University of Virginia Library

LEFT BANK OF THE SEINE.

19. Palais du Luxembourg.

Garden. Ney's Monument. Observatory.

In the quarters of the city on the l. bank of the Seine, the
Faubourg St. Marcel, Faubourg St. Jacques and St. Michel (Quartier
Latin) and the Faubourg St. Germain, the principal objects of
interest are the Jardin des Plantes (p. 141), the Pantheon (p. 138),
and the Palais du Luxembourg with its Gallery of Modern
Pictures. Of these the last named deservedly holds the first
rank. Like the collections of the Louvre, it is open daily,
Mondays excepted, from 10 to 4 o'clock. The garden is accessible
daily from sunrise to sunset. The palace is shown for a
gratuity (1 fr. for one pers., 2—3 fr. for a party), except during
the session of the chambers.

This palace, the most extensive in Paris after the Louvre,
the Tuileries and the Palais Royal, was erected and sumptuously
decorated in 1615 by Desbrosses, by order of Marie de Médicis.
In the spring of 1621 Rubens here sketched the designs of his
large pictures representing scenes from the queen's life, now in
the Louvre, which he afterwards executed at Antwerp with the
aid of his pupils and exhibited in the halls of the Luxembourg
in 1625. The long gallery still contains frescoes by Jordaens,
Rubens' talented pupil.

The palace derives its appellation from the Duke of Pinay-Luxembourg,
whose mansion formerly occupied the same site;
various other names have been proposed, but have never been
universally adopted.

Until the revolution the palace continued to be a princely
residence, and immediately before that event was presented by
Louis XVI. to his brother the Count of Provence (Louis XVIII.),
who quitted it in June, 1791.

The Convention, which had selected the Tuileries for the seat
of its operations converted the Luxembourg into a prison (especially
for the reception of members of noble families), in which
Hébert, Camille Desmoulins, Danton, Robespierre, the artist David,
Josephine Beauharnais and others were afterwards temporarily
confined. In 1795 the edifice received the name of Palais du
Directoire, subsequently that of Palais du Consulat. For a time
the Directory and the Consulate held their sessions here; the

latter, however, for a short period only, as Bonaparte removed to
the Tuileries, Feb. 29th, 1800.

During the empire the palace was occupied by the senate,
and was termed Palais du Sénat-Conservateur. After the restoration
and under Louis Philippe the Chamber of Peers met here.
In March and April, 1848, the "Commission du gouvernement pour
les travailleurs" under Louis Blanc and Albert ("Ouvrier") held their
Socialist meetings in the palace. Since 1852 it has again been
styled Palais du Sénat, that body now, as under Napoleon I., here
holding its sessions.

Visitors enter the court by the principal entrance, pass through
the middle-door in the r. wing and ascend the magnificent staircase.
They are then usually required to wait in the entrance-hall,
decorated with bronze statues of celebrated Greeks and Romans,
until a party is formed. The *Salle du Trône, constructed
and sumptuously decorated in 1856, replaces the former Salle du
Sénat and Salle des Conférences. The walls are decorated with a
series of large pictures of scenes from the history of the Napoleons:
1. Napoleon I. elected Emperor, by Signol; 2. He signs
the Concordat, by Hesse; 3. He inspects the flags captured at
Austerlitz, by Philippoteaux; 4. Napoleon with the Invalides, by
Couder. In the cupola, Triumph of Universal Suffrage, by Alaux
(7,500,000 votes for the present Emperor). Then, 5. Return of
the Pope to Rome in 1849, by Benouville; 6. Napoleon III. inspecting
the progress of the New Louvre, by Gosse; 7. Distribution
of the eagles in the Champ de Mars in 1852, by Pils;
8. The Senate proclaiming the Empire, by Couder. The Galerie
des Bustes, containing the busts of the senators of the first empire,
surrounds the Salle du Sénat. The latter was destroyed by
fire in 1859, but was restored to its original form. The lowest
seats are reserved for princes, cardinals and marshals; the senators
speak from their places. The visitor is hence conducted
back to the Salle du Trône, and then to the Cabinet de l'Empereur
which contains the following pictures: 1. Napoleon III. entering
Paris from St. Cloud, by Couder; 2. His Nuptials, by
Fleury; 3. Napoleon I. signs the Peace of Campoformio, by Brisset;
4. the 18th Brumaine, by Vinchon. A stair now descends to
the Apartments of Queen Marie de Médicis.

The decorations of the Sleeping Apartment of Marie de Médicis
were torn down and partially destroyed during the revolution;
some of them, however, were afterwards discovered in a
garret of the Louvre. Louis XVIII. caused this apartment to be
restored in its former style in 1817. The decorations, which
consist of arabesques on a gold ground, are executed with great
taste. The paintings are of the school of Rubens. After the restoration
and under Louis Philippe this room was known as the
Salle du Livre d'Or, and was employed as a receptacle for documents

recording the titles and coats of arms of the Peers of France.
Members of these families during that period were accustomed to
celebrate their nuptials in the richly decorated Chapel, restored
in 1842.

The Library of the Senate, a handsome gallery with 40,000
vols., is not usually shown to the public (enquiry may be made
of the attendant). The cupola is adorned with one of the finest
works of the talented Delacroix (d. 1863), representing Elysium
as pourtrayed by Dante, and remarkable for its spirited style and
rich colouring.

The **Musée du Luxembourg, a collection of about 170 Paintings
of Living Artists, some 30 sculptures, and a number of
drawings, engravings and lithographs, is situated in the E. wing
of the palace. Many of the pictures here are not inferior
in interest to those in the Louvre, where, however, they are
not exhibited until 10 years after the death of the artists.

The usual entrance is by a door (the first to the r.) within
the railing of the garden at the N.E. end: on Sundays and festivals
by the principal portal, opposite to the Rue de Tournon.

The most esteemed pictures are here enumerated. The dates
of the first exhibition of each picture are also given. The order
of the pictures is frequently changed; catalogue 75 c. The
visitor enters the Great Gallery and turns to the small apartment
to the r.

First Small Room:

In the centre: 227. Jouffroy, A young girl confiding her first
secret to the goddess of love, a group in marble: 1839. — Opposite
to the window: 155. Roqueplan, View of the Coast of
Normandy, a sea-piece; 1831. 245. Berchère, Twilight in Nubia;
1864. — To the l. of the entrance: 11. Beaume, Leaving Church;
1846. 83. Giroux, View of the Valley of Graisivaudan near Grenoble;
1834.

On the ceiling of the adjoining Great Gallery, the Rising
of Aurora by Callet (d. 1823), surrounded by twelve smaller paintings
by Jordaens, the pupil of Rubens, allegorical representations
of the signs of the zodiac. A number of modern sculptures
placed here possess little artistic merit.

