy to his troops), by Chaponnière.
For the two large groups by Etex, executed in 1833—36,
the sum of 140,000 fr. was paid.

The reliefs on the N. face represont a somewhat confused
group, by Gechter, of the battle of Austerlitz, in which the myth
invented by French historians of the Russian regiments sunk
amidst the ice is not wanting; — on the S. face: the Battle of
Jemappes, behind General Dumouriez the Duc de Chartres (Louis
Philippe) is represented attacking Prussian batteries, by Marochetti.

The succession of reliefs on the frieze represent on the E. side
the departure, and on the W. side the return of the French armies,
by Brun, Jaquot, Seurre and Rude. The figures of Victory
on each side of the upper portion of the arch are by Pradier.
A series of 30 shields on the attic above the entablature are
inscribed with the names of different victories.

On the vaulting of the transversal arch are recorded the
names of generals of the republic and of the empire; the names
of those who fell in battle are underlined. In the time of Louis
Philippe there were 384 names; Napoleon III. has caused two
more to be added, those of his father Louis Napoleon and his
uncle Jérôme.

The figures of Victory in relief beneath these names have reference
to successes gained in the east, north and south. The
cock interchanges with the eagle in the coat of arms.

The prospect which the Platform commands deservedly enjoys
its high reputation. The ascent is by a spiral staircase of 281 steps
in the S. pillar (fee 25 c.). With regard to some suitable
sculpture to be placed on the summit, in order to give an appropriate
finish to the whole, no determination has as yet been
arrived at.

In the vicinity of the Arc de l'Etoile, towards the N., Rue
Beaujon 21, is situated a remarkably handsome and peculiarly
ornamented mansion, which in 1852 was purchased by the dethroned
Duke Charles of Brunswick from Lola Montez. Most of
the new buildings in this neighbourhood are distinguished by
their handsome and tasteful appearance.

In the Rue de la Croix, in this quarter of the city, is situated
the Russian Church (access on Sundays, Tuesdays and
Thursdays, 3—5 p. m.), recognisable at a considerable distance
by the glittering gilded star by which it is surmounted. The
entire edifice is richly decorated; the interior is tastefully adorned
with pictures. The Iconostas, or screen between the nave
and choir, is covered with pictures of Russian saints.

The continuation of the Avenue des Champs Elysées beyond
the Arc de l'Etoile is termed the Avenue de Neuilly and leads to
Neuilly, for which an omnibus starts every 10 min. from the
Louvre, viâ the Barrière de l'Etoile. From the latter to the
bridge over the Seine at Neuilly in 20 min., fare 30 c. The palace,
once the favourite residence of Louis Philippe, was totally
destroyed, Feb. 25th, 1848; the site with the park have now
passed into private hands.

The Bois de Boulogne (p. 89) adjoins the S. side of the Avenue
de Neuilly. On the N. side of the Avenue, nearly opposite
the Porte Maillot, formerly the principal entrance of the Bois de
Boulogne, the Chemin de la Révolte, a broad street with few
houses diverges from the main road. In this street, about 100 yds.
from the Avenue de Neuilly, is situated the entrance to the
*Chapel of St. Ferdinand on the right, a cruciform mausoleum
in the Lombard style, 50 ft. in length and 20 ft. in height,
marking the spot were the ill-fated and lamented Ferdinand, Duke
of Orleans, breathed his last, July 13th, 1842, in consequence of
injuries received by falling from his carriage.

The house in which the duke expired was purchased by Louis
Philippe, who caused the chapel to be erected on the site as a
memorial of the melancholy event. On the high-altar is a Descent
from the Cross in marble, by Triquetti. To the l. is the altar of
St. Ferdinand, opposite to which is placed a group in the form
of a sarcophagus, representing the Duke on his death-bed, also
by Triquetti, from drawings by Ary Scheffer. The figure of a
*praying angel at the head of the dying prince was executed by
his sister Marie d'Orléans, wife of Duke Alexander of Wirtemberg,
who died Jan. 2nd, 1839. The windows are filled with
stained glass from drawings by Ingres (these designs are preserved
in the Luxembourg, see p. 132), and represent Faith, Hope,
Charity and fourteen saints whose names correspond with those
of the royal family; St. Ferdinand and St. Helena are portraits
of the Duke himself and his consort Helen of Mecklenburg
(d. 1858).

Behind the high-altar several steps lead into the Sacristy,
which is the exact spot where the Duke expired. A picture by
Jacquand, painted in 1844, represents this affecting scene. Around
the couch of the dying prince are the king, the queen, the Princess
Clementine, the Dukes of Aumale and Montpensier, Marshals
Soult and Gérard and the curé of Neuilly. The other persons
present are the generals Athalin, Gourgaud and Rumigny, Duke
Pasquier, M. Martin (du Nord) and M. Guizot. Dr. Paquet supports
the head of the sufferer. Dr. Destouches, the other physician,
bears a striking resemblance to M. Thiers. — The
chapel is accessible to visitors from 10 to 5 o'clock (fee 50 c.
to 1 fr.).

The station to the r., in the vicinity of the Chemin de la
Révolte, is on the branch railway from Auteuil by Passy, Porte-Dauphine
and Porte-Maillot (mentioned above) to the railway
station for Rouen or Versailles in the Rue St. Lazare. Train to
Paris every 20 min.

9. Parc de Monceaux.

The *Parc de Monceaux, which by the Boulevard de Monceaux
is about ½ M. distant from the Arc de l'Etoile, and by
the Boulevard Malesherbes about 1 M. distant from the Madeleine,
is one of the most delightful promenades of Paris, and affords a
pleasant retreat to those who desire to escape from the heat
and bustle of the town.

The park, which formerly appertained to the domain of Monceaux
or Mousseaux, once a portion of the lordship of Cluny,
was purchased by Philip of Orleans (Egalité), father of Louis
Philippe, in 1778, and under the directions of Carmontel newly
laid out. The style in which this was effected was intended to
be something perfectly novel, differing from both French and
English etablished notions so as to inspire the visitor at each
step with mingled feelings of surprise and delight. This intention
was carried out with considerable success, and the park became
one of the most fashionable resorts of the "haute volée"; balls,
plays and festivities of the most brilliant description were here
celebrated, on which occasions the utmost magnificence was displayed.
In gorgeous attire and personal charms few could vie
with the Duchess of Chartres, Louise Marie de Bourbon-Penthièvre
mother of Louis Philippe.

During the revolution the park became national property.
Napoleon I. presented it to his chancellor Cambacérès, who however
soon restored it to his imperial master, on account of the
great expense in which it involved him. At the Restoration it
again became the property of the house of Orleans. After having
1848 been employed for the "national ateliers", it eventually
fell into the possession of the town, and has under the direction
of Alphand been converted into a charming public promenade,
accessible to carriages, riders and foot-passengers.

The park is connected with the town by the broad boulevards
above mentioned and has four entrances which at night are closed
by gates. The grounds themselves combine the beauty and taste
of the modern flower-gardens of Paris with the striking and
peculiar effects produced by the former arrangement of the park,
the principal features of which have been carefully preserved:
such as the rock-work and grotto, the grove with the tombstone,
the piece of ornamental water partially surrounded by columns
of the Corinthian order etc.

10. Bois de Boulogne.

Fortifications. — Jardin d'Acclimatation.

The new and stately Avenue de l'Impératrice (150 yards in
breadth, ¾ M. in length, from the Arc de l'Étoile to the Porte
Dauphine) leads from the triumphal arch in a S.W. direction to
the **Bois de Boulogne, now a delightful park, once a forest
abounding with game, the resort of duellists and suicides and
the haunt of bandits. When the Prussians and Russians were
here encamped in 1814 and 1815, a great portion of the wood
disappeared. Louis XVIII. caused new trees to be planted, and
Charles X. ordered that game should once more be preserved in
the forest; the July revolution, however, put a stop to these
proceedings.

Under Louis Philippe, although the Bois de Boulogne was
one of the crown-domains, little was done in the way of improving
it. In 1852 it was handed over to the municipality, on condition
that a sum of two million francs should be expended on it
within a period of four years, and that it should be maintained
for the future at the expense of the city. The improvements
are now completed, and such a revolution in the entire aspect of
the place has been effected that persons who have not visited it
since 1853 would find it difficult of recognition. The long and
beautiful avenue leading from the Porte Maillot (p. 87) to Longchamps,
formerly the most frequented, is now comparatively deserted.
Until a few years ago the grand "Promenades de Longchamps",
which took place during several days previous to Easter,
especially on Good Friday, presented a scene of unrivalled gaiety
and animation. On these occasions in favourable weather, an
uninterrupted succession of carriages might be seen, extending
from the Place de la Concorde to the Abbey of Longchamps, a
distance of upwards of 3 M.

A number of the smaller paths which formerly traversed the
wood have now disappeared to make room for two artificial lakes,
the Lac inférieur, about ¾ M. in length and 100 yds. in breadth,
and the Lac supérieur, about ¼ M. in length. In the vicinity of
these sheets of water, and on the islands, every species of attraction may
be found calculated to refresh and entertain the denizen of the city.

On one of the *islands (ferry there and back 20 c.; boat on
the lake for 1—7 pers 3 fr., 8—14 pers. 5 fr. per half hour) is
situated a large and tastefully constructed Chalet in the Swiss
style, employed as a café, where déjeuners, dîners and soupers
may be procured (charges not exorbitant). As cafés are one of
the chief characteristics of every Parisian resort, the hungry and
thirsty wayfarer will find numerous opportunities of refreshment
in all parts of the wood (Ravel, Avenue de l'Impératrice, one of
the best, see p. 10).

Until recently the Pré Catelan, where the Concerts Musard
now take place, was perhaps the nucleus of attraction for visitors
to the Bois de Boulogne. It is now, however, deserted for the
*Chalet des Iles already mentioned, a resort of a similar description,
(admission 1 fr.), where music, an open air theatre, games of
all descriptions, a reading-room etc. allure vast numbers of pleasure
seekers. On summer evenings by gaslight the chalet presents a
scene of the gayest description. As the number of ferryboats is
limited, visitors should secure a ticket for the return transit immediately
on crossing; if this precaution be neglected, a longer
detention on the island than anticipated will be the probable result.

The outlet of the lakes at the Carrefour du bout du lac (at
the E. end of the lac inférieur) forms two brooks, contrived with
such art as to appear natural, one of which leads to the Pavillon
Armenonville, whilst the other, the "Rivière de Neuilly" with its
shady paths leads to the "Mare de Longehamps" and the "Cascade".
From the highest point of the latter the remnants of the Abbey
of Longchamps are visible, adjacent to which, to the r., is situated
the Hippodrôme de Longchamps with its four tastefully constructed
tribunes or stands. This fine race-course has been granted by
the city to the Société d'Encouragement pour l'Amélioration des
Chevaux, or French Jockey Club, by which the autumn races,
formerly held on the Champ de Mars, are now managed.

Ranelagh and Madrid, two well known places of popular resort,
are also within the precincts of the Bois de Boulogne. La Muette,
St. James, Passy, Auteuil etc., all in the environs of the Bois
de Boulogne, abound with villas and summer residences of every
variety.

The "Tour des lacs" is now the most fashionable afternoon
drive in the Bois de Boulogne, in winter as well as in summer.
On Sundays it is crowded with foot-passengers of the middling
and lower classes.

The Chemin de fer d'Auteuil and the Chemin de fer Américain
(p. 23) both convey passengers to the Bois de Boulogne, as
well as innumerable omnibuses which pass partly through the
Barrière de l'Étoile and partly through the Barrière de Passy.
The stranger may either avail himself of one of these conveyances,
and having reached his destination visit the park on foot, or may
prefer to engage a fiacre or voiture de remise by the hour which
he may quit and re-enter at pleasure. A drive of two hours
suffices for a hurried glimpse at the principal points of attraction;
if however, the weather be propitious, a whole day may be spent
very pleasantly in thoroughly exploring the Bois de Boulogne, in
which case the annexed plan will be found a useful companion.

Contiguous to the Avenue de l'Impératrice, to the l., is the
Hippodrôme, a circus in which equestrian performances may be
witnessed twice or three times a week in summer. Adm. 1—3 fr.

The Fortifications of the city skirt the Bois de Boulogne on
the E. side. In consequence of a decree of 1840, Paris was
fortified and encircled with ramparts, a work which was completed
within three years at an expense of 140 million francs (5,600,000 L.).
The entire length of the enceinte is upwards of 21 M., and consists
of 94 different bastions. The ramparts, which average 30 ft.
in height, are environed by a ditch, 18 ft. in depth, and a glacis.
The approaches to the town are commanded by 17 Forts detachés,
the most important of which is Mont Valérien (p. 168).

That portion of the Bois de Boulogne which skirts the Boulevard
de Maillot, and lies between the Porte des Sablons and the
Porte de Madrid, is termed the Jardin d'Acclimatation (omnibus C,
Louvre-Courbevoie will convey the visitor, who should alight at
the bridge near the entrance). Here various experiments are
made with a view to acclimatize foreign plants, animals and
birds. Seeds, eggs and the young of different animals may be
purchased at moderate prices at the manager's office, to the r.
at the entrance near the Porte des Sablons. The garden is accessible
the whole day to carriages, equestrians and foot-passengers
(admission 3 fr., 1 fr. and 50 c.). The principal entrance is on
the E. side, near the Porte des Sablons; a second is at Neuilly,
near the Porte de Madrid. The grounds are beautifully laid out and
furnished with tastefully constructed cages, hothouses and pavilions
for the four-footed inmates. The stream which traverses the garden,
with its picturesque miniature islands and rustic bridges, serves
for the culture of aquatic plants.