On the wall by the door: 111. Jacquand, Last interview of
Charles I. of England with his children; 1855. Over the door:

135. Matout, Wife of Boghari slain by a lion; 1855.

Right Side:

129. Lehmann, Prometheus chained to the rock, and surrounded
by compassionate ocean nymphs; 1850.

124. Larivière, The plague in Rome under Pope Nicholas V.
1831.

152. R. Fleury, Jane Shore persecuted as a witch; 1850.

182. Horace Vernet, Meeting of Raphael and Michel Angelo in
the Vatican; 1833. "You are attended by a train like a
general's", says Michel Angelo. "And you are alone like
the hangman", readily responds Raphael.

261. Meissonnier, Napoleon III. at Solferino; 1864.

*9. Baudry, Fortune playing with a child; 1857.

*59. Paul Delaroche, The princes in the Tower of London; 1831.

43. Couture, The Romans of the Declining Empire; 1847.

34. Chassériau, Roman tepidarium, to which the Roman women
resorted after the bath; 1853.

*54. Eugène Delacroix, Dante and Virgil, conducted by Phlegyas,
crossing the Styx; among the guilty shades that endeavour
to enter the boat Dante recognises Florentines; 1822.

55. Delacroix, Greeks massacred by Turks in the island of Scio
(Chios); 1824.

57. Delacroix, Algerian Women; 1834.

*42. Court, Death of Cæsar; Mark Antony exhibiting the corpse
to the people; in the foreground Brutus and Cassius;
1827.

Lower End:

29. Brion. Pilgrims of St. Ottilia in Alsace; 1863.

Before inspecting the opposite side of the principal hall, the
visitor may now enter the

Third Room. In the centre:

Millet, Ariadne forsaken, a marble statue; 1857.

r. Duret, Improvisatore and fisher-boy dancing the Tarantella,
in bronze.

r.170. Schnetz (director of the French academy at Rome), Inundation;
1831.

289. Guillaumet, Evening Prayer in the Sahara; 1863.

6. Antigna, Conflagration; 1850.

15. Belly, Pilgrims on their journey to Mecca; 1862.

*19. Rosa Bonheur, Oxen ploughing; 1849.

21. Bouquereau, The body of St. Cecilia conveyed to the Catacombs;
1855.

27. Breton, Gleaners; 1859.

145. Odier, A wounded dragoon before Moscow, life-size; 1833.

*142 Müller, The names of the last victims of the Reign of
Terror before the fall of Robespierre (July 27th, 1794) are
read in the prison of the Luxembourg; the figures are all
portraits, among others those of the Princesse de Chimay
and Montalembert. 1850.

Returning to the Principal Hall.

Left Side:

50. Debay, Lucretia presented to the people in the marketplace;
1831.

102. Ingres (d. 1867), Peter receiving the keys of Heaven; 1820.

105. Ingres, Homer's Deification; 1827.

*104. Ingres, Cherubini and the Muse of Harmony; 1842.

103. Ingres, Roger liberates Angelica (from Ariosto); 1819.

171. Schnetz, Vow to the Madonna; 1831.

16. Benouville, St. Francis d'Assisi conveyed in a dying state to
the monastery of S. Maria degli Angeli; 1853.

94. Heim, Charles X. distributing prizes after the exhibition of
1824; 1827.

*151. Robert Fleury, Conference at Poissy (p. 220), assembled in
1561 by Catherine de Médicis and Charles IX., with a view
to adjust the differences between the Rom. Catholics and
Protestants; Theodore Beza, the well known reformer, acts
as spokesman for the latter. 1840.

93. Heim, Massacre of the Jews in the court of the Temple at
Jerusalem, 1824.

54. Detacroix, Jewish Wedding at Morocco; 1841.

*180. Horace Vernet, Marshal Moncey with the National Guard
defending the Barrière de Clichy at Paris against the Russians
(March 30th, 1814). The locality may still be recognised;
"Père Lathuille" is a restaurant to this day. 1820.

64. Devéria, Birth of Henry IV.; 1827.

Opposite to the entrance of the principal gallery, a glass-door
leads to a covered terrace, hung with drawings (portraits etc.).
The Rotunda contains Sculptures:

In the centre: Perraud, The infancy of Bacchus, a group in
marble; 1863. In the recesses of the windows: r. 222. Guillaume,
Anacreon; 1852. l. 214. Canelier, The mother of the Gracchi;
1861. — 229. Maillet, Agrippina and Caligula; 1853. Also several
busts.

In the Opposite Room:

Ingres, Designs for the stained glass windows of the chapel
at Dreux and St. Ferdinand's Chapel (p. 87). St. Ferdinand is
a portrait of the Duke of Orleans (d. 1842), St. Helena of the
duchess (d. 1858).

In the centre: 221. Gatteaux, Minerva after the decision of
Paris, a statue in bronze.

In the Room to the right:

In the centre: 219. Gaston Guitton, Leander; 1857. By the
windows: 231. Michael Pascal, Monks reading; 1847.

Opposite: Troyon, Landscape with cattle.

188. Zo, Blind man at Toledo 1863.

256. Lanoue, The Tiber at Acqua Acetosa, near Rome; 1864.

258. Leroux, Young mother of Brittany; 1864.

In the Room to the left:

Sculptures: 233. Moreau, The spinner; 1861. 215. Dumont,
Bust of a lady; 1844. 208. Aizelin, Psyche; 1863. 276. Leharivel-Durocher,
Reality and Appearance; 1861. 277. Montagny, St.
Louis of Gonzaga.

On the entrance-wall: 121. Landelle, Presentiment of the
Virgin; 1859.

77. Fromentin, Falcon-hunt in Algeria; 1863.

177. Tassaert, Misfortune; 1850.

Principal wall: 10. Beaume, Laying the foundation-stone of
the monument to Louis XVI. in the Place de la Concorde; 1827.

24. Brascassat, Landscape with cattle; 1845.

133. Lenepveu, The martyrs in the catacombs; 1855.

130. Leleux, Wedding in Brittany; 1863.

81. Giraud, Spanish dancers; 1853.

In the Following Room:

In the centre: 234. Nanteuil, Eurydice, a statue in marble;

1824. — On the walls:

248. Chaplin, Soap-bubbles; 1864.

174. Signol, Christ and the Adulteress; 1840.

125. Laugée, The artist Lesueur among the Carthusians; 1855.

137. Merle, Beggar-woman; 1861.

157. Rousseau, An unbidden guest; 1850.

40. Caubertin, Good Friday at Palermo; 1861.

In the Following Room:

In the centre: 225. Jaley, Prayer; 226. Same artist, Modesty;
statues in marble. On the walls:

198. David (Maxime), Three miniatures on ivory: Abdel-Kader
praying, as regent, and before the battle; 1853.

263. Penguilly-L'Haridon, Gamblers; 1847.

292. Meissonnier, Napoleon III. with his staff.

260. Marchal, Market in Alsace; 1864.

286. Duverger, Workman and his children; 1865.

The Garden on the S. side of the palace, open daily till
dusk, upwards of 1000 yds. in length and 600 yds. in breadth,
is admirably laid ont and contains tastefully kept flower-beds
and delightful walks. The S. portion is, however, now intersected
by two new streets, which are rapidly approaching completion
and unfortunately diminish the area as well as the attractions
of the garden. It is adorned by a number of statues and
sculptures, principally modern, among which may be mentioned
the 20 statues of celebrated women arranged along the terrace.
These are as follows, commencing on the E. side: 1. Bathilde,

consort of Clovis II.; 2. Bertha, consort of Pepin (by Oudiné);
3. Queen Hudrogote; 4. Ste. Geneviève; 5. Mary Stuart; 6. Jeanne
d'Albret, mother of Henry IV.; 7. Clémence Isaure, foundress of
the "Jeux Floraux" at Toulouse (by Préault); 8. Mlle. de Montpensier
(d. 1693), grand-daughter of Henry IV. and heroine of
the Fronde, who herself fired the cannons of the Bastille on the
troops of Louis XIV. (by Demesmay); 9. Louise de Savoye, mother
of Francis I.; 10. Joan of Arc (by Rude).