To the r. of the chief entrance, facing the S., are the receptacles
for animals from warmer climates; then in the main avenue,
to the r., the visitor will perceive the Silkworm Nursery,
where various species are reared, and fed on suitable plants which
are grown in the vicinity for the purpose. Farther on is the
Aviary, divided into 21 different compartments, and the Poultry
Enclosure with its 31 compartments. A large building at the
extremity of the garden contains the Stables, a restaurant, and
a room for the exhibitions of articles having reference to the object
of the garden. Returning from the stables to the principal
entrance by the main avenue, the visitor should now inspect the
*Aquarium, consisting of 10 glass reservoirs filled with sea-water
and 4 with fresh, which is constantly renewed by means
of pumps. An admirable opportunity is here afforded for observing
the habits of the finny tribe. The same building contains
a receptacle for the artificial breeding of fish. To the S., by
the chief entrance, is situated the beautiful Hothouse, where
there is a reading-room and a restaurant. Adjacent are several
smaller hothouses containing an extensive collection of plants. 21
It may interest the reader to know that two of the principal managers
of the Jardin d'Acclimatation are Englishmen.

11. Hôtel de Ville.

Rue de Rivoli.

The *Hôtel de Ville or town-hall of Paris is only accessible
by special permission from the Prefect of the Seine, to whom a
written request[2] furnished with a stamp of 10 c., should be
transmitted by post. The applicant will then probably receive
the permission within two or three days; if not, he should apply
for it at the office of the prefect.

Admission may, however, frequently by obtained by simply
applying to the attendant at the usual hours (Thursdays 12 to
4 o'clock), or by joining another party furnished with a formal
permission.

The construction of this magnificent edifice was commenced
in 1533, but was suspended until the reign of Henry IV., when
it was completed by the Italian architect Domenico di Cortona in
1628. The style is that of the Renaissance: the columns are
chiefly of the Corinthian order.

As the original structure afforded too limited accommodation
for the principal civic dignitary of Paris ("Préfet de la Seine";
previously to 1789, "Prévôt des Marchands") and his staff of
officials, it received such extensive additions in 1837—41, that
dimensions are now four times greater than before. Notwithstanding
its vast size, it was again deemed necessary in 1857
to make further provision for the offices of the Préfecture by
erecting two buildings opposite to the principal façade, on the
other side of the palace.

The edifice, which is in the form of a rectangle, 300 ft. long,
250 ft. broad, and furnished with three courts, stands in an open
situation. The niches contain statues of celebrated Parisians of all
ages, down to Bailly, mayor of Paris on the outbreak of the
first revolution, and Lafayette, commandant of the National Guard
in 1830. Over the principal entrance is placed an equestrian
figure of Henry IV. in relief.

The court which is first entered is adorned with a bronze
statue of Louis XIV., attired as a Roman and wearing a wig, by
Coyzevox. Marble tablets on the sides of the court bear inscriptions
in commemoration of the achievements of the great monarch.

The reception and ball-rooms on the first floor have been
fitted up in a style so gorgeous as entirely to eclipse the splendour
of the most sumptuous imperial palaces, and well merit a
visit. The ceilings of several of the apartments have been painted
by the eminent artists Ingres, Delacroix, Lehmann, etc. The splendour-loving
metropolis has in fact done its utmost to enable its
chief dignitary, the Préfet de la Seine, to perform his functions
with becoming magnificence.

During the winter the prefect usually gives a ball once a
fortnight, an invitation to one of which is not very difficult of
attainment, especially if the stranger be acquainted with the ambassador
of his country. The kitchens of the souterrain are so
extensive that a repast for 1000 persons can without difficulty
be prepared, at was the case on July 14th, 1856, when the emperor
and empress were entertained on the occasion of the baptism
of the imperial prince.

The private apartments of the prefect are situated in the
entresol, towards the river. The different offices in the Hôtel
de Ville are occupied by upwards of 500 officials. The prefect
is the superior officer of the twenty maires of Paris, each of whom
presides over one of the twenty arrondissements, and of the two
souspréfets of St. Denis and Sceaux, which together with the city
itself constitute the Department of the Seine.

The Hôtel de Ville has played a conspicuous part in the
different revolutions, having been the usual rallying place for the
democratic party. On July 14th, 1789, the conquerors of the
Bastille were conducted in triumph into the great hall. Three
days later Louis XVI. was conveyed to the same apartment from
Versailles, accompanied by dense masses of the populace, whose
excitement was somewhat allayed when the king presented himself
at the window with a tri-coloured cockade with which he was
furnished by the maire Bailly. Here the Commune, the tool employed
by Robespierre against the Convention, was holding one
of its meetings, July 27th, 1794 (9th Thermidor), when Barras
with five batallions effected his entrance by force in the name of
the Convention, and Robespierre, to escape apprehension, attempted
to destroy himself, but only succeeded in shattering his jaw. Here
too was celebrated the union of the July kingdom with the bourgeoisie,
when Louis Philippe presented himself at one of the
windows about the beginning of August, 1830, and in view of
the populace was embraced by Lafayette. From the steps of the
Hôtel de Ville, Feb. 24th, 1848, Louis Blanc proclaimed the
establishment of the republic.

Although the present emperor has not been directly concerned
in the embellishment of the Hôtel de Ville, he has materially
contributed to the improvement of its external appearance by
causing the entire removal of the numerous and squalid lanes

and alleys by which it was formerly surrounded, and which have
been so well depicted by the masterly pen of Eugène Sue. The
demolition of these unwholesome purlieus has made way for the
continuation of the broad and handsome Rue de Rivoli, the construction
of which between the Place du Palais Royal and the
Place de l'Hôtel de Ville alone necessitated the removal of upwards
of 300 houses. Another improvement of the present régime
was the erection in 1854 of the extensive Caserne Napoléon,
capable of accommodating 2500 men, situated in the rear of the
Hôtel de Ville and connected with it by means of subterranean
passages. Adjacent to it, on the quay, is situated a second commodious
barrack for cavalry and artillery, erected in 1857. These
significant facts appear to preclude the possibility of a repetition
of the scenes of which the Hôtel de Ville has so frequently been
the witness.

In the Place de l'Hôtel de Ville, formerly termed Place de
Grève (i. e. of the bank of the river), many a dark tragedy has
also been enacted. During a long series of years the stake and
the scaffold here exercised their dismal sway. In 1572, after the
massacre of St. Bartholomew, Catharine de Medicis here doomed
the Huguenot chiefs Briquemont and Cavagnes to perish ignominiously
by the gallows; in 1574 she ordered the Comte Montgomery,
captain of the Scottish guard, to be tortured and executed for
having at a tournament accidentally caused the death of her husband
Henri II. From that period until July, 1789, the Place de
Grève witnessed the execution of numerous victims of a despotic
government, as well as criminals. Here, too, after the capture
of the Bastille by the populace, Foulon, general controller of the
finances and his son-in-law Bertier were hanged on lamp-posts,
the first victims of the revolution.

The Guillotine, an instrument for the decapitation of criminals
recommended by the physician Guillotin to the Convention, was
first employed in the Place de Grève, whence it was soon removed
to the Place de la Concorde (p. 80). From 1795 till
after the July revolution the Place again became the usual place
of execution; during that period, however, these forbidding scenes
were rarely enacted.

In the Boulevard de Sébastopol, in the vicinity, is situated
the Tour St. Jacques, mentioned at p. 43, and the Place du Châtelet
with the two theatres.

12. Palais de Justice.

Sainte Chapelle. Conciergerie. Préfecture de Police. Place Dauphine.
Pont Neuf. Morgue.

The W. half of the island in the Seine termed La Cité, at the
W. extremity of which the Pont Neuf is situated, is occupied by
an almost unbroken mass of buildings, consisting of the Palais

de Justice in the centre, the Conciergerie on the Quai de
l'Horloge to the N., and the Préfecture de Police on the
Quai des Orfèvres to the S. The island was in ancient times
the residence of the French monarchs, until their royal mansion
was ceded by Henri II. (d. 1559) to the parliament, at that
period the supreme tribunal of the kingdom.

The original edifice suffered so much by fire in 1618, and
again in 1776, that nothing of it now remains except the towers:
La Tour de l'Horloge, La Tour du Grand César, La Tour de Montgomery,
all on the N. side, and beyond them the pinnacled Tour
d'Argent. The first of these towers, situated at the N.E. corner
of the Palais, contiguous to the Pont au Change with the large
clock adorned with two figures representing Justice and Piety,
was carefully restored and decorated in 1852.

The entire Palais de Justice has undergone extensive alterations
since 1839, the numerous dark passages and nooks which
disfigured the interior having been removed.

The different courts of justice, the Cour de Cassation, the
Cour d'Appel, the Assises, the Tribunal de Première Instance and the
Tribunal de Police Municipale hold their sessions here from 11 till
3 o'clock and may be visited by those who desire to witness the
proceedings of a French tribunal. The services of a guide
(1 fr.) will prove of essential service. In the Chambre Correctionelle
very amusing scenes sometimes occur, and the pleading is
occasionally admirable; the stranger, however, who is well
acquainted with the French language should procure access to
one of the courts in which a civil suit is being tried and where
he will hear some of the most eminent advocates plead. The
eloquence of the French Barreau is held in high repute.

Several of the courts (Chambres) are entered from a lofty hall,
recently restored, supported by pillars, 216 ft. long and 84 ft.
broad, termed the Salle des Pas Perdus. Judges and advocates
in their black robes, as well as clients, are usually seen pacing
up and down in this hall. Around it sit the public writers,
whose office is to render assistance with their pens to inexperienced
litigants. This busy scene is the sole point of interest
in the Palais de Justice for those who do not desire to visit the
courts themselves.

The monument on the r. side of the hall was erected by
Louis XVIII. to the memory of the minister Malesherbes, who was
beheaded in 1794, the defender of Louis XVI. before the revolutionary
tribunal, as the relief beneath, by Cortot, indicates; the
statue is by Bosio, on the sides are figures emblematic of France
and Fidelity, with the inscription; Strenue semper fidelis regi suo,
in solio veritatem, praesidium in carcere attulit. (Ever strenuously
faithful to his king, he served him with truth on the throne and
assistance in prison).

In the S. court of the Palais de Justice rises the *Sainte
Chapelle, the ancient palace-chapel erected in 1245—48 by
Pierre de Montereau for the reception of the sacred relics (fragments
of the crown of thorns, the true cross and the garment
of the Saviour, and the head of the spear with which his side
was pierced), which are said to have been purchased by St. Louis
from Jean de Brienne, king of Jerusalem, and his son-in-law
Baldwin, emperor of Byzantium, for the sum of 2 million francs.
The chapel is a perfect gem of its kind, and the most beautiful
Gothic edifice in Paris. The height, including the modern spire
which replaces one burned down in 1630, is about 140 ft., length
120 ft., breadth 40 ft. The interior consists of two chapels, the
upper and the lower, the former having been destined for the
accommodation of the court, the latter for the attendants. The
upper chapel consists of a nave and semi-circular apse, 65 ft. in
height, the former with four windows on each side, the latter
with seven altogether. The stained glass, which represents subjects
from the Old and New Testament and scenes from the history
of St. Louis, is coeval with the foundation, with the exception of
a few portions by which missing fragments have been judiciously
replaced. The upper chapel with its clusters of columns and
rich decorations has recently been restored in a most gorgeous
manner, the lower is still in a dilapidated condition. The original
structure was erected at an expense of 800,000 fr., the restoration
has already cost considerably upwards of one million francs. From
1793 until the recent restoration it served as a receptacle for
the documents of the lawyers of the Palais de Justice. In the
lower chapel the poet Boileau (d. 1711) is interred. The Sainte
Chapelle is, strictly speaking, only accessible to those who are
furnished with a written permission from the Ministre de la Maison
de l'Empereur; admission may, however, generally be obtained
for a few francs by applying to the porter.

The Conciergerie, the gloomy walls and ancient towers of
which overlook the Seine on the N. side, is the oldest of this
mass of buildings and serves as a prison for those who are about
to undergo an examination. Most of the political prisoners mentioned
at p. 80 were here confined before they were conducted
to the guillotine. The chamber once occupied by Marie Antoinette,
who had been conveyed hither from the Temple, is now converted
into the sacristy of the chapel. Three pictures by Simon, Pajou
and Drolling represent some of the closing scenes of her life.
A black marble tablet on the wall bears the following inscription,
which is said to have been composed by Louis XVIII. himself:
"D. O. M. Hoc in loco Maria Antonia Josepha Johanna Austriaca
Ludovici XVI vidua, conjuge trucidato, liberis ereptis, in carcerem
conjecta, per dies 76 aerumnis luctu et squalore adfecta, sed propria
virtute innixa ut in solio, ila et in vinculis majorem fortuna se

praebuit. A scelestissimis denique hominibus capite damnata, morte
jam imminente, aeternum pietatis, fortitudinis, omniumque virtutum
monumentum hic scripsit, die 16. Octobris 1793. Restituto tandem
regno, carcer in sacrarium conversus dicatus est, A. D. 1816, Ludovici
XVIII regnantis anno XXII., Comite de Cazes a securitate
publica Regis ministro, praefecto aedilibusque curantibus. Quisquis
hic ades, adora, admirare, precare."

(In the name of the Almighty. In this place Marie Antoinette Josepha
Johanna of Austria, widow of Louis XVI., after her husband had been
slain and her children torn away from her, was cast into prison and tortured
by misery, grief and humiliation during 76 days; but, supported by
her own virtue as when on the throne, so even in prison she proved
herself superior to fortune. Finally condemned to death by the most
wicked men, her death being now at hand, she here wrote an everlasting
monument of piety, fortitude and all virtues, Oct. 16th, 1723. When the
kingdom was at last re-established, this prison was converted into a sacristy,
A. D. 1816, in the 22nd year of the reign of Louis XVIII. under the
superintendence of Count de Cazes, minister of police, the prefect and the
sheriffs. Whoever thou be that art here present, revere, admire, pray).

The building occupied by the Prefecture de Police, situated
on the S. side, on the Quai des Orfèvres, was erected in 1611
as an official residence for the president of the parliament. From
this point as a centre emanate all the threads which constitute
the partly visible and partly invisible network of police authority
which extends over the entire city. The prefect of the police
has an annual sum of 13 million francs at his command, for the
maintenance of 300 officials, 7000 commissaries, inspectors and
sergents de ville, 3000 men of the Garde municipale, and 800 sapeurs-pompiers
or fire-men. By this efficient staff the public
security, as well as the public health are admirably provided for.
Paris, the once notorious Lutetia (muddy city), is now one of
the cleanest towns in the world, and, notwithstanding the 60,000
malefactors which it is computed to harbour, affords greater
security to its inhabitants than the quietest provincial town.

On the W. side of the Palais is situated the triangular Place
Dauphine, constructed under Henry IV., with brick houses coeval
with those of the Place Royale (p. 35), and formerly the residence
of the parliamentary advocates and officials. In the centre
of the Place stands Desaix's Monument, a fountain surmounted by a
bust of the general, who is crowned with laurel by a figure emblematic
of France: two figures of Victory record the names of
the battles fought by the hero. The inscriptions are as follows:

"Allez dire au premier consul que je meurs avec le regret de
n'avoir pas assez fait pour la postérité" — Landau, Kehl, Weissenbourg,
Malte, Chebreis, Embabé, les Pyramides, Sediman, Samanhout,
Kane, Thèbes, Marengo furent les témoins de ses talents et
de son courage. Les ennemis l'appelaient le Juste; ses soldats,
comme ceux de Bayard, sans peur et sans reproche; il vécut, il
mourut pour sa patrie. L. Ch. Ant. Desaix, né à Ayot, départe-

ment du Puy-de-Dôme, le 17 août 1758; mort à Marengo le 25 prairial
an VIII de la république (14 juin 1800). Ce monument lui
fut élevé par des amis de sa gloire et de sa vertu, sous le consulat
de Bonaparte, l'an X de la république."

The W. issue opens on the *Pont Neuf, a bridge across both
arms fo the Seine, 350 yds. in length, on which is situated the
equestrian Statue of Henry IV., erected to replace one which had
stood here from 1635 to 1792, when it was melted down and converted
into pieces of ordnance. By way of retaliation Louis XVIII.
condemned the statue of Napoleon from the Vendôme column
and that of Desaix from the Place des Victoires to a similar fate.
The inscription in front is to the following effect:

"Henrici Magni, paterno in populum animo notissimi principis,
sacram effigiem, civiles inter tumultus, Gallia indignante, dejectam,
post optatum Ludovici XVIII reditum ex omnibus ordinibus cives
aere collato restituerunt. Nec non et elogium cum effigie simul
abolitum lapidi rursus inscribi curaverunt. D. D. die 25 mensis
Aug. 1818."

(After the longed for return of Louis XVIII. the citizens of all ranks,
having made contributions, restored the sacred image of Henry the Great,
a prince distinguished for his paternal feelings towards his people, which
to the indignation of France had been thrown down during the Civil war.
They moreover caused the inscription which had been destroyed with the
statue to be again inscribed on the monument. Aug. 25th, 1818.)

The following is the original inscription to which allusion is
made in the above:

"Enrico IV., Galliarum imperatori Navar. R. Ludovicus XIII.
filius ejus, opus inchoatum et intermissum, pro dignitate pietatis et
imperii plenius et amplius absolvit. Emin. D. C. Richelius commune
votum populi promovit. Super illustr. viri de Bouillon,
Boutillier, aerarii, faciendum curaverunt 1635."

(To Henry IV., king of France and Navarre, Louis XIII. his son, as
a worthy token of his filial love and his reign, completed this monument
in a better and superior style, after it had been commenced and interrupted.
His Eminence Cardinal Richelieu gratified the univeral wish of
the people. The counsellors of the treasury de Bouillon and Boutillier
superintended the work. 1635.)

At the sides are two reliefs in bronze: Henry IV. causing
bread to be distributed among the citizens of Paris who had
sought protection of him during the siege, and his halt at Notre
Dame, where he causes peace to be proclaimed to the inhabitants
by the Archbishop of Paris.

In front of the statue a large telescope is usually posted,
through which the stranger may inspect the planets, if he feel
disposed, for 10 c. An adjoining staircase descends to a good
swimming-bath in the Seine (p. 19).

On the opposite side, Quai de Conti 5, is a gilded inscription
to this effect; "Souvenir historique. L'empereur Napoléon Bona-

parte, officier d'artillerie sortant, en 1781, de l'école de Brienne,
demeurait au cinquième étage de cette maison."

In the 16th cent. Tabarin, a celebrated satirical poet of the
day, was in the habit of reciting his verses on this bridge, in
consequence of which circumstance popular rhymes are to this
day termed "pont-neufs".

At the extremity of the island, opposite to the Pont Neuf
and in the rear of Notre Dame, is situated La Morgue, recently
rebuilt, where corpses of unknown persons who have met their
death in the river or otherwise are exposed to view during three
days. The bodies are placed on marble slabs, kept cool by a
stream of water; their clothing is suspended above them. If not
recognized within the prescribed limit, they are removed and
buried at the public expense. On an average 240 male and
50 female corpses are thus annually exposed. This painful spectacle
daily attracts numerous visitors, especially of the lower
classes.

Notre-Dame, also situated in the Cité island, see p. 104.

13. Bibliothèque Impériale.

Place Louvois. Fontaine Molière.

The imperial library has of late years been accessible
exclusively to those who desire to study in the reading-rooms.
The collection of antiques (p. 100) alone is at present open to
the public. The old building is in process of being demolished
and re-erected, a magnificent new reading-room will be added
and the interior considerably enlarged.

The entrance is in the Rue Richelieu 58, contiguous to the
small Place Louvois, in which the Grand-Opera formerly stood.
After the assassination of the Duc de Berry by Louvel, which
occurred here Feb 13th, 1820, as the audience was quitting the
opera, the building was demolished and the construction of a
chapelle expiatoire commenced on the site. This was still unfinished
when the events of 1830 occurred, after which a Fountain
from designs by Visconti was erected on the spot; the four supporting
figures represent the four principal rivers of France, the
Seine, the Loire, the Saone and the Garonne. In 1859 the Place
was furnished with trees and converted into a square.

The public Library, once Bibliothèque du Roi or Royale, in
1792 and 1848 Bibliothèque Nationale, and during the reign of
Napoleon I. and again under the present régime Bibliothèque Impériale,
is probably the most extensive in the world. The vast
building which contains it occupies a considerable portion of four
streets, in front the Rue Richelieu, in the rear the Rue Vivienne,
N. the Rue Colbert and S. the Rue Neuve des Petits Champs.

Part of the building, which is a gloomy and unsuitable receptacle
for so noble a collection, was once the palace of Cardinal
Mazarin (d. 1661), the all-powerful minister of Louis XIII. and
Louis XIV.

A staircase to the r. in the court ascends to the library.

The number of books (5,000,000) and MSS. (200,000) is so
immense that the book-cases containing them would, if placed in
a continous line, extend to a distance of upwards of 20 M. The
books themselves are almost invariably copies of the rarest and
choicest editions, and are carefully bound. The Geographical
Collection contains 300,000 maps, plans etc., the topography of
Paris alone occupies 56 large folios. The Collection of Engravings,
to the r. on the ground-floor, consists of 8000 vols. and
upwards of 1,300,000 plates. The present edifice has been
found totally inadequate for so vast a collection and is now
undergoing extensive alterations.

According to the organization of Aug. 23rd, 1858, the library
contains four different departments: 1. Département des Imprimés,
Cartes et Collections Géographiques; 2. Département des Manuscrits;
3. Département des Médailles et Antiques; 4. Département des Estampes. During the last few years upwards of 50,000 fr.
have been annually expended in the formation of catalogues alone.
The first five volumes of the general catalogue, completed in
1855, hardly contain one half of the works on the history of
France. Persons desirous of consulting a book are required
to write down the title of the work, as well as their name
and address; every facility will then be afforded them by the
librarians.

The Cabinet des Médailles et Antiques is open to the public
on Tuesdays and Fridays from 10 to 3 o'clock (entrance in the
Rue Richelieu, the door beyond the fire-engine station when
approached from the Boulevards, the first when approached from
the Palais Royal; visitors ring). It contains a valuable collection
of Coins, Medals (150,000) and Antiques, interesting Greek,
Roman and Egyptian curiosities, Babylonian cylindrical blocks of
marble inscribed with cuneiform characters, probably employed
as amulets, a vast number of seals, cameos, ornaments, vases,
richly decorated weapons etc. The arrangement of the collection
is still incomplete. In the walls of the entrance-hall and staircase
Roman inscriptions are immured. To the l. is the principal
saloon, near the middle of which is a glass cabinet containing the
Apotheosis of Augustus, the gem of the entire collection and the
largest cameo in the world, the sardonyx being nearly 1 ft. in
diameter; among the fifteen different figures are Augustus, Æneas,
Julius Cæsar, Drusus, Tiberius, Livia, Agrippina etc. It was
formerly preserved in the treasury of the Sainte Chapelle (p. 96),
and was erroneously believed to represent a triumphal procession

of Joseph in Egypt. A smaller cameo represents Germanicus
borne off by an eagle (Apotheosis of Germanicus). For full
particulars the visitor should consult the Catalogue général et
raisonné des pierres gravées (not, however, of the medals) de la
Bibliothèque Impériale, which may be purchased in the room for
3 fr. 50 c.

In a glass cabinet are preserved some interesting relics from
the tomb of king Childeric (d. 481) in the church of St. Brice
at Tournai in Belgium, which was discovered and opened in 1655.
A number of small silver images are also preserved here, together
with 70 other relics, discovered at Berthouville, in the department
of the Eure, dating from the period of the first Roman emperors
and believed to have appertained to the treasury of the
temple of Mercury at Canetum.

The agate cup of the Ptolemies, formerly in the treasury of
St. Denis, with carved representations of the mysteries of Ceres
and Bacchus. Vases of embossed silver. A Roman golden dish,
on the margin the family of the Antonines. A golden sacrificial
cup, discovered in 1744 near Rennes in Bretagne, representing
the drinking contest of Bacchus and Hercules, on the margin
16 golden medallions of emperors and empresses. A vase of the
15th cent. with an inlaid cross. A small bust of Achilles.

A silver disc, 26 inches in diameter, erroneously termed the
"Bouclier de Scipion"; the reliefs represent the abduction of Briseïs
by the messengers of Agamemnon. This relic was discovered
in the Rhone near Avignon in 1658. The so-called "Bouclier
d' Annibal" is undoubtedly a modern imitation.

The "Monument Babylonien", an oval meteorite engraved with
cuneiform and other characters, was found near Bagdad.

Opposite to the principal saloon is the Salle du Duc de Luynes,
exclusively devoted to objects presented to the library by the
duke, a most zealous promoter of antiquarian research. It contains
a number of interesting ancient coins.

At the upper end of the Rue Richelieu which extends between
the Boulevard des Italiens and the Rue de Rivoli, a distance of
about ¾ M., at the corner of the street, is situated the Fontaine
Molière, erected to the memory of the celebrated dramatist Molière,
who died in 1673 in the house opposite (No. 34). The
monument, which was placed here in 1844 at an expense of
168,000 fr., is in the Renaissance style, from designs by Visconti.
Molière is represented in a sitting posture, in an attitude of meditation;
below are two figures emblematic of the humorous
and serious character of his plays, furnished with scrolls on which
the names of all Molière's works are inscribed in chronological
order. Inscription: A Molière né à Paris 15 Janvier 1622 et
mort à Paris 17 Février 1673. Souscription Nationale.