On the W. side: 11. Laure de Noves (d. 1348), the celebrated
Laura of Petrarch; 12. Marie de Médicis, second consort of
Henry IV.; 13. Margaret of Valois, first consort of Henry IV.;
14. Valentine de Milan, wife of the Duke of Orleans, second son
of Charles V.; 15. Anne de Beaujeu, daughter of Louis XI., regent
of France during the minority of Charles VIII.; 16. Bianca
of Castille, consort of Louis VIII.; 17. Anne of Austria, consort
of Louis XIII.; 18. Anne of Bretagne, consort of Charles VIII. and
of Louis XII.; 19. Margaret of Provence; 20. Clotilde consort of
Clovis I.

The grass-plot to the N.E. is adorned with a group of Adam
and his Family, by Garauld, a statue of Archidamas about to
throw the disc, by Lemaire, Diana of Versailles, the Borghese
Gladiator etc.

At the sides of the large basin, on pedestals of Italian marble,
David with the sword, and a Nymph, an Italian work of the
16th cent.

At the S. end of the garden is situated the Botanic Garden
of the Ecole de Médecine, towards the E., and the Pépinière or
nursery-garden towards the W.: the latter is adorned with a statue
of Velleda, the celebrated Germanic prophetess (A. D. 70), by
Maindron.

The S. issue of the garden is in the Allée de l'Observatoire,
in which, to the l., is situated Ney's Statue, cast in bronze from
a design by Rude, and standing on the precise spot where
(Dec. 7th, 1815) the unfortunate marshal was shot in accordance
with the sentence pronounced on the previous day by the Chamber
of Peers in the Luxembourg. The figure is in a commanding
attitude, but the features are open to criticism.

At the extremity of the Allée rise the extensive buildings
of the Observatoire, founded in 1672, the interior of which is
accessible on the first Sunday of each month at 3 p. m., and
then only by special permission of the director M. Le Verrier.
Through the centre of this establishment runs the meridian
of Paris.

20. Musée des Thermes et de l'Hôtel de Cluny.

Sorbonne.

This collection of Roman and Mediaeval Antiquities, entrance
Rue des Mathurins 14, is open to the public on Sundays and
holidays from 11 to 4, and daily (except Monday from 11 to 4)
to strangers provided with a passport (or visiting-card), on Mondays,
Tuesdays and Saturdays for students only. The catalogue,
which may be purchased at the door for 2 fr., is indispensable
for those who desire to make themselves acquainted with all the
objects of interest in this splendid collection.

The Roman emperor Constantius Chlorus, who resided in Gaul
from 292 to 306, is believed to have been the founder of the
palace, of which the baths (Thermes) still existing formed a
portion. It is an historical fact that Julian was here proclaimed
emperor by his soldiers in 360; the early Franconian monarchs
also resided here.

At the close of the 15th cent. the abbots of the wealthy Benedictine
Abbey of Cluny in Southern Burgundy, who possessed
property of considerable extent in Paris, but no suitable residence,
caused a small mansion, the Hôtel de Cluny of the present
day, to be erected on the site of the ancient Roman palace.
This edifice still retains its mediæval exterior, and is a fine specimen
of the style of the transition from Gothic to Renaissance.
The abbots, who seldom resided in Paris, placed their mansion
at the disposal of the monarchs of France, and we accordingly
find that it was occupied in 1515, soon after its completion, by
Mary, sister of Henry VIII. of England and widow of Louis XII.
Her apartment is still termed la Chambre de la Reine blanche,
it having been the custom of the queens of France to wear white
mourning. On Jan. 1st, 1537, the nuptials of James V. of Scotland
with Madeleine, daughter of Francis I., were here celebrated.

The revolution converted this ecclesiastical estate into national
property, and in 1833 the Hôtel de Cluny fell into the hands
of M. Du Sommerard, an enthusiastic collector of mediæval curiosities;
at his death the edifice with its collections was purchased
by government and united with the Roman Baths which
had hitherto appertained to the municipality of Paris.

The Collection of Mediaeval Curiosities, belonging principally
to the 14th—16th cent, and exceeding 3000 in number, is of
such an extent as to defy enumeration. It consists of reliefs,
carving, ecclesiastical decorations and vestments, furniture, tapestry,
weapons, carved ivory, musical instruments, missals, stained
glass, pictures etc. The large hall contains some interesting remnants
of episcopal robes and a crozier of the 12th cent., discovered
at Bayonne in 1853. The three lower rooms contain
objects of less interest than the upper.

2nd Room: 532. Bench of a refectory of the 15th cent.; 537.
Another of the 16th cent.; 612. Press of the 15th cent.; 104.
Statuette of Diana of Poitiers as Diana; r., by the window keys
of various periods.

3rd Room: 558. Press from a sacristy, 15th cent.; 588. Press,
17th cent.; 590. Another. Then a room containing a number of
sumptuous carriages and sledges; on the walls ecclesiastical vestments,
of which the most interesting is No. 2422. Remnants of
episcopal robes and crozier of the 12th cent., found at Bayonne
in 1853; then ancient weapons, carved ivory, missals, musical
instruments, stained glass, ancient pictures, specimens of early
printing etc.

The stair leads first to a corridor with weapons, with some of
which interesting reminiscences are connected, as the labels
indicate.

To the r. are two rooms containing articles in fayence from
Italy, Spain, Germany etc.

In the room opposite: 541. State-bed of the time of Francis I.;
then miniatures etc.

Next a room containing the bust of M. Du Sommerard. Also
No. 1744. Chess-board of rock-crystal, formerly the property of
the crown, "que le vieil de la Montagne (Old Man of the Mountain),
prince des Béduens, envoya à St. Louis," as the chronicle
records; chimney-pieces; goblets. No. 1399. Portrait of Francis I.
No. 1009. A miniature enamelled altar, bearing the name and
titles of Henry II. and Catharine de Médicis, dating from the
16th cent. No. 1743. Two lion's heads of rock-crystal, found
together with the figure No. 384 in a tomb near the Rhine,
dating from the 3rd or 4th cent. No. 399. Casket for relics in carved
ivory, with figures of 42 saints, of the 12th cent. Nos. 404, 419. Similar
objects of the 14th cent. No. 610. Cupboard, sumptuously
decorated with mosaics and precious stones, executed at Florence
in the 17th cent.