14. Conservatoire des Arts et Métiers.

This establishment is situated in the Rue St. Martin, No. 292,
in the vicinity of the Porte St. Martin, facing the new Square des
Arts et Métiers. Admission on Sundays and Thursdays, 10—4 o'clock,
gratis; on Mondays, Tuesdays, Fridays and Saturdays 1 fr.

The collections of the *Conservatoire des Arts et Métiers,
the Polytechnic of Paris, are probably the most extensive of their
kind in Europe. The edifice which contains them once belonged
to the wealthy Benedietine Abbey of St. Martin des Champs, secularized
in 1789. A portal erected in 1848—50 bears an inscription,
on the side next to the court, which records that the
abbey was founded in 1060, that the establishment of the conservatoire
was decreed by the Convention in 1794, and that the collections
were commenced in this edifice in 1798.

The lectures, which are public, embrace geometry, mechanics,
chemistry, physical science, the arts of spinning, weaving, dyeing
and printing, natural history as connected with commerce, the
laws relating to commerce etc.

The vestibule of the basement story is adorned with a relief
by Ruxtheil, representing Dædalus and Icarus, and with busts of
Laplace, Vaucanson etc. Then a small gallery to the l. containing
every variety of grain, seeds etc, and numerous casts of
vegetable products. Farther down is the Salle d'Echo, a species
of whispering gallery, which contains a fine model of the "Danube"
packet-boat. In the rooms to the l. collections of weights
and measures of different countries, artificial jewels, different
species of marble etc.; the short flight of steps leads to a collection
of clocks, telescopes, also views of mines etc.

The Salle des Filatures, a gallery contiguous to the Salle d'Echo
on the r., contains weavers' looms and other machines, with specimens
of manufactures. An historical interest attaches to this gallery
from the fact that the "Montagnards", an extreme republican faction
of the National Assembly, assembled here under the protection of
artillery-men of the National Guard on June 13th, 1849, after the
suppression by General Changarnier of the demonstration against
the expedition to Rome. The object which the meeting had in
view was to excite the populace to a new insurrection. Their deliberations
were, however, soon interrupted by the entrance of a
detachment of soldiers, when they immediately took to flight. Ledru-Rollin
and others escaped by the windows into the garden.

The third room, as well as the spacious hall adjoining, contains
agricultural implements, anatomical sections of the horse, a collection
of seeds and other articles connected with farming.

The visitor retracing his steps in the third room, next enters
(to the r.) the former Chapel, now occupied by numerous large

machines of various descriptions, which are set in motion by steam
power on Sundays and Thursdays.

The first floor, beginning to the l., contains models of steam-engines,
workshops, water-wheels, wind-mills; printing and lithographic
presses; optical and musical instruments; mirrors, a camera
obscura; Chinese manufactures and instruments; specimens
of turning; staircases and bridges; an Indian temple; railway and
adjuncts; cranes; machinery used in iron-founderies; locksmith's
work; minerals; chemicals; glass, pottery, porcelain and fayence;
scientific instruments; a powerful electric machine; a large mirror
broken in a singular manner by an earthquake at Guadeloupe;
electric telegraphs; air-pumps; sugar-refining apparatus, porcelain
manufactory, pottery, brick-works; paper-manufactory; astronomical
instruments; mills; pumps; gas-manufacturing apparatus.
In the window-niches are placed a variety of printing-presses,
among which are those employed in 1790 in printing the "assignats"
or paper currency of the Revolution, entitling the holder to a
share of the secularized ecclesiastical (subsequently royal) estates,
but after Robespierre's fall utterly valueless.

What was once the *Refectory of the ancient abbey, a beautiful
Gothic structure erected about the middle of the 13th cent.
by Montereau, the architect of the Sainte Chapelle (p. 96), has
recently been judiciously fitted up as a Library (20,000 vols.).
The vaulted ceiling is supported by seven lofty and graceful
columns, the capitals and bases of which are gilded. The library
is accessible for students only, from 10 to 3 o'clock daily, except
Monday, when it may be inspected by the public.

The neighbouring church of St. Nicolas des Champs possesses
a Gothic portal, but the interior contains nothing worthy of note.
St. Merry, at the S. end of the street, see p. 107.

15. Churches on the right bank of the Seine.

Notre Dame, St. Germain l'Auxerrois, St. Merry, St. Eustache, St. Roch,
Madeleine, Notre Dame de Lorette, St. Vincent de Paul, St. Jean Baptiste,
St. Eugène.

With a few exceptions the ecclesiastical buildings of Paris
are by no means worthy of the metropolis of a great kingdom,
over which a long succession of "most Christian" monarchs have
reigned. They are far inferior to the churches in many other
French and Belgian cities.

Out of the 41 parish-churches of Paris, therefore, it will not
be necessary to enumerate more than the following: 1. Notre
Dame, 2. St. Germain des Près, 3. St. Germain l'Auxerrois,
4. St. Merry, all four in the Gothic style; 5. St. Etienne du Mont
and 6. St. Eustache, in the style of the Renaissance; 7. St. Sulpice
and 8. St. Roch in the modern Romanesque style of the time

of Louis XV.; 9. Madeleine, in the Grecian style, as was customary
during the empire; 10. Notre Dame de Lorette and 11. St. Vincent
de Paul, in the latest Composite style; 12. Ste. Clotilde,
13. St. Jean Baptiste and 14. St. Eugène, modern Gothic.
Nos. 2, 5, 7 and 12 are situated on the l. bank of the Seine
(p. 162). These churches are open the whole day; even when
the principal entrance is closed, access may be obtained by a
side-door.

*Notre Dame de Paris, situated in the Cité island (p. 94),
was commenced in the 12th and completed in the 14th cent. The
dimensions of this fine Gothic structure are as follows: length
390 ft., width at the transept 144 ft., height of vaulting 102 ft.,
width of W. front 128 ft., height of towers 204 ft., height of
new spire 280 ft. The interior consists of a nave and choir with
four aisles and lateral chapels. The pillars of the nave support
pointed arches, resting upon decorated capitals. The three magnificent
rose-windows contain the sole remnant of the ancient stained
glass of the cathedral, coeval with the foundation. — The exterior
as well as interior of this celebrated cathedral of the archbishops
are somewhat disappointing. The situation is unfavourable, and
the sacred edifice itself has been sadly marred at different periods
by "embellishments", as well as by the storms of the Revolution,
during which period it was converted into a "Temple of Reason".
The disturbances of Feb. 15th, 1831, occasioned the total ruin
of the Archiepiscopal Palace on the S. side of the church, in
consequence of which that building has been entirely removed.

The most beautiful portion of the cathedral is the richly decorated
(restored subsequent to 1848) W. Façade, with its three
portals, each of which forms a succession of retiring arches, dating
from the commencement of the 13th cent. The fine rose-window
measures 36 ft. in diameter. The sculptures of the central portal
represent the Last Judgment. The N. portal, by which the
cathedral is usually entered, is dedicated to the Virgin, the S. portal
to St. Anne, and each is decorated with appropriate sculpture.
Above the doors are the statues of 28 French kings, from Childebert
I. to Philip II. (Galerie des Rois), which originally dated
from the 13th cent., were destroyed with the other sculptures in
1793, and have been lately restored. The interior is now perfectly
simple. It was much disfigured by a gaudy blue ceiling
with golden stars on the occasion of the baptism of the Imperial
Prince. This, however, has since been removed. The
chapels are now in process of being redecorated, but in somewhat
questionable taste.

The Nave, which contains nothing particularly worthy of note
is separated by a screen from the Choir, which is at present
undergoing a complete restoration.

Cards of admission (50 c.) to the choir and sacristy are procured
from the verger at the entrance in the r. aisle (if he is
absent, visitors ring). The recently constructed Sacristy or Treasury,
contains magnificent pontifical robes, most of them of modern date,
presented by Napoleon I., Louis XVIII. and Louis Philippe; monstrances
and other ecclesiastical utensils, croziers, mitres, crosses
etc., many of them gorgeously decorated with precious stones. The
lofty windows are filled with stained glass portraits of archbishops
of Paris and scenes from their lives; among others the death
of Archbishop Affre (p. 35). The bullet which caused his death
and a cast of his features are shown. Here too are preserved
the portrait and robes of his successor Archbishop Sibour, who
was stabbed Jan. 3rd, 1857, in St. Etienne du Mont in the presence
of a vast concourse of worshippers by a priest named Verger.

Contiguous to the sacristy is situated the picturesque Cour
du chapitre, a "joujou gothique", in the centre of which stands
a small fountain in the form of a shrine, surmounted by eight
seated figures of bishops.

In the 3d Chapel a monument of Archbishop Affre by Debay,
with his last words: "Puisse mon sang être le dernier versé".

The N. Chapels of the Choir contain two fine monuments;
one to the memory of the archbishop, Cardianl de Belloy (d. 1806),
a *group in marble, representing the aged prelate in his 99th
year giving alms to a poor woman and child, executed by Deseine;
the other to the memory of the archbishop Juigné (d. 1811).

The exterior of the wall which encloses the choir in decorated
with 23 remarkable reliefs in stone, dating from the middle of
the 14th century, representing scenes from the life of the Saviour,
the figures painted.

The ascent to the *Tower is on the N. W. side. A flight of
63 steps conducts the visitor to the office of the custodian (20 c.),
whence 305 steps more will bring him to the platform of the
tower; about half-way to the summit the great bell is usually
shown (for which a trifling gratuity is expected). With the exception
of the Tour St. Jacques, this is probably the finest point
of view in Paris, as it commands a prospect of the course of
the Seine with its numerous bridges. The environs of the church
have moreover been rendered more attractive by the magnificent
improvements of the present reign.

The long building on the bank of the river, on the S.W. side
of the cathedral, is the Hôtel Dieu, the most ancient hospital in
Paris and probably the oldest in Europe, having been founded
by Clovis II. in 660.

*St. Germain l'Auxerrois, situated opposite to the colonnade
of the Louvre, on the E. side, once the church frequented by the
royal family, belongs in its present form to the close of the

15th cent., when the purity of the Gothic style began to be
lost in richness of decoration. The interior consists of nave and
double row of aisles, surrounded by chapels. The remarkable
lowness of the roof gives it a depressed character.

From the tower of this church once resounded the preconcerted
signal for the massacre of St. Bartholomew. During
the whole of that night of horror the bell unremittingly tolled
its funeral peal.

On Feb. 14th, 1821, the anniversary of the murder of the
Due de Berry, a solemn mass was being here performed to his
memory by the partizans of the Bourbons, when the populace
forced their way into the sacred edifice, ejected the priests and
compelled the authorities to keep the church closed for a season.
It was subsequently employed as an office for the mayor of the
4th arrondissement, but was restored to its sacred uses in 1838.
The entire decoration of the interior is, therefore, of very recent
origin.

The W. front of the church consists of a Porch, from which
the church is entered by five portals. The interior of the porch
is adorned with frescoes on a gold ground, by Mottez. The central
fresco represents Christ on the Cross, surrounded by saints
(among them the Maid of Orleans); those on each side of the
latter represent the Sermon on the Mount and the Mount of
Olives; those over the lateral portals, Jesus in the Temple and
the Descent of the Holy Ghost.

Of the frescoes in the interior of the church, that which represents
the Descent from the Cross, by Guichard (1845), in the
S. transept, especially merits inspection. The pictures, however,
are seen in an unfavourable light, owing to the sombre stained
glass windows, which represent angels and saints, and are works
of no great merit.

The *Basin for sacred water in the S. transept, a group in
marble designed by Madame de Lamartine and executed by Jouffroy,
merits particular attention. It is surmounted by a beautifully
sculptured group of three angels around a cross.

A chapel of the choir contains monuments in marble of the
chancellor Etienne d'Aligre (d. 1635) and his son (d. 1674).
The contiguous chapel contains a figure in marble of an angel
praying.

The angel of the Last Judgment on the pediment in front is
by Marochetti.

With a view to give uniformity to the aspect of the Louvre
colonnade, the new Mairie of the first arrondissement has been
erected in the same style as the church of St. Germain l'Auxerrois,
on the opposite side of the Place. The tower between the
two has been erected simply to fill up the vacant space, a stopgap
which is said to have cost 2 million francs!

St. Merry (at the S. extremity of the Rue St. Martin, near
the Rue de Rivoli), founded in 1520 and completed in 1612,
possesses a remarkably fine portal in the florid Gothic style. The
modern frescoes in the interior, by Lehmann, A. Duval, Chassériau
(d. 1856) and Lépaulle are well worthy of notice. The adjoining
convent was obstinately defended by insurgents against
the troops of Louis Philippe, June 5th and 6th, 1832.

*St. Eustache, at the S. extremity of the Rue Montmartre,
with a nave and double row of aisles, is a strange mixture of
degenerate Gothic and modern style. Its erection occupied altogether
upwards of a century, 1532—1637; the W. portal, with
its columns of the Ionic and Doric orders, was commenced in
1752 and has only recently been completed. The proportions of
the interior are graceful and lofty, and produce a good general
effect. The chapels (with the arms of their founders over the
arches) are richly and tastefully gilded, and adorned with large
*Frescoes.

Right side. 1st. Chapel of the city of Paris.

2nd. Counts of Castille.

3rd. Family of Montescot; ancient frescoes recently revived
by Basset.

4th. Chantereau-Lestang; frescoes by Gourlier.

5th. Gentien; frescoes by Magime.

6th. Puysieux and Armenonville; frescoes by La Rivière.

7th. Rouillé and Le Couteulx: frescoes by Vauchelet.

8th. Machault; frescoes by Lazerges.

9th. Duval and Lesecq; ancient frescoes revived by Cornut.

10th. Dedicated to Sculpture and Painting; frescoes by Pils.

11th. Richelieu; frescoes by Damery and Biennourry.

12th. Duke of Orleans; frescoes by Signol.

Left side. 1st. Chapel. Penthièvre; frescoes by Glaize.

2nd. Nicolay; frescoes by Marquis.

3rd. Bullion; frescoes by Riesener.

4th. Fiesco and Strozzi; frescoes of the 16th cent., revived
by Basset.

5th. Leprêtre, dedicated to St. Eustache, whose relics are preserved
in this chapel. The frescoes, by Le Hénaff, represent
scenes from the life of the saint, who, under the name of Placidus,
was a Roman general under the emperor Titus.

6th. Menardeau.

7th. Roillart; *frescoes by Felix Barrias, representing scenes
from the life of St. Louis.

8th. Brice; *frescoes by Pichon.

9th. Bourlon; frescoes by Serrus.

10th. Valois; ancient frescoes, revived by Basset.

11th. Epernon; *frescoes by Delorme.

12th. Colbert; frescoes by Bézard. This chapel contains the
remains of Colbert (d. 1683), the able minister of Louis XIV.;
the monument consists of a sarcophagus of black marble, with a
figure in white marble of Colbert in a kneeling posture.

The frescoes of the Chapel of the Virgin are by Couture. The
sculptures in marble which adorn the High-altar are of admirable
workmanship. The organ, which has twice been destroyed, and
has lately been reconsructed by Cavalié, is also an object of interest.
St. Eustache is one of the most frequented churches in
Paris, especially on festivals, on account of the superior music.

The large space on the S.E. side of the church is occupied
by the *Halles Centrales (p. 18), the most extensive market in
Paris, especially for provisions of every variety.

St. Roch, Rue St. Honoré 296, near the N. side of the garden
of the Tuileries, erected in 1653—1740 in the degraded taste
of that epoch, possesses a portal in the Corinthian and Doric styles.
On the broad flight of steps by which the church is approached,
on the 13th of Vendémiaire, in the 4th year (Oct. 3rd, 1795),
Bonaparte placed the cannons which he fired upon the Royalists
who were advancing against the Convention, and thus checked
the progress of the counter-revolution. The church was restored
in 1865.

The interior possesses little worthy of note. The 5th chapel
to the l. contains a monument to the memory of the Abbé de
l'Epée, the celebrated teacher of the deaf and dumb. It consists
of a sarcophagus with a bust, to which two children are
gratefully raising their eyes, and bears the inscription: Viro
admodum mirabili, sacerdoti de l'Epée, qui fecit exemplo Salvatoris
mutos loqui, cives Galliae hoc monumentum dedicarunt. Natus
an. 1712, mortuus an. 1789. (To the extraordinary man the
Abbé de l'Epée, who after the example of the Saviour caused
dumb to speak, the citizens of France have dedicated this monument.)
Beneath is the alphabet of signs used by the dumb.
Adjacent to the monument is a black marble tablet with the inscription:
A l'Abbé de l'Epée, les sourds-muets suédois reconnaissants
(comp. p. 161).

The stucco reliefs in 14 compartments, with which the chapels
of the choir are adorned, represent the Passion. The third
of these chapels contains a picture by A. Scheffer, representing
St. Francis of Sales conducting a weary wanderer through the snow.

The chapel of the Virgin behind the high altar contains stained
glass representations of (to the l.) St. Denis the Areopagite and
(to the r.) Denis Affre, the archbishop who was killed at the
barricades; and two oil paintings: (to the l.) Jesus casting the
money changers out of the temple, by Thomas (1822), and (to
the r.) the Raising of the daughter of Jairus, by Delorme (1817).

The S. chapels of the nave contain several monuments of eminent
persons: those of Cardinal Dubois (d. 1723), minister of the
Regent Orleans and the participant of his shameless orgies (p. 45),
executed by Coustou; the Duc de Créqui (d. 1687), Marshal of
France, general in the German campaigns of Louis XIV., by
Coyzevox and Coustou; the artist Mignard (d. 1695); the landscape-gardener
Le Nôtre (d. 1700).

St. Roch is probably the most richly endowed of the churches
of Paris; the ecclesiastical festivals are celebrated here in the
most sumptuous style; music admirable.

*La Madeleine (accessible to visitors after 1 o'clock), or
church dedicated to St. Mary Magdalene, situated at the W.
extremity of the boulevards, in the vicinity of the Place de
la Concorde, experienced during its construction all the vicissitudes
of the history of modern France. The foundations were
laid in 1764; the revolution found the edifice uncompleted,
and the works were suspended. Napoleon, whilst on his route
to Tilsit, Dec. 2nd, 1806, issued a decree, commanding the
building to be converted into a temple of Glory, and to
be furnished with the inscription: L'empereur Napoléon aux
soldats de la grande armée. The 5th article of the decree
was to the following effect: "Tous les ans, aux anniversaires
des batailles d'Austerlitz et d'Iéna, le monument sera illuminé,
et il sera donné un concert précédé d'un discours sur les vertus
nécessaires au soldat, et d'un éloge de ceux qui périrent sur le
champ de bataille dans ces journées mémorables. Dans les discours
et odes il est expressément défendu de faire mention de
l'empereur."

The destination of the edifice was altered by Louis XVIII.,
who proposed to convert the "Temple of Glory" into an expiatory
church to the memory of Louis XVI., Louis XVII., Marie
Antoinette and Madame Elisabeth.

The construction of the church was again interrupted by the
July revolution, and was not finally completed till 1842. The
entire sum expended amounted to 13 million francs (520,000 l.).
This magnificent structure stands in an open space, upon a basement
about 20 ft. in height. Its form is that of a Grecian temple,
328 ft. in length, 138 ft. in breadth, surrounded by Corinthian
columns 50 ft. in height, of which 14 support the pediment of
the S. front, 15 are ranged along each side, and 8 form the N.
portico.

The niches in the walls contain statues of Saints especially
revered in France, commencing to the r. with the Angel Gabriel and
terminating on the l. with the Angel Michael, all by modern sculptors.

The inscription on the S. front is: D. O. M. sub invoc. S. M.
Magdalenae. (To the Almighty God, through the invocation of
St. Mary Magdalene.)

The tympanum contains a high relief of vast dimensions, by
Lemaire, representing the Last Judgment. The entire length is
126 ft., height in the centre of the pediment 24 ft., figure of
the Saviour in the centre 18 ft. in height.

The church is approached by a flight of 28 steps, occupying
the entire breadth of the edifice. The bronze *Doors, 33 ft.
in height and 16½ in breadth, are adorned with illustrations of
the ten commandments, designed by Triquetti.

The interior, the walls and floor of which are of marble, is one
spacious nave or hall, illuminated by cupolas, and sumptuously
gilded and decorated with paintings. The Chapelle des Mariages,
to the r. of the entrance, contains a group in marble by Pradier,
representing the nuptials of the Virgin; the Chapelle des Fonts,
or baptismal chapel, to the l., is adorned with a group, by Rude,
representing Christ and John the Baptist in the Jordan. The
light is unfortunately insufficient to display these fine groups to
the best advantage.

Each wall is divided by four piers, forming six chapels, which
are decorated with statues of their different patron saints, and
pictures representing scenes from the life of Mary Magdalene.

Right side. 1st Chapel, Ste. Amélie, by Bra, Mary Magdalene's
conversion, by Schnetz; 2nd Chapel, the Saviour, by
Duret, Magdalene at the foot of the cross, by Bouchot; 3rd Chapel,
Ste. Clotilde, by Barye, Magdalene in the wilderness praying with
angels, by Abel de Pujol (d. 1861).

Left side. 1st Chapel, St. Vincent de Paul, by Raggi, the
Supper of Bethany and Magdalene washing the feet of Christ,
by Couder; 2nd Chapel, the Virgin, by Seurre, Angel announcing
the Resurrection to Magdalene, by Coignet; 3rd Chapel, St. Augustin,
by Etex, Death of Magdalene, by Signol.

The *High Altar consists of an admirable group in marble by
Marochetti, representing Mary Magdalene borne into Paradise by
two angels. Beyond it, the semicircular ceiling of the choir is
adorned with a fine fresco by Ziegler, representing the gradual
propagation of Christianity; beneath the figure of Christ, to the
right is St. Louis kneeling beside the Magdalene, Godfrey de
Bouillon with the oriflamme, Richard Cœur de Lion, the Doge
Dandolo and others; also a scene from the Grecian war of liberation;
to the left, Charlemagne, Pope Alexander III. blessing
Frederick Barbarossa, the Maid of Orleans, Raphael, Michael Angelo,
Dante etc. In the centre, Henry IV. entering the Church of
Rome, Louis XIII., Richelieu; Napoleon I. receiving the crown
from Pope Pius VII.

When the principal door and gate are closed, access may
be obtained by the entrances on the E. or W. side of the church.

*Notre Dame de Lorette, at the N. extremity of the Rue
Laffitte, in the vicinity of the Boulevard des Italiens, was erected

in 1823—37 in the style of an early Christian Basilica, and dedicated
to "Beatae Mariae virgini Lauretanae", as the inscription
informs us. The interior with its gaudy decorations rather resembles
a ball or concert-room than an ecclesiastical edifice.

Some of the frescoes which cover the walls are by eminent
artists. At the extremities of each of the two aisles are chapels;
that to the r. is the Baptistery, frescoes by Blondel; at the opposite
end, Chapel of the Eucharist, frescoes by Périn in the other
side, Burial Chapel, frescoes by Blondel; at the opposite end,
Chapel of Nuptials, frescoes by Périn. The choir is decorated
with two large paintings, to the r. the Presentation in the Temple,
by Heim, to the l. Jesus teaching in the Temple, by Drolling.
Beneath the windows, and above the columns and entablature,
the walls are adorned with frescoes representing scenes from the
life of the Virgin. The service is here conducted with great
pomp: singing and music very fine.

*St. Vincent de Paul, in the Place Lafayette, in the vicinity
of the Station du Nord, erected in 1824—44, is also in the
Basilica style, but a more successful specimen than Notre Dame
de Lorette. Length 243, breadth 108 ft.

The church is approached by a broad flight of steps, resembling
a spacious amphitheatre. On each side of the Ionic portico
rise lofty square towers. The pediment of the portico contains
a relief by Lemaire, representing St. Vincent de Paul, the guardian
of foundlings; before him are Sisters of Charity in a kneeling
posture, to the r. and l. Religion and Charity. The iron gates
of the principal entrance are ornamented with representations of
the twelve Apostles.

This church consists of a nave with a double row of aisles,
of which the two external are divided into chapels: the remaining
two are under the same roof with the nave and separated from
it by Ionic columns of artificial porphyry. Over the aisles are
galleries, supported by columns of the Corinthian order. The
nave and choir are illuminated from above, the aisles by side-windows
filled with stained glass by Maréchal, representing different
saints. The interior is gilded and painted throughout in the
most gorgeous style.

The chapels, as well as the choir, are separated from the
rest of the church by richly gilded railings. The stalls of the
choir and the rest of the woodwork of the interior are elaborately
carved. The frieze is adorned with a series of figures of saints,
apostles, prophets, martyrs and popes, painted by Flandrin
(d. 1864), the semi-cupola of the choir with a group representing
the Saviour surrounded by saints, painted by Picot.

St. Vincent de Paul is situated near the N. extremity of Paris,
in one of the most elevated situations in the city. From this
point to the Barrière d'Enfer, at the opposite extremity of the

town, is a distance of 4½ M. The nearest lines of omnibus
communication are those which run W. through the Rue du Faubourg
Poissonnière, and E. through the Rue du Faubourg St Denis.
Visitors to the church of St. Vincent de Paul will probably find
the omnibuses to the Station du Nord the most convenient of the
public conveyances.

The open space in front of the church and adjoining the
Hôpital Lariboissière, erected in 1847 and deriving its appellation
from the munificent bequest of a countess of that name, was the
scene of an obstinate conflict between the troops of the guard and
the insurgents in June, 1848. Contiguous to the hospital is
situated the magnificent new Station du Nord.

*St. Jean Baptiste, situated without the former Barrière de
Belleville, on the most elevated ground in the city, a beautiful
specimen of a modern Gothic church, was erected by the architect
Lassus (d. 1857) and consecrated in 1858. The central bas-relief
above the entrance is illustrative of the life and death of John
the Baptist. The lofty spires are 180 ft. in height, the church
itself 205 ft. long, 74 ft. broad and 58 ft. high. The interior,
which is cruciform and consists of a nave and two aisles, is somewhat
bare and destitute of decoration; it is, however, proposed
to adorn it with frescoes.

St. Eugène, erected during the present régime, in the style
of the 15th cent., from designs by Boileau, is situated in the
Faubourg Poissonnière, on the site of the former Garde Meuble.
The walls alone are constructed of stone, the decorations of iron.
The interior is gaudily painted and the windows filled with
stained glass of no artistic merit.