In the following room: Nos. 1000—1008. Figures of gods and other
personages, in enamelled copper, destined to adorn the cháteau
Madrid erected for Francis l. in the Bois de Boulogne; the enamelled
plates are said to be the largest in existence (3 ft. broad,
5 high). No. 324. Sixty diminutive wooden figures, representing
the kings of France from Clovis to Louis XIII. (d. 1643), carved
during the reign of the latter monarch.

The room before the last contains a number of very interesting
objects in gold: l. No. *1329. Episcopal crozier, richly gilded and
decorated with precious stones, pearls and light miniature shrines,
of which that in the centre contains a fragment of the "True Cross";
3123. Golden Rose of Bâle, presented by Clement V. to the
Archbischop of B˙le; *3122. Altarpiece, 3 ft. in height and 5 ft.
in width, of embossed gold, presented by the emperor Henry II.

(d. 1024) to the cathedral of Bâle, and purchased, together with
the Rose, of the canton of B˙le-campagne in 1830.

*Nos. 3113—21. Nine Crowns of Gothic Kings of Spain, found
near Toledo, one of which bears the name of king Recesvinthus
(649—672), decorated with pearls, sapphires and other jewels.
These highly interesting relics are preserved in the glass case in
the centre.

3138. Vessel with Charles V., surrounded by the dignitaries
of his court, musicians and sailors, in gilded bronze, the emperor
of pure gold; the whole is moveable, mechanism of the 16th cent.;
3668. and 3669. Russian figures of saints, brought as trophies
from Bomarsund in 1854; 3674. Jaw-bone of Molière.

The last room contains specimens of French fayence.

From the 1st Room the visitor proceeds to the l. to the
Chambre de la Reine Blanche, containing a variety of musical
instruments, then to the sumptuous *Palace Chapel, which during
the revolution served as an assembly-hall, subsequently as a
dissecting-room, and finally as a printing-office.

The egress leads through the back-court to the lofty, vaulted
hall which constitutes the only perfect remnant of the Roman
Baths (Thermes). The columns are in different places adorned
with the figure of the prow of a vessel, which formed a prominent
portion of the arms of the ancient Lutetia Parisiorum, and
is still conspicuous in the arms of modern Paris. The fact that
this one hall, which was the Frigidarium, or apartment for cold
baths, is 60 ft. in length, 36 ft. in breadth, and 55 ft. in height,
may serve to convey some idea of the vast extent of the ancient
Roman palace. These baths and the curiosities they contain, the
sole relics of the Roman period in Paris, are of little interest to
the non-professional visitor; l. 2692. Statue of Julian, who was
here proclaimed Emperor.

The Garden contains a number of interesting mediæval
architectural fragments, many of them rescued from edifices demolished
in the course of the metropolitan improvements.

No. 3732. Cross from the Church of St. Vladimir at Sebastopol,
presented by Marshal Pélissier (Duke of Malakoff).

Ascending the street towards the S. the stranger will soon
arrive at the Sorbonne, or buildings of the university of Paris,
erected about the middle of the 17th cent. The three faculties
of theology (Rom. Cath.), science and literature have their seat
here. The lectures are open to the public.

The Sorbonne, originally a theological college only, was founded
in 1250 by Robert de Sorbon, the confessor of Louis IX., and
during the middle ages enjoyed the highest reputation. It not
unfrequently even opposed the authority of the Pope, as, for
example, when it rejected the "Unigenitus" bull. Subsequently
it became the opponent of the Jesuits, as well as of the school

of philosophy of the 18th cent., whose sarcasms were usually
levelled at the Sorbonne.

The medical and legal faculties possess buildings of their
own, the École de Médecine in the street of the same name,
near the Hôtel de Cluny, and the École de Droit, Place du
Panthéon 8.

21. Pantheon.

Library of Ste. Geneviève.

The Church of Sainte Genevièeve, or *Pantheon, as it is more
usually termed, which occupies the most elevated situation in
Paris, stands on the site of an ancient church erected in honour
of Ste. Geneviève, who was interred here in 512. The present
edifice was designed by Soufflot, and the foundation-stone laid
by Louis XV. in 1764.

The new structure was also dedicated to Ste. Geneviève, the
protectress of the city of Paris. The Convention, however, in
1791 determined that it should be converted into a species of
temple, and gave it the name of "Pantheon", dedicated: "Aux
grands hommes la patrie reconnaissante", as the inscription on
the frieze still records. The inscription was erased in 1822,
but was renewed in 1830 after the July revolution, and still
retains its place notwithstanding the decree of Dec. 6th, 1851,
by which the edifice has been restored to its sacred use under
its original appellation of "Église Ste. Geneviève". For upwards
of 60 years the "Pantheon" has been a source of discord between
church and state, and has experienced vicissitudes from
which for the present at least it appears to enjoy a respite.

Although cruciform in shape, this magnificent structure hardly
possesses an ecclesiastical character. The form is nearly that of
a Greek cross, 350 ft. in length and 260 ft. in breadth, surmounted
by a majestic dome (2 4 ft. in height), terminating in
a lantern and surrounded by a gallery and balustrade. The portico,
which is approached by a flight of 11 steps, occupying
the entire breadth of the edifice, is supported by a triple row
of handsome Corinthian columns, 60 ft. in height.

The Pediment above the portico, 127 ft. in length and 22 ft.
in height, contains a fine *group in high relief by David d'Angers.
The principal figure, 15 ft. in height, represents France
in the act of distributing garlands to her sons; to the l., under
the protection of Liberty, several illustrious civilians are represented:
Malesherbes (p. 95), Mirabeau (p. 170), Monge (p. 116)
and Fénélon; then Manuel, Carnot, the celebrated general of
engineers and leader of the wars of the first revolution, Berthollet,
the chemist, and Laplace, the mathematician. A second
row consists of the artist David, Cuvier, Lafayette, Voltaire,

Rousseau and the physician Bichat. To the r., beside a figure
emblematic of History, are soldiers of the republic and of the
empire: among them Bonaparte as leader of the Italian army;
behind him an old grenadier leaning on his musket, sternly emblematic
of Service.

In front of the entrance are two groups in sandstone by
Maindron, representing Ste. Geneviève inducing Attila, the chieftain
of the Huns, to abstain from devastating Paris, and the
baptism of the Franconian king Clovis by St. Remigius.

The interior consists of a spacious rotunda, flanked by a
gallery supported by Corinthian columns. The names of those
who fell in the revolution of 1830 were formerly engraved on
the pillars in gilded letters, but are now concealed by the new
wainscoting. The nave and transepts are adorned with copies of
eight of the frescoes in the Vatican by Raphael and Michel Angelo.

The staircase (328 steps) leading to the Dome is to the left,
by the side-altar. Admission 20 c.; parties limited to a certain
number. The visitor will here have an opportunity of inspecting
the painting of the dome by Gros, executed in 1 24, for which the
artist received a remuneration of 100,000 fr. This fine composition,
which covers a superficies of 32 6 sq. ft, represents Ste. Geneviève
receiving homage from Clovis, the first Christian monarch
of France, Charlemagne, St. Louis and Louis XVIII. In the
heavenly regions above are represented Louis XVI., Marie Antoinette,
Louis XVII. and Madame Elisabeth, the "martyrs of
the revolution".