Protestant Churches (Temples Protestants). Calvinist:
L'Oratoire, Rue St. Honoré 147, opposite to the N. entrance of
the Louvre. — Ste. Marie (formerly Eglise de la Visitation des
Filles Ste. Marie), Rue St. Antoine 216, near the Place de la
Bastille. — Pentemont, Rue de Grenelle St. Germain 106, near
the Ministère de l'Intérieur, on the l. bank of the Seine.

The first two of these churches were conceded to Protestant
congregations in 1802, the last during the reign of Louis Philippe.

The Eglise Evangélique, Rue de la Victoire, corner of the Rue
St. Georges, is a French reformed church independent of the state.
Service in all the above at 11. 15 a. m.

Lutheran (Confession d'Augsbourg): Temple des Carmes
Billettes, Rue des Billettes 16, to the N. of the Hôtel de Ville.
Service at 12 in French, at 2 in German. — Temple de la Rédemption,
Rue Chauchat 5, in the vicinity of the Grand Opéra,
fitted up as a place of worship in 1853. Service at 11.

Church of England. For trustworthy information visitors are
recommended to consult the Stranger's Diary of the Saturday

number of Galignani's Messenger. It is, however, improbable
that any alteration will be made in the hours of service subjoined.

Chapel of the Embassy, Rue d'Aguesseau 5, Faubourg St. Honoré;
services at 11. 30, 3. 30 and 7. 30. — Marbœuf Chapel,
Avenue Marbœuf 10, Champs Elysées; services at 11 and 3. 30.
— English Chapel, Rue de la Madeleine 17; services at 8. 30,
11. 30, 3. 30 and 7. 30.

Protestant American Chapel, Rue de Berry 21; services at
11. 15 and 3. 30. — American Episcopal Church. Rue de la
Paix 7, services at 11. 30 and 3. 30.

Church of Scotland: Chapel of the Oratoire, Rue de Rivoli 160;
services at 11 and 3.

Wesleyan Chapels: Rue Roquépine 4, contiguous to No. 41
Boulevard Malesherbes, near the Madeleine. Service on Sundays
at 11. 30 a. m. and 7. 30 p. m., on Wednesdays at 7. 30 p. m.

16. Père Lachaise.

Paris possesses only three cemeteries: to the S. Mont Parnasse
(p. 166), to the N. Montmartre (p. 123), and to the
E. Père Lachaise. These would afford a space totally inadequate
for the 70—80 interments (two-thirds of the number are those
of children under 7 years of age) which are the daily average,
were not the remains of the poorer classes (two-thirds of the total
number) committed to the Fosses communes, or large pits containing
40—50 coffins. Permission to preserve a grave undisturbed
for 5 years only (concession temporaire) must be purchased
of the municipality for the sum of 50 fr. A private burial-place
(concession à perpetuité) may be secured for 500 fr., for a child
under 7 years of age for half that sum; these spaces are, however,
extremely limited (20 sq. ft.). One fourth of the purchase
money must be paid immediately, the remainder within 10 years,
on the expiration of which, in default of payment, all claim to
the burial-place is forfeited.

All burials within the precincts of the Department of the
Seine are undertaken by the Entreprise des Pompes Funèbres, a
company which enjoys the sole monopoly of conducting funerals,
the charges being regulated by tariff, and varying from 18 fr.
75 c. to 7148 fr. The fee of the officiating clergyman is not
included in these charges. Two chaplains, who each receive a
stipend of 1500 fr., are attached to each cemetery, their office
being the gratuitous performance of the burial-service for the poor.

The most celebrated and extensive of these cemeteries is
**Père Lachaise, so called from having formerly belonged to
Lachaise, the Jesuit confessor of Louis XIV., who possessed a
country residence on the site of the present chapel. His habitation
formed the nucleus of the power of his order in France at

that period. In 1804 the ground, upwards of 40 (at the present
day 200) acres in extent, was laid out as a cemetery. On
March 30th, 1814, it was the scene of a sharply contested action
between Russian and French troops, in which the former were
victorious.

This cemetery serves as a burial-place for the inhabitants of
the N.E. portion of Paris, that is, for all the quarters of the city
on the r. bank of the Seine to the E. of the Porte St. Denis. The
remains, however, of persons of distinction from other parts of
the city generally repose in Père Lachaise.

The cemetery is situated on an eminence, at the N.E. extremity
of Paris, without the former Barrière d'Aulnay, ¾ M. from
the Place de la Bastille, via the Rue de la Roquette, which diverges
to the l. from the Place du Prince Eugène in the Boulevard
of that name (monument here situated, see p. 37; S. W.,
towards the r., a glimpse is obtained of the July Column in the
Place de la Bastille).

As this spot is approached, indications of its proximity are
observed in the numerous workshops of stone and marble-cutters
(marbriers), containing ready-made "tributes" of every variety
and device, whilst at each step women vending flowers and "immortelles"
for the decoration of the tombs are encountered.

Near the E. extremity of the street are situated two strong,
castellated edifices: to the r. the Prison de la Roquette, in which
condemned convicts are confined previous to their execution or
conveyance to the galleys; to the l. the Prison des jeunes détenus.
Between these two prisons is the public place of execution.

The gate of the cemetery bears the inscription: Scio quod
redemptor meus vivit et in novissimo die de terra resurrecturus sum. —
Spes illorum immortalitate plena est. — Qui credit in me, etiamsi
mortuus fuerit, vivet. During the summer the cemetery is accessible
from 6 a. m. till 7 p. m., in spring, autumn and winter
from sunrise to sunset. Half-an-hour previous to the closing of
the gates a bell is rung, and the custodians call out: "On ferme
les portes", allowing ample time for visitors to reach the gate in
good time. — It may here be observed that it is the universal
custom for persons encountering a funeral procession to remove
their hats. — Guides (conducteurs) will be found at the small
building to the r. on entering, but their services may well
be dispensed with, unless the visitor's time be very limited
(fee 2—3 fr.).

Even a superficial inspection of the most interesting monuments
in the cemetery will occupy about 3 hours. At every step
the visitor encounters names of European celebrity. The number
of monuments, from the most magnificent mausoleum and obelisk
down to the unpretending marble cross, amounts to upwards of
16,000. It has been computed that, since the cemetery was first

opened, a sum exceeding 120 million francs has been expended
in the erection of these tributes to the departed.

The walks are well shaded with plantations, and the elevated
situation commands an admirable survey of the interminable labyrinth
of the city. The annexed plan will prove a valuable
companion. The finest monuments are indicated by asterisks;
r. and l. signify to the right and left of the path; the route
which the stranger is recommended to pursue is marked out in
the plan by mean of arrows.

The first monument of importance, perhaps the most interesting
in the entire cemetery, situated a short distance to the r.
of the main path, is that of **Abélard (d. 1142) and Heloïse
(d. 1164), whose romantic history is so well known. It consists
of a rectangular chapel in the Gothic style of the 13th cent.,
formed out of the ruins of the celebrated abbey of Paraclete, of
which Abélard was the founder and Heloïse the first abbess.
The chapel contains the sarcophagus, which Abélard himself caused
to be constructed before his death. He is represented in a recumbent
posture; by his side is the statue of Heloïse. The inscriptions
relate to the ill-fated pair, and record the origin of
the monument and its removal from the Musée des Petits Augustins
(p. 150), where it was placed for a time, to its present
position. The tomb is frequently decorated with wreaths of fresh
flowers, the offerings of those who regard this as the shrine of
disappointed love.

Returning to the main path, the visitor will perceive

*l. Robertson (d. 1837), a professor of "physics, phantasmagoria
and aörostatics" as the reliefs indicate.

Turning to the r. into the side path and then ascending to
the l.: r. Marshal Maison (d. 1840).

r. "Sépulture de la famille de Plaisance", with a portrait in
relief of the Duke of Piacenza (d. 1824); he held the office of
3rd consul during the consulate, and subsequently under the empire
became governor of Holland and Genoa; he was also the
translator of Tasso and Homer, as the genii indicate.

Opposite is situated a lofty monument: ("Aux victimes de Juin
la ville de Paris reconnaissante. Liberté, Ordre public"), recording
the names of those who fell in June, 1848.

l. Marshal Lauriston (d. 1828), who in 1810 escorted the
young empress Marie Louise to Paris.

In the side-path to the S.E.: l. Marshal Victor, who was taken
prisoner by the Germans in 1807 and afterwards exchanged
for Blücher.

r. General Domon; on the monument are enumerated the
battles at which he was present. — Behind it: "Victimes des trois
journées de Février 1848."

r. Count Labédoyère, colonel of the regiment at Grenoble
which was the first to go over to Napoleon on his return from
Elba (March 1st, 1815), subsequently condemned to death
(Aug. 19th) at the same time as Ney. The ill-fated man was
on the point of sailing for America, when he incautiously returned
to Paris to take leave of his young wife and child and
was there arrested. The sculptures refer to this affecting incident.
— To the N. is situated the Rond Point, in the centre of
which rises the handsome monument of

*Casimir Périer (d. 1832), consisting of a fine statue in bronze
on a lofty pedestal. He was originally a banker and an active
promoter of the July kingdom, subsequently prime minister of
Louis Philippe.

On the W. side of the Rond Point: l. Count Malet (d. 1843),
a cavalry officer, who subsequently became a priest and founder
of the order of Ste. Marie de Lorette, or Dames du Sacré Cœur.

l. Monge (d. 1820), the eminent mathematician and founder
of the polytechnic school; in 1793, as a member of the Convention,
he voted for the execution of Louis XVI.; in 1807 he was
created Comte de Peluse.

*l. Famille Raspail; this distinguished chemist and zealous
republican, member of the Montagnard party, received 40,000
votes as a candidate for the Presidency in December, 1848. He
was afterwards arrested and condemned by the court at Bourges
to six years imprisonment, for having been one of the instigators of
the conspiracy of May to dissolve the National Assembly. During his
confinement his wife died, as the monument (by Etex) indicates.

In the principal path: l. Champollion (d. 1836), the eminent
archæologist.

r. Clarke (d. 1818), marshal of France and minister of war.

l. Kellermann (d. 1820), marshal of France, Duc de Valmy.

l. Laffitte (d. 1840), the well known banker, promoter of the
July kingdom, minister of Louis Philippe and subsequently the
political opponent of the same cabinet.

l. Famille Dosne-Thiers, the burial-place of the family of the
minister of that name.

l. A. Duchesnois (d. 1835), the tragic actress, represented
in relief.

r. Maret, duc de Bassano (d. 1839), a temple with Doric columns,
without inscription. — Adjacent is the burial ground of
the ancestors of Talleyrand, the diplomatist.

l. Count Sieyès (d. 1836), abbé, member of the Convention
in 1793, subsequently consul with Bonaparte.

*l. Gouvion Saint Cyr (d. 1830), marshal, commander of the
Bavarian division in the Russian campaign, afterwards minister
of war.

l. Macdonald (d. 1840), marshal, commander of German troops
in the Russian campaign.

*l., on the higher ground, General Gobert, a large equestrian
group in marble by David, a Spaniard endeavours in vain to
prevent the invasion of the French by seizing the reins of the
general's horse, an allegorical allusion to the Spanish war; on
the pedestal reliefs relating to the wars in Egypt, Italy and Martinique,
and the battle of Famars (1793), at which the general
was present. This magnificent monument was erected in 1847
under the direction of the Academy, to which a considerable
sum was bequeathed by the general's son for that purpose and
for the promotion of national art.

r. Count Lavalette (d. 1830), condemned to death on the return
of the Bourbons in 1815; he, however, effected his escape
from prison with the assistance of his wife, whose dress he assumed,
whilst she remained behind.

Opposite, r.: Caron de Beaumarchais (d. 1799), author of the
libretti of the "Barber of Seville", "Marriage of Figaro" etc.

On the high ground, l.: Larrey (d. 1842), physician general
to the French army, styled by Napoleon I. "the most virtuous
man he knew".

Lower down, l.: Dupuytren (d. 1835), the eminent surgeon.

In the side-path, l.: General Belliard (d. 1832), Belgian minister
of war: l. Duc de Rovigo (d. 1833), a warm adherent of
Napoleon I., in 1831 governor of Algiers. — Farther on: Pierre
Pajol (d. 1844). who headed the July insurrection in 1830.

A little farther on, near the "Sépulture Schickler," is a fine
point of *view towards the E., affording a survey of Vincennes.

In the principal path: r. Couteaux, captain of engineers, who
fell at the siege of the citadel of Antwerp in 1832; r. Eugène
Scribe (d. 1861) the well known dramatist.

l. Vicomte de Martignac (d. 1835), celebrated for his noble
defence of his political opponent Prince Polignac in the chamber
of peers after the revolution of July.

*Adjacent to the latter, in the side-path: l. Marshal Suchet
(d. 1826), a lofty monument in marble.

*r. Duchesse de Raguse (d. 1857), a chapel with sarcophagus.

*r. Comte Pacthod (d. 1830), an obelisk with coat of arms and
military emblems.

r., near the wall: Volney (d. 1830), the philosopher.

Returning towards the W.: l. Parmentier (d. 1813), the well
known chemist and introducer of the potato culture into France;
r. Admiral Sir Sidney Smith (d. 1840), the victorious opponent of
Napoleon at St. Jean d'Acre.

l. General Gourgaud (d. 1850), the companion of Napoleon
in St. Helena and editor of his writings.

r., nearer the wall: Don Manuel Godoy (d. 1851), better known
as "the Prince of Peace".

*r. Aguado (d. 1842), the great financier; a lofty sarcophagus
with two admirable statues emblematic of Benevolence and the
Fine Arts.

l. General Rogniat (d. 1840), an eminent military writer.

r. Famille Ledru-Rollin.

In the square, of which the S.E. angle is formed by the monument
of General Rogniat, are situated two well-executed monuments
of an entirely different character from the above, those
of Marc Schoelcher (d. 1832) (at the S.W. angle), "marchand de
porcelaine", and (on the other side of the square) his wife
(d. 1839), parents of a well-known republican and deputy of the
Assemblée Nationale of 1848.

At the extremity of the main path: r. Vice-Admiral Lalande
(d. 1849); l. Jacotot (d. 1840), founder of an almost forgotten system
of education, a sarcophagus with quotations from his writings.

Then on the path to the l. the tombs of several poets and savants:

l. Col. Bory de St. Vincent (d. 1846), an eminent antiquarian
(member of the expedition to the Morea in 1829); l. Nodier
(d. 1844); r. Emile Souvestre (d. 1854); r. Bazin (d. 1850); r.
Balzac (d. 1850); l. *Casimir Delavigne (d. 1843), an obelisk
with the Muse of Poetry.

Opposite, in the angles of the three sections:

Sépulture de la famille du Duc de Morny (d. 1864), a cumbrous
monument with the arms of the family.

Duc de Riario Sforza.

Jean Baptiste Delpech, an eminent engineer.

Again to the l, and the main path is reached:

r. Hélène Andrianoff, a Russian dancer, with recumbent figure.

l. Eugène Delacroix, the artist (d. 1865).

*The termination of the main path is formed by a handsome
mausoleum, erected by the Duchesse de Duras to her parents
and children.

*The most conspicuous monument in this part of the cemetery
is that of F. de Beaujour (d. 1836), a lofty pyramid, erected by
himself before his death. — Hence descending a few steps to
the l., the visitor will arrive at a point affording a remarkably
fine view of Paris; the most prominent objects are the lofty dome
of the Pantheon, the massive Notre Dame, the cupola of the
Hotel des Invalides and the Arc de l'Etoile.

[On the E. slope of the cemetery is situated the Mussulman
Burial-ground, where the queen of Oude (d. 1857) and her son
(d. 1858) are interred. To the l. the church-spire of Belleville
is visible; to the r. that of Charonne.]

Returning to the monument of Gen. Gourgaud, and diverging
to the right: l. *Marshal Pérignon (d. 1818), and his son-in-law
*General Valence (d. 1822).

*r., at some distance from the path, Madame de Genlis (d. 1831),
the celebrated authoress, and instructress of Louis Philippe.

l. Marquis Laplace (d. 1827), the celebrated astronomer. —
Adjacent, Manuel Garcia (d. 1832), father of the singers Malibran
and Viardot. — Behind these is

*l. General Aboville (d 1817), a handsome mausoleum flanked
by two 24 pounders.

l. Lafontaine (d. 1685) and Molière (d. 1673), two sarcophagi
brought here in 1817.

*l. Boode, a Dutch merchant; a singular mausoleum in the
Egyptian style. — Behind it,

*David d'Angers (d. 1856), the celebrated sculptor.

*l. Cambacérès (d. 1826), in 1793 member of the Convention,
afterwards second consul, in 1808 Duke of Parma, in 1815 minister
of Justice.

*l. Admiral Decrès (d. 1821), formerly minister of the marine;
the reliefs represent naval actions with the English. — Near the
centre of the same compartment is the grave of Madame Cottin
(d. 1807), the novelist. — Opposite the monument of the admiral,
on the other side of the path, that of the Spanish

General Vallesteros (d. 1832), "mort dans l'exil".

*r. Marshal Lefebvre (d. 1820), a monument in marble, with
medallion-bust.

*r. Marshal Masséna (d. 1817), an obelisk with bust in a
medallion. — l. Marshal Serrurier (d. 1819). — r. Davoust
(d. 1822), "Prince d'Eckmuhl". — l. Gobert and Larrey, already
mentioned.

At the angle formed by the bifurcation of the path is a small
space of ground laid out as a garden, the last resting place of
the unfortunate Marshall Ney; no monument or inscription marks
the grave of "le brave des braves".

r. Manuel (d. 1827), the orator; a lofty, rounded obelisk with
his medallion and that of Béranger; the remains of Béranger
(d. 1857), the most illustrious lyric poet of France, repose within
the same enclosure, having been interred by his wish in the
tomb of his friend Manuel.

*r. General Foy (d. 1825), a man of the highest abilities and
most unblemished virtue; his unpretending funeral was attended
by upwards of 50,000 persons. — About 20 paces farther back
is the simple gravestone of

Paul Barras (d. 1829), President of the Directory in 1797—99;
beyond it, the vault of Marshal Mortier, killed in 1835 by Fieschi's
infernal machine. — In the vicinity, General Haxo (d. 1838)

commander at the siege of Antwerp, founder of the fortifications
of modern Paris.

l., at some distance from the path, Caulaincourt, duc de Vicence
(d. 1827), diplomatist and minister; in the vicinity, Chappe
(d. 1829), inventor of the optic telegraph.

l. Pozzo di Borgo (d. 1842), born in Corsica, a celebrated
Russian diplomatist and opponent of Napoleon I. — Opposite,

*r. Admiral Bruat (d. 1855), commander of the fleet before
Sebastopol, died on his way home; a fine monument in marble,
reliefs emblematic of his naval career.

l. Geoffroy St. Hilaire (d. 1844) and his son (d. 1862), the
eminent zoologists.

**l. Countess Demidoff (d. 1818), the most sumptuous monument
in the cemetery, consisting of 10 Doric columns of marble supporting
an entablature, beneath which is a sarcophagus, resting
on a basement of massive masonry.

r. Famille Racine, descendants of the celebrated dramatist.

r. Duc de Gaöte (d. 1841), ministre des finances de l'Empire,
a sarcophagus on a lofty basement.

r. Etienne, dramatic author, editor of the Constitutionnel, promoter
of the July revolution, subsequently Pair de France.

Somewhat higher in the side-path: Princesse de Salm-Dyck,
(d. 1845), the poetess, sometimes termed "le Boileau des femmes";
a lofty sarcophagus of black porphyry.

In the principal path: r. Pradier (d. 1852), the eminent
sculptor; a sarcophagus, with bust, erected by his pupils.

Proceeding towards the W. and crossing the principal paths,
the visitor will next reach the compartment occupied almost exclusively
by the graves of artists and scientific men. Of these
the following deserve especial mention:

Talma (d. 1826), the celebrated actor; Brongniart (d. 1847),
the mineralogist; *Bellini (d. 1835), Grétry (d. 1813), and Boieldieu
(d. 1834) the composers of celebrated operas; Bernardin de
St. Pierre (d. 1814), author of Paul and Virginia; *Cherubini
(d. 1842), the eminent composer, during 20 years director of the
Conservatoire; *Chopin (d. 1849).

*Denon (d. 1825), on the opposite side of the path, who accompanied
Bonaparte to Egypt, subsequently general director of
museums. — In the compartment higher up, opposite to the
Rond Point, the visitor may read the names of several other
well known composers and artists.

The Chapel, which occupies the site of the former residence
of Père Lachaise, is situated to the N. of the Rond Point. Fine
view from the open grass-plat 20 paces beyond it. In the contiguous
compartment; Count Desèze (d. 1828), in 1793 one of
the defenders of Louis XVI. before the Convention; *Cartellier
(d. 1831), the sculptor.

Near the first flight of steps in descending the broad path:
r. David (d. 1825), the celebrated painter, in 1793 President of
the Convention, when Louis XVI. was condemned to death by
this assembly. Farther down: r. Marshal Grouchy (d. 1847), a
veteran of Hohenlinden, Waterloo etc. Opposite: Count Rœderer
(d. 1835), an active promoter of the July revolution.

The visitor now re-approaches the entrance-gate and terminates
his walk at the newest section of the cemetery. r. Béclard,
Ministre de France au Marocco, with mourning female figure.
Adjacent, r. Alfred de Musset (d. 1856), the poet, with a weeping
willow:

r. Visconti (d. 1818), the philologist, and his son, the eminent
architect. Opposite to them, in the adjacent compartment: Arago
(d. 1853), the celebrated astronomer and staunch republican.

The Jewish Burial-Ground (closed on Saturdays) also
contains several handsome monuments, the names on which are
most frequently German and Portuguese. Mademoiselle Rachel
(d. 1858), the celebrated actress, is interred here.

The list here subjoined will render material assistance to the
visitor in enabling him without loss of time to find the monument
he may desire to inspect. The numbers refer to those of the
compartments in the plan, those within brackets to the pages in
which the names have been already mentioned.

• *Abélard and Heloïse 5 (115).

• *Aboville, General 25 (119).

• *Aguado, financier 23 (118).

• Andrianoff, dancer 21 (118).

• Arago, astronomer 2 (121).

• Balzac, novelist 20 (118).

• Barras, President of the Directory
  29 (119).

• Bassano, Duke of 18 (116).

• Beaujour, Felix de 20 (118).

• Beaumarchais 29 (117).

• Béclard, minister 2 (121).

• Belliard, General, Belgian minister
  of war 32 (117).

• *Bellini, composer 8 (120).

• Béranger, poet 29 (119).

• Bernardin de St. Pierre, author, 8
  (120).

• Boieldieu, composer 8 (120).

• *Boode, merchant of Amsterdam 28
  (119).

• Brongniart, mineralogist 8 (120).

• *Bruat, Admiral 26 (120).

• *Cambacérès, member of Convention
  and second consul 28 (119).

• *Cartellier, sculptor 13 (120).

• Caulaincourt, minister 17 (120).

• Champollion, archæologist 15 (116).

• Chappe, inventor of telegraph 17
  (120).

• *Cherubini, composer 8 (120).

• *Chopin, musician 8 (120).

• Clarke, Marshal 18 (116).

• Cottin, Madame, authoress 28 (119).

• Couteaux, captain of engineers 32
  (117).

• David, Louis, artist, president of
  Convention 1 (120).

• Davoust, Marshal 29 (119).

• *Decrès, Admiral 28 (119).

• Delacroix, artist 21 (118).

• *Delavigne, author 21 (118).

• Delpech 21 (118).

• *Demidoff, Countess 17 (120).

• *Denon, archæologist 3 (120).

---

122





• Desèze, defender of Louis XVI. 13
  (120).

• *Dias Santos, Duchesse de Duras 20
  (118).

• Domon, General 12 (115).

• Duchesnois, actress 19 (116).

• Dupuytren, surgeon 19 (117).

• Etienne, editor of the Constitutionnel
  26 (120).

• February victims 12 (115).

• *Foy, General 29 (119).

• Gaöta, Duke of, minister of finance
  27 (120).

• *Genlis, Madame de, authoress 24
  (119).

• Geoffroy Saint Hilaire, naturalist 17
  (120).

• *Gobert, General 19 (117).

• Godoy, Spanish prince 34 (118).

• Gourgaud, General 23 (117).

• *Gouvion Saint Cyr, Marshal 19 (116).

• Grétry, composer 8 (120).

• Grouchy, Marshal 1 (121).

• Jewish Burial Ground (121).

• Haxo, Gen. of engineers 29 (119).

• June victims 11 (115).

• Kellermann, Marshal 19 (116).

• Labédoyère, Colonel 12 (116).

• Laffitte, banker 19 (116).

• Lafontaine, fabulist 25 (119).

• Laplace, astronomer 25 (119).

• Larrey, military physician 19 (117).

• Lauriston, Marshal 10 (115).

• Lavalette, Count 31 (117).

• Lebrun, third consul 6 (115).

• Ledru-Rollin, family of 33 (118).

• *Lefebvre, Marshal 29 (119).

• Macdonald, Marshal 19 (117).

• Maison, Marshal 6 (115).

• Malet, founder of the order of Ste.
  Marie de Lorette 15 (116).

• Manuel, orator 29 (119).

• Maret, Duc de Bassano 18 (116).

• Martignac, minister 28 (117).

• Masséna, Marshal 29 (119).

• Molière, dramatic author 25 (119).

• Monge, mathematician, member of
  Convention 15 (116).

• Morny, family of the Duc de 21
  (118).

• Mussulman Burial Ground (118).

• Mortier, Marshal 29 (119).

• Musset, Alfred de 2 (121).

• Ney, Marshal 30 (119).

• Oude, Queen of (118).

• *Pacthod, General 34 (117).

• Pajol, General 32 (117).

• Parmentier, chemist 28 (117).

• *Périer, minister 16 (116).

• *Pérignon, Marshal 24 (119).

• Plaisance (Piacenza), Duke of 6
  (115).