A farther ascent of 94 steps leads to the gallery, which commands
a magnificent and extensive view, but less picturesque
than the prospect from the Tour St. Jacques or that commanded
by Notre Dame, as from this point the course of the Seine and the
bridges are not visible.

The entrance to the Vaults (Caveaux) is behind the high altar.
Admission 2 fr. for one or more persons; a solitary visitor therefore
usually waits till a party is made up and pays his share
of the fee; parties are most frequently formed between 3 and
4 p. m. Mirabeau was the first whose remains were deposited here,
April 5th, 1791. Near him was placed Marat, the most furious
of the Jacobins, who fell July 13th, 1793, by the hand of Charlotte
Corday. Subsequently, however, both the bodies were removed
by order of the Convention; Mirabeau was reinterred in
the cemetery of Père Lachaise, whilst the remains of Marat were
ignominiously cast into the sewers of the Rue Montmartre, near
the Passage du Saumon of the present day.

About the same period "monuments" were here erected to
Voltaire and Rousseau; the former, "aux manes de Voltaire",
bears the inscription: "Poöte, historien, philosophe, il agrandit
l'esprit humain et lui apprit, qu'il devait être libre. Il défendit

Calas, Sirven, de la Barre et Montbailly; combattit les athées et
les fanatiques; il inspira la tolérance; il réclama les droits de
l'homme contre la servitude de la féodalité." The sarcophagus of
Rousseau bears the inscription: "Ici repose l'homme de la nature
et de la vérité"; issuing from it is represented a hand with a
burning torch, a somewhat inappropriate emblem of the "light"
which the great philosopher diffused around him. Both these
tombs are, however, empty, the remains of the two philosophers
having been secretly removed after the Restoration and interred
in some unknown spot.

Napoleon I. also caused several of the most eminent men of
his time to be interred here; among others may be mentioned
Lagrange, the mathematician, Bougainville, the circumnavigator,
Marshal Lannes and a number of senators.

In the centre of these vaults a remarkably loud echo may
be awakened by the faintest sound. — A model of the edifice
in plaster of Paris is also shown.

The Pantheon was one of the headquarters of the insurgents
in June, 1848, and was obstinately defended during two days
against the attacks of the troops and the National Guard. The barricades
in the vicinity were, however, soon demolished by the
cannonade, and the insurgents compelled to yield.

Opposite to the portico is situated the Mairie du 5e Arrondissement,
erected in 1849, and on the other side the Ecole de
Droit, the seat of the legal faculty of the university (p. 138), the
latter erected by Soufflot, the architect of the Pantheon. The
lectures are public. Vacation in September and October.

On the N. side is situated the spacious edifice, erected by
Labrouste and completed in 1850, which contains the Library
of Ste. Geneviève. On the walls are inscribed a long series of
names of eminent literary men of all nations. In the medallions
the monogram S. G. (Ste. Geneviève) frequently recurs.

The vestibule is adorned with busts of St. Bernard, Montaigne,
Pascal, Molière, Lafontaine, Bossuet, Massillon, Voltaire, Buffon,
Laplace, Cuvier, Mirabeau, Rousseau, Montesquieu, Fénélon,
Racine, Corneille, Poussin, Descartes, L'Hopital.

The inscription over the staircase is as follows: Bibliothèque
Sainte Geneviáve fondée par les Génovéfains en 1624, devenue
propriété nationale en 1790, transférée de l'ancienne abbaye dans
cet ?di ice en 1850. The wall of the staircase is adorned with a
copy (by Blaze) of the School of Athens in the Vatican by Raphael,
and medallions in fresco emblematic of Poetry, Theology,
Philosophy and Justice. The upper *Library Hall, the finest
saloon of this description in Paris, in which iron is admirably
adapted to architectural purposes, is upwards of 300 ft. in length,
60 ft. in breadth and 40 ft. in height. The double arched roof
is supported by a series of graceful iron columns resting on stone

basements, between which and along the walls the bookcases are
arranged. Long rows of tables, capable of accommodating 420 persons,
are placed here for the convenience of readers. The library
is open to the public from 10 till 3 o'clock, for students from
6 to 10 p. m.

The collection of books, which are judiciously arranged in
the upper, as well as in the lower apartments, was originated
by Cardinal La Rochefoucauld in 1624, and now consists of upwards
of 200,000 printed books and 7000 MSS. Among the former
are a considerable number of "incunabulæ", or specimens of the
earliest period of printing, when the art was still in its infancy
("in cunabulis"), and a valuable series of periodicals from the
17th cent. to the period of the empire. — Vacation from Sept.
1st to Oct. 15th.

St. Etienne du Mont, the handsome, late-Gothic church in the
vicinity, with a portico in the Renaissance style, see p. 163.

22. Jardin des Plantes.

The horticultural portion is open daily from daybreak to dusk,
the zoological (Ménagerie) from 11 to 5 (Sundays till 6) o'clock
between March 1st and Oct. 31st, from 11 to 4 during the remainder
of the year (sometimes, however, closed in winter and
in unfavourable weather).

Admission (1—4 o'clock) to the interior of the rooms in
which the animaux féroces, the snakes and apes are kept, may
be obtained on application to the Administration, Rue Cuvier 57,
or to one of the professors. Permission must be obtained in the
same manner to see the animals fed (2—3 o'clock, according to
the season).

The Museum of Natural History (comprising zoological, botanical,
geological, mineralogical and anatomical collections) is
open to the public on Tuesdays and Thursdays from 2 to 5, on
Sundays from 1 to 5, in winter till 4 o'clock; strangers are admitted
on Tuesdays, Thursdays and Saturdays from 11 to 2 by
ticket, obtained at the Administration.

The Hothouses (Serres) are accessible on Mondays, Wednesdays
and Thursdays from 10 to 2 and from 3 to 6 o'clock to
those provided with a card of admission, to be obtained from
the professor of botany[1]

The visitor is recommended to enter the Jardin des Plantes
by the N.W. gate in order to obtain a general view of the garden

from the Gloriette (p. 143), whence he should proceed to inspect
the various collections, reserving his walk through the garden
for the hour when these are closed (see above). One day will
probably suffice for a superficial inspection of the gardens but
anything approaching to an acquaintance with the objects of
interest in the museum can only be acquired by repeated visits.

In the vicinity of the botanical gallery is a Café, in front
of which stands the oldest acacia in Europe, having been planted
by Robin, gardener of Louis XIII., the first introducer of the
tree (Robinia Pseudacacia).