• Pozzo di Borgo, Russian diplomatist
  17 (120).

• Pradier, sculptor 24 (120).

• Rachel, actress, Jewish Cemetery
  (121).

• Racine, family 27 (120).

• Raguse, Duchesse de 32 (117).

• Raspail, chemist 15 (116).

• *Robertson, prof. of physics 4 (115).

• Roederer, minister 2 (121).

• Rogniat, General 22 (118).

• Rovigo, Duc de 32 (117).

• *Schickler, banker 31 (117).

• Scribe, dramatist 32 (117).

• Serrurier, Marshal 19 (119).

• Sidney Smith, Admiral Sir 34 (117).

• Sieyès, abbé, member of Convention
  19 (116).

• *Suchet, Marshal 28 (117).

• Talma, actor 7 (120).

• Thiers, family of 19 (116).

• *Valence, General 24 (119).

• Vallesteros, Spanish general 29 (119).

• Vicenza, Duc de, see Caulaincourt.

• Victor, Marshal 18 (115).

• Visconti, architect of the New Louvre
  2 (121).

• Volney, philosopher 32 (117).

The private Cimetière Picpus, Rue de Picpus 15, Faubourg
St. Antoine (adm. 50 c.), is the last resting-place of several
illustrious victims of the revolution of 1793, and of members of
the old French noblesse.

17. Montmartre.

Cemetery of Montmartre.

The Rue Laffitte, which is terminated by Notre Dame de
Lorette, and its continuation the Rue des Martyrs lead in a direct
line from the Boulevard des Italiens to the suburb of Montmartre.
Pursuing the same direction about 20 min. more, the stranger
will reach the summit of Montmartre, 300 ft. above the Seine,

a hill well known for its extensive limestone and gypsum or
plaster of Paris quarries, and commanding a view of the N. of
Paris. According to tradition St. Denis and his companions suffered
martyrdom here, whence the appellation of the hill, which is
equivalent to Mons Martyrum.

In 1147 Louis VI. here founded a Benedictine Abbey, secularized
during the revolution. Portions of the buildings still
exist. On the E. side is situated a "Mount of Olives" (Jardin
des Oliviers), containing singular representations, to which pilgrimages,
especially in September, are frequently undertaken.

A small enclosed space by the windmill (access 10 c.) affords
a fine *panorama of the huge sea of houses in the city, to the
N. of the plain of St. Denis and the course of the Seine, and
to the E. over Vincennes in the foreground to the valley of
the Marne. The prospect from the recently erected Tour de
Solferino, on the E. slope of the hill, is still more extensive.

At the W. base of Montmartre, between the Barrière Blanche
and the Barrière de Clichy, extending over disused gypsum
quarries, is situated the *Cemetery of Montmartre, the oldest
of the burial-grounds of modern Paris. Although far inferior to
Père Lachaise in the number of its monuments and illustrious
names, it well merits a visit.

To the r. in the first path, *three monuments to Polish
refuges, "exules Poloni memoriae suorum". The visitor now returns
hence and enters the main path. Here, to the r., is the
family-vault of Fr. Guil. Kalkbrenner (d. 1849), the well-known
composer.

Farther on, at the corner to the l., the tomb of the Cavaignac
family, of which the most eminent members were the author
Godefroy (d. 1845) and the general Eugène (d. 1857), president
of the republic from June 28th to Oct. 20th, 1848.

Beneath the cross in the rotunda repose the republicans who
fell during the execution of the coup d'état in Dec., 1852, a spot
always decorated with numerous wreaths.

Farther on in the principal path: Baron Meneval, "secrétaire
intime de l'empereur Napoléon".

On a slight eminence at the extremity of this avenue is
situated the Jewish Burial Ground (closed on Saturdays).
On most of the tombstones the visitor perceives small heaps of
stones or pebbles, placed there as a token of love or esteem in
accordance with a prevalent Jewish custom. — In a conspicuous
position to the l. at the end of the walk, Halévy, the celebrated
composer (d. 1862), with marble statue over life-size.

Returning thence and diverging towards the W. (the second path
to the r. after leaving the Jewish Burial Ground), the visitor will
perceive to the r. the monument of Comte Daru (d. 1829), the

constant companion and confidant of Napoleon, minister of war
in 1813, and also known as an historian.

r. Armand Marrast (d. 1852), the well known republican editor,
in 1848 "membre du gouvernement provisoire, Maire de Paris,
Président de l'Assemblée Nationale".

At the extremity of this path, before the steps are reached,
the visitor diverges to the r.; one of the first graves to the l.
is that of Ad. Nourrit (d. 1839), the celebrated singer.

l. Duchesse d'Abrantès (d. 1838), wife of Marshal Junot, and
an eminent authoress; bust of the duchess in a medallion by
David d'Angers.

l. Charles Zeuner (d. 1841), the composer. — The steps to
the r. are now descended and those above, on the opposite side,
ascended.

On the eminence at the W. extremity of the Jewish cemetery
is a monument which marks the spot where the heart of Marshal
Lannes, Duc de Montebello, who died of his wounds in 1809, is
interred.

l. A large block of marble indicates the resting-place of the
artist Paul Delaroche (d. 1857). Opposite is a chapel, decorated
in the Byzantine style, to the memory of Marie Potocka, Princesse
Soltikoff (d. 1845); near it, the tomb of Prince Tufiakin, chamberlain
of the emperor of Russia (d. 1845). Beyond the embankment
is the extensive new cemetery with numerous monuments, which
however are of comparatively little interest.

A lofty obelisk, the most conspicuous monument in the cemetery,
marks the tomb of the Duchesse de Montmorency (d. 1829);
adjacent to it, the grave of a Prince of Saxe Cobourg (d. 1832).

18. Vincennes.

Parc de Vincennes. Canal Saint Maur. Charenton.

Omnibus to Vincennes in 25—30 min. every hour from the Bastille
(Boulevard Beaumarchais 10) and the Porte St. Martin. Railway, Place
de la Bastille, to the station of which a special omnibus runs from the
Place de la Bourse. To obtain access to the château of Vincennes, permission
must be procured from the commanding artillery officer, to whom
a written request[3] should be addressed, furnished with a postage
stamp of 10 c.

For ordinary visitors, however, the château contains few objects of
interest, with the exception of the view from the "donjon" and the monument
of the Duc d'Enghien.

The Barrière du Trône, to which the new Boulevard du Prince
Eugène leads in a straight direction from the Boulevard du Temple,
forms the E. extremity of Paris, distant about 6 M. from the

Arc de l'Etoile, the W. extremity of the city. On a throne erected
here, Aug. 26th, 1660, Louis XIV. received the homage of the
city of Paris, on the conclusion of the peace of the Pyrenees, whence
the present appellation of the barrier.

The two lofty, fluted Doric Columns of the Barrière du Trône
were commenced in 1788, but not completed till 1847. Each
column is adorned with two reliefs by Desbœufs and Simart,
those towards the city emblematic of Commerce and Industry,
the others of Victory and Peace. The summits of the columns
are occupied by statues in bronze of St. Louis, by Etex, and
Philip Augustus, by Dumont.

The château of Vincennes, founded in the 12th cent., was in
course of time fitted up as a royal residence. In 1740, under
Louis XV., it was converted into a manufactory of porcelain
(removed 10 years later to Sèvres), and subsequently into a
weapon manufactory. In 1832—44, under Louis Philippe, the
château was strongly fortified and furnished with extensive depôts
for the especial use of artillery. Vincennes is also the
seat of the École de tir, where a number of officers from every
regiment are instructed in the use of the newest fire-arms, and
whence most of the recent improvements in this department have
emanated.

In former ages the château was long employed as a State-prison.
Out of a long list of illustrious persons confined within
its walls, may be mentioned: the king of Navarre (1574),
Condé (1617), Mirabeau (1777), the Duc d'Enghien (1804),
the ministers of Charles X. (1830) and the conspirators against
the National Assembly, Raspail, Barbès, Blanqui, Courtais etc.
(May 15th, 1848).

A melancholy interest attaches to the fortress from its having
been the scene of the execution of the unfortunate Duc d'Enghien.
He was arrested by order of Napoleon, March 14th, 1804, in
German territory, whence he was conveyed to Vincennes and
there condemned by a court-martial. The accusation was that
he was privy to the plot formed by Pichegru, Cadoudal and
others against the emperor. The sentence was executed March 20th,
and the body of the ill-fated prince interred in the fosse where
he was shot. In 1816 Louis XVIII. caused the duke's remains
to be disinterred and removed to the chapel, were he erected
a monument to his memory.

The Chapel, with its tasteful Gothic front, was commenced in
1248 and completed in 1552. It was employed during the revolution
as a magazine, but was restored to its sacred use in 1842.
The interior, which consists of a single nave, is remarkable for
the elegance of its proportions and several fine stained glass
windows, one of which contains a portrait of Diane de Poitiers,
the favourite of Henry II. The monument of the Duc d'Enghien,

in the old sacristy, by Deseine, consists of four figures in marble,
the duke supported by Religion, France bewailing his loss and
a figure emblematic of Vengeance.

The Salle d'Armes or armoury is said to contain a store of
weapons sufficient for the complete equipment of 120,000 men.

The platform of the Donjon, a massive square tower with four
smaller towers at its angles, commands a fine prospect. The
walls of this structure are 17 ft. in thickness, and its five lofty
stories, each consisting of one spacious apartment with four
smaller rooms in the corner towers, were formerly employed for
the reception of the state-prisoners.

The Bois de Vincennes, an ancient forest and, as early as
the time of St. Louis (d. 1270), a favourite chasse of the French
monarchs, was in 1731 entirely replanted by order of Louis XV.
In more modern times considerable encroachments on it have
been made by railway and military works, and it has recently
been laid out as a park in the same style as the Bois de Boulogne.

The road from Paris to the wood passes by the château. At
the extremity of the new line of forts the road to the r. leading
to Joinville-le-Pont must be taken, from which a short distance
farther the road to Nogent diverges. Both of these roads lead
to the artificial Lac des Minimes (1¼ M. from the castle) with its
three islands, on the smallest of which, the Ile de la Porte-Jaune,
connected with the mainland by a bridge, a restaurant will be
found. From the meadow to the W. of the lake a view of the
Exercising-ground with an Obelisk erected by Louis XV. and the
Polygone is obtained. The Cascade which supplies the lake is
formed by the Ruisseau de Nogent and the Ruisseau des Minimes;
the latter, running towards the S., traverses one of the
most picturesque portions of the wood. In the vicinity of its
source, near the Redoute de la Faisanderie, is situated the plain
of the Camp of St. Maur.

Towards the E. the road from Joinville to Nogent leads to the
Rond de Beauté, so called on account of the beautiful view it
affords of the valley of the Marne. Towards the S. the military
road passes behind the redoubts "de la Faisanderie" and "de
Gravelle", and the imperial model Ferme Napoléon, where a glass
of excellent milk may be procured. About 100 paces to the W.
of the Redoute de Gravelle is situated the Lac de Gravelle. The
Ront-Point de Gravelle commands a charming survey of the Marne
and Seine.

The Lac de Gravelle is connected with the Lac de St. Mandé
by the Ruisseau de St. Mandé, following the course of which the
stranger passes the Asile Impérial des Invalides Civils (to the l.),
opened in 1857 for the reception of invalid workmen. The hollow
in which the Lac de St. Mandé is situated is the most beautiful
spot in the entire park.

Those whose time is limited will have an opportunity of
seeing a portion of the park, if they avail themselves of one of
the omnibuses which run every hour in an E. direction from Vincennes
to Nogent-sur-Marne and Joinville-le-Pont (in 45 min.).
Nogent-sur-Marne contains several handsome country residences;
the first to the r. on leaving the railway-station belongs to
Marshal Vaillant, formerly minister of war. A railway-bridge of
nearly ½ M. in length here crosses the Marne, belonging to a
branch of the Strasbourg line.

At Joinville-le-Pont issues the Canal de St. Maur, a subterranean
channel 650 yds. in length and furnished with a towing
path, accessible to foot-passengers. By means of this canal, vessels
navigating the Marne effect a saving of nearly 15 M. by avoiding
the long curve which the river here describes.

At the E. extremity a picturesque and verdant valley is entered.
Its aspect is peaceful and sequestered, and affords no indication
of the proximity of the vast city. The name of the village is
Gravelle.

The celebrated lunatic asylum of Charenton lies about 1½ M.
to the W. of this point. It is a spacious edifice, situated on an
eminence, and was newly fitted up in 1847. The number of
patients is about 400, some of whom are received gratuitously
by permission of the Minister of the Interior, others pay an annual
sum varying from 33 L. to 57 L. according to the accommodation
required. The relations and friends of patients obtain access
on Sundays and Thursdays if provided with a special permission
from the director.

From 1606 to 1685 Charenton was the principal seat of the
French Protestants, who here possessed one of their largest churches
and other public institutions. They were, however, dispersed in
consequence of the revocation of the Edict of Nantes. The church
was pulled down, and the stones employed in the construction of
a hospital in Paris.

The omnibuses which run every hour from Charenton-le-Pont
to the Bastille (in 40 min.; fare 30 c.) start from the bridge over
the Marne, about ¾ M. from the asylum.