The **Jardin des Plantes, situated on the S.E. side of Paris,
extends from E. to W., from the Pont d'Austerlitz (which after
the entrance of the Allies into Paris received the name of Pont
du Roi and is inscribed with the names of the officers who fell
at Austerlitz) to the Rue Geoffroy St. Hilaire, a distance of nearly
700 yds.; its greatest breadth, near the E. extremity, is about
400 yds. Almost everything connected with natural science which
Paris contains appears to be here concentrated: living plants and
animals, rare collections, laboratories, library etc. The lectures, to
which the public have gratuitous access, are delivered in the Amphitheatre,
a saloon capable of containing 1200 persons. At the entrances
to the garden and at the doors of the amphitheatre lists of the lectures
are usually posted up; they comprise zoology, physiology, anatomy,
chemistry, physical science, mineralogy, geology and botany, and
are given by a staff of about 15 professors. Scientific men of
European celebrity have received their education here; among
others may be mentioned the eminent botanists de Jussieu (Bernard
d. 1776, Laurent d. 1836, Adrien d. 1853), the mineralogists
Daubenton (d. 1799) and Hauy (d. 1822), and the zoologists
Buffon (d. 1788), Lacépède (d. 1826), Cuvier (d. 1832)
and Geoffroy St. Hilaire (d. 1844).

The project of laying out the Jardin des Plantes was first
formed in 1626, and steps for putting it into execution were
taken by Guy de Labrosse about 1635. In 1732 the celebrated
Buffon became director of the gardens, and was the originator
of all the collections of the present day. He died here in July
1788, whilst in the zenith of his reputation.

His successor was Bernardin de St. Pierre, under whose auspices
(1794) the animals preserved in the menageries of Versailles
and Raincy were transferred to the "Jardin du Roi", as this
garden was at that time termed.

Under Napoleon I., who strongly favoured the progress of
natural science, the collections were considerably enlarged.

In 1805 Humboldt presented a collection of 4500 tropical
plants, brought by him from America, 3000 of which belonged
to species hitherto unknown. To his intercession the garden was
indebted for its preservation from injury on the entrance into

Jardin des Plantes

Paris of the allied troops in 1814. It is now more correctly
termed the "Museum d'Histoire Naturelle", although its original
appellation is still more commonly employed.

Opposite to the N.W. entrance, at the corner of the Rue
St. Victor and the Rue Cuvier, stands the Fontaine Cuvier,
erected during the reign of Louis Philippe. The figure in a
sitting posture, with the inscription "rerum cognoscere causas",
as well as the figures of animals, indicate the object which the
natural sciences have in view.

Entering the gardens by this gate, the visitor ascends by the
tortuous paths of the Labyrinth to the "Gloriette", a pavilion
erected on the summit of a slight eminence which was once a
heap of rubbish thrown here by the inhabitants of the Quartier
St. Victor. On one of the pillars, under the sun-dial, is the
inscription: "Horas non numero nisi serenas". (I count none but
the bright hours.) The view from this point comprises a large
portion of the city and its environs in the direction of Montmartre,
Vincennes and Sceaux.

On the E. slope of the eminence is a magnificent cedar of
Lebanon, the first seen in France, presented in 1734 by Dr.
Collinson, an English physician, and planted here the following
year by the elder de Jussieu. It now measures upwards of 11 ft.
in circumference, and is still in a thriving condition. At the foot
of the slope is a monument to the memory of Daubenton (d. 1799),
a scientific man of high reputation, and superintendent of the
collections of the Jardin des Plantes.

In the vicinity is situated the Administration, or manager's
office, where, on exhibiting a passport (or visiting-card), strangers
are provided with cards of admission (p. 141).

The Zoological Museum (Galerie de Zoologie), adjoining
the labyrinth to the S., is nearly 400 ft. in length, with the
entrance in the centre. The Ground-Floor contains (in the corridor
to the l.) an extensive collection of zoophytes etc.; also
stuffed animals, such as elephants, rhinoceroses and hippopotami.
On the staircase to the first floor, a collection of fishes.

First Floor. 1st Room: fishes, tortoises; 2nd: snakes, lizards,
crocodiles; 3rd: crabs, lobsters etc.; 4th: apes; 5th: shells, sponges,
zoophytes, coral, ammonites, belemnites, numerous species of
oysters; 6th: birds' eggs and nests, in the centre of the room
a fine statue in marble by Dupaty, "alma parens rerum".

The visitor proceeds hence to the Second Floor; on the staircase
a collection of fish; 1st Room: bears, foxes, weasels, kangaroos;
2nd: lions, tigers, cats, bears, rats, mice, hares, rabbits,
snails, insects' nests; 3rd: birds, butterflies; 4th: the large mammiferous
animals, giraffes, camels, buffaloes, reindeer, stags.

The building which contains the Library, and the Geological,
Mineralogical and Botanical Collections, is 550 ft. in length and
consists of a basement story only.

The vestibule of the Geological Department contains
a large fresco recently executed, representing scenes from the
Arctic regions. The E. and W sides of the hall are also adorned
with paintings: W., the limestone cliffs of the Fletschberg and
the fall of the Staubbach near Lauterbrunnen, alluvial land formed
by the Aare between Meiringen and Brienz; E., the Rosenlaui
Glacier in the Bernese Oberland, the eruption of Mount Vesuvius
in 1822, the volcanic islands of Stromboli, basaltic lava near the
waterfall of Quereil in the Department of Puy de Dôme. In the
centre of the hall a statue of Cuvier in marble, by David d'Angers.
This collection is admirably arranged and affords every
facility to visitors who desire to examine it minutely, some of
the specimens being arranged geologically, others chemically,
others according to their uses in domestic economy. To give a
detailed description of these would, however, be beyond the scope
of the present volume.

At the entrance to the Botanical Department stands a
statue of Adrien de Jussieu, by Héral. Non-professional visitors
will find this collection similar and in some respects inferior to
that at Kew: specimens of wood, bark, roots, models of fruit,
fossil plants etc. The following objects of interest deserve special
mention: models in wax of fungi, executed by Pinson, presented
to Charles X. by the emperor of Austria and valued at 1000 L.;
huge trunks of palm-trees; a large round table formed of a solid
slab of the wood of the Baobab tree.

The Library, consisting of works on natural history and
comprising a valuable collection of MSS. and original drawings,
is situated in the S.W. wing of the building above mentioned.

The Cabinet of Comparative Anatomy, situated on
the N. side of the garden, resembles other collections of the same
description: human and other skeletons, anatomical sections of
animals, casts of the heads of criminals, as well as of eminent
musicians, authors etc.

The Zoological Garden (Ménagerie) is the most frequented
portion of the entire establishment. An idea of its arrangements
will be best formed by consulting the annexed plan. The pentagonal
building in the centre (Rotonde des grands animaux) contains
the large vegetable-feeders: elephants, giraffes, hippopotami
etc.; in the long building on the W. side are kept the beasts
of prey (animaux féroces): lions, tigers, hyenas, wolves etc. The
interior arrangements of the different cages and pavilions can only
be inspected by special permission (p. 141), or in some cases by
a trifling fee to the attendant.

The large semicircular Palais des Singes ("palace of monkeys")
is a constant source of attraction to spectators. The same may
be said of the

Bears' Den (Fosse aux ours), "Martin" (named after his predecessor
brought from Bern) being frequently called upon to exhibit
his uncouth gambols. Some years ago one of the keepers ventured
to descend into the den during the night for the purpose of
recovering a coin which had accidentally fallen in. The bear
immediately attacked the intruder, and the unfortunate man paid
for his temerity with his life.

The confined space in front of the Elephant's Cage is always
crowded, its inmate being an unfailing source of amusement.

Birds and Snakes, Crocodiles, Chameleons and Tortoises are
kept in cages and sheds on the N. side of the garden.

The Botanic Garden is intersected by three beautiful avenues
of lime and chestnut-trees, and perfumed with the fragrance
of the choicest flowers, which render it one of the most delightful
promenades in Paris. — Kitchen-herbs are denoted by green
labels, medical plants by red, poisonous plants by black, those
employed in dyeing by blue, and ornamental plants by yellow.

The Nursery of Forest-trees occupies the S.E. side of the garden.

23. The Gobelins.

The "Manufactures Impériales de tapisseries des Gobelins et de
tapis de la Savonnerie", Rue Mouffetard 254, is accessible to
strangers on Wednesdays and Saturdays, from 2 to 4 o'clock in
summer and from 1 to 3 in winter: admission is obtained
gratuitously on presenting a passport or visiting-card, or by tickets
procured from the administrator (M. l'administrateur de la manufacture
impériale des Gobelins).

The Gobelins is situated about 2 M. from the Louvre and
may be conveniently visited on the same day as the Pantheon,
1 M. distant, or the Jardin des Plantes, ½ M. distant.

At the S.E. extremity of Paris, on the l. bank of the Seine,
the brook la Bièvre skirts the city and falls into the Seine above
the Pont d'Austerlitz. During several centuries its water has
been considered peculiarly adapted for dyeing purposes. In 1450
Jean Gobelin erected a dyeing establishment on its banks, which
was combined by his successors with a manufactory of tapestry.

These manufacturers had acquired such a high reputation
about the middle of the 17th cent., that Colbert, the minister of
Louis XIV., a warm promoter of industrial enterprise, caused
the establishment to be purchased and carried on at the expense
of government.

After the lapse of years, however, the manufactory was found
to yield profits totally inadequate to the expense of its maintenance.

It was therefore converted into and still continues to be
an establishment which supplies the family of the reigning monarch
with the choicest fabrics which art can produce. Its manufactures
are also presented as gifts to foreign courts, personages
of high rank, ambassadors etc.

The same remarks apply to the Savonnerie, a carpet manufactory
founded in 1604 by Marie de Médicis, which derived its
appellation from having been originally established in a soap
manufactory, but was in 1826 transferred to the same building
as the Gobelins.

About 150 workmen are employed in these establishments,
each of whom receives 1000—3000 fr. per annum. These are
of course all intelligent men of a superior class, and style themselves
"artistes-ouvriers".

The work requires the utmost patience and the most practised
eye. An area of 6 sq. inches is the average daily task of each
workman. The visitor will, therefore, hardly be surprised to learn
that many years are sometimes requisite for the execution of
the larger designs, which when complete are worth 2000—6000 L.

There is of course here little scope for originality, the object
of the work being simply the accurate imitation of paintings and
other designs. The perfection, however, to which the art has
attained is truly astonishing, and its results may be not inaptly
compared to literary works translated from some foreign language
by a masterly hand.

The exhibition-rooms are so limited in size that the designs
exposed to view are frequently removed to make way for the
newer works. In January, 1867, the following designs, about
100 in number, were exhibited. (The name in Italics are those
of the artists from whose pictures the designs have been copied.)

1. The School of Athens, Raphael; 2. and 3. Parnassus, in
fragments, Raphael; 4. Triumph of Bacchus, Raphael and Noöl
Coypel; 5.—8. Arabesques; 9. The family of Darius at Alexander's
feet, Lebrun; 10. Entrance into Babylon of Alexander the Great;
11, 12. Curtains; 13.—16. Animals; 17. Saturn, Boulongne;
18. Juno, Boulongne; 19. Portrait of the painter Boucher;
20. Neptune, Boulongne; 21. Coats of arms; 22. The Seine;
23. Song; 24. Apollo; 25. Madonna, Maratte; 26. Horse torn to
pieces by wolves, Snyders; 27. Venus in the work-shop of
Vulcan; 28. Silenus; 29. Peace; 30. Rinaldo and Armide; 31.
Clytia metamorphosed by Apollo into a flower; 32. Rape of
Proserpine, Vien; 33. Triumph of Amphitrite; 34. Hector's farewell,
Vien; 35. Contest of Mars and Diomede, Le Doyen; 36.
Meleager surrounded by his family entreating him to take up arms
against the approaching enemy, Menageot; 37. Napoleon in the
plague-hospital at Jaffa, Gros; 38. Bonaparte pardoning the rebels
at Cairo, Guérin; 39. Napoleon restoring his arms to the commandant

of Alexandria, Mulard; 40. Napoleon issuing commands
on the morning of the battle of Austerlitz, Horace Vernet; 41.
The surrender of Vienna, Girodet-Trioson; 42. French soldiers
finding their flags in the arsenal in Innspruck, Meynier; 43.
Napoleon and the Princess Hatzfeld, Boisfremont; 44. Napoleon
receiving the Persian ambassador, Mulard; 45. Portrait of the
empress Josephine, Lethière; 46. Napoleon and Alexander on the
Niemen, Gautherot; 47. Napoleon and the Queen of Prussia at
Tilsit, Berton; 48. Napoleon presenting a Russian soldier with
the cross of the legion of honour, Debret; 49. The imperial arms;
50. The Italian arms; 57. Boreas carrying off Orithia, from the
marble group in the Jardin des Tuileries; 52. Louis XVIII., Gérard;
53. The dauphin, Lawrence: 54. Zeuxis seeking among the fairest
of the women of Greece for a model for his Juno Lucina, Vincent;
55. Louis XVI.; 56. The same; 57. Chelonis following Cleombrotus
into exile, Lemonnier; 58. Marie Antoinette and her children,
Madame Lebrun; 59. Sylvia rescued from a monster by Amyntas,
Boucher; 60. Filial love, Guérin; 61. Phædra and Hippolytus,
Guérin; 62. Pyrrhus protecting Andromache, Guérin; 63. Peter
the Great on the lake of Ladoga, Steuben; 64. Conspiracy of the
Strelitzes, Steuben; 65. Joan of Arc, Blondel; 66. Ste. Clotilde,
Guérin; 67. Joseph and his brethren, Coypel; 68. Paul preaching
at Athens; 69. Paul and Barnabas refuse to receive sacrifice,
Raphael; 70. The wolf and the lamb; 71. The two dogs; 72. Spring,
Steinheil; 73. Autumn, the same; 74. Incremation of the body
of Phocion, Meynier; 75. Foundation of the museum at Versailles,
Alaux and Couder; 76. The Louvre and Tuileries; 77. Venus,
Juno and Ceres, from pictures in the Villa Farnese by Raphael;
78. Psyche's return from the infernal regions, Raphael; 79. Jupiter
and Cupid, Raphael; 80. Assembly of the gods; 81. Ch. Lebrun,
Couder; 82. Portrait of Charles Lebrun the painter, Largillière;
83. Colbert, Lefebvre; 84. Christ in the sepulchre, Champaigne;
85. Louis XIV., Rigaud; 86. The Transfiguration, Raphael;
87. Assumption of the Virgin, Titian; 88. 89. Napoleon III.
and the Empress Eugénie; 90—94. Flowers and animals; 95. Madonna,
Raphael; 96. Jupiter under the form of Diana at the feet
of the nymph Calisto, Boucher; 97. Venus, Boucher. Among the
copies in process of execution are: 98. Madonna, Raphael, begun
in 1859; 100. The Gosspi, Boucher, begun in 1860; 108. Muses,
Lesueur.

The buildings in which the manufactory is established, as
well as their situation, are far from attractive. The long Rue
Mouffetard is inhabited by the poorest classes only and is the
head-quarters of rag-collectors (chiffonniers).

In the same street is situated the church of St. Médard, containing
the "wonder-working" shrine of a certain Abbé Paris, to

which in 1732 Louis XV. forbade pilgrimages to be made. This
gave rise to the witticism:

24. Hôtel des Monnaies.

One half of the space on the Quai Conti, between the Pont
Neuf and the Pont des Arts, is occupied by the extensive buildings
(completed in 1755) of the Mint, which are upwards of
120 yds. in length. The exhibition-rooms are open to the public
on Tuesdays and Fridays from 12 to 3 o'clock; the mint itself,
the work-rooms, laboratories etc. are accessible on the same
days at the same hours by special permission of the director,
for which application should be made to "Monsieur le Président
de la Commission des Monnaies et des Médailles, à l'Hôtel des
Monnaies". (Comp. form given at p. 141.)

The staircase to the r. in the vestibule ascends to the exhibition-rooms.
Beginning on the left hand side in the principal
room, the visitor will perceive an interesting collection of medals,
arranged chronologically, from the time of Charlemagne down to the
present day. Those of the reign of Louis XIV. and Louis Philippe
are especially numerous; the first case by the window also contains
medals of Luther, Bucer, Melancthon and Ignatius Loyola.

To the r. are exhibited coins of various states. The last case
contains the most ancient, those of the Merovingian period.

The three cases by the window to the r. contain a series of
smaller medals (jetons particuliers).

The following rooms contain models of dies, a collection of
medals of the period of the consulate and the empire, and others
in commemoration of the German campaigns of 1805—1807. A
model of the Vendôme Column, which is placed here, with the
statue of the emperor in his coronation robes, affords the visitor
a better opportunity of examining the relief and other details
than the original itself. Here too is a bust of Napoleon I. by
Canova, executed in 1806, and a cast of the emperor's face taken
20 hours after death.

The upper apartments contain a collection of old dies, royal
seals and other objects of little interest.

The Laboratoire and Ateliers, with their steam-engines, furnaces
and machinery, are well worth visiting. The coining-machines,
the invention of M. Thonnelier, are highly ingenious. — In the
same establishment are performed all the operations of assaying
and stamping the gold and silver wares of the jewellers, as well
as the coinage of private medals and counters, an especial privilege
of the Parisian mint.

Pont Neuf, see p. 98.

25. Institut de France.

This singular looking edifice is situated on the Quai Conti
on the l. bank of the Seine, at the S. extremity of the Pont des
Arts and opposite to the Louvre. It has two lateral projecting
pavilions with arcades and is surmounted by a dome; the approach
is adorned with a fountain and two figures of lions. The institution
was originally founded by Cardinal Mazarin for the education
of youths from the newly acquired provinces of Roussillon, Pignerol,
Flanders and Alsace. It was erected in the latter half of
the 17th cent. and occupies the site of the Tour de Nesle, the
traditional scene of many a dark tragedy.

Though originally called the Collége Mazarine, it was popularly
known as the Collége des Quatre Nations. During the revolution
it was converted into a prison, but was in 1795 ceded by the
Convention to the Académies, or societies of savants, who had
hitherto held their sessions in the Louvre, and its appellation
changed.

The Institut de France consists of five departments:

1. The Académie Française, the principal labour of which is
the supervision of the French language and its orthography and
the publication of the Dictionnaire de l'Académie. The annual
session takes place on the first Thursday in May, the weekly
meetings every Thursday at 3 o'clock

2. The Académie des Inscriptions et Belles Lettres is devoted
to the study of the ancient languages and to archæological research.
Annual session on the first Friday in July, weekly meetings
every Friday at 3 o'clock.

3. The Académie des Sciences (mathematics and natural science)
holds its meetings, to which the public are admitted, every
Monday at 3 o'clock; annual session on the last Monday in January.

4. The Académie des Beaux Arts (painting, sculpture, architecture,
musical composition) holds its annual session on the
first Saturday in October, its weekly meetings every Saturday
at 3 o'clock.

5. The Académie des Sciences Morales et Politiques (philosophy,
history, political economy) meets every Saturday at 12 o'clock;
annual session on the first Saturday in January.

The Institut numbers upwards of 200 members, whose complement
is replenished by election when necessary. Each member
receives an annual sum of 1500 fr. The title of "Membre de
l'Institut" is the object of the highest aspirations of every literary
and scientific Frenchman.

Strangers, and especially the learned, will therefore find a
visit to some of these meetings of the highest interest. They
will here in the Palais de l'Institut have an admirable opportunity
of hearing discussions in which the most eminent French

savants take part. The grand session of the five departments
combined is held on Aug. 15th (Napoleon's Day) in what was
formerly the church, when the annual distribution of prizes takes
place. By a decree of April, 1855, the period of the annual
session of each academy separately is determined by the minister
of instruction.

Strangers obtain access to these meetings by addressing a
written application to the secretary of the department they desire
to visit[2] .

Strangers are not admitted to the valuable and admirably
arranged Library of the Institut unless accompanied by a member.
A second library, the Bibliothèque Mazarine (in the first court,
to the l. of the entrance), contains 120,000 vols., 50,000 MSS.
and many valuable antiquities and curiosities. Admission daily
from 10 to 3 o'clock. Vacation from Sept. 15th to Nov. 1st.

26. Ecole Impériale des Beaux Arts.

In the immediate vicinity of the Institut de France, on the
W. side, is situated the Ecole des Beaux Arts, entrance Rue
Bonaparte 14, accessible daily from 10 to 4 o'clock (fee 1 fr.); in
September on Wednesdays, Thursdays and Fridays only. The fine
arts taught here are divided into two sections, one for painting
and sculpture, the other for architecture. The edifice itself, completed
in 1838, is admirably adapted to the purpose for which
it was erected. It occupies the site of the former convent des
Petits Augustins, in which at the period of the first revolution
a large number of valuable monuments and relics of the middle
ages were collected by the indefatigable and praiseworthy exertions
of the painter M. Alex. Lenoir.

This Musée des Monuments Français, as it was termed, was
abolished by Louis XVIII. in 1816, and most of the monuments
restored to the churches and cemeteries from which they had
been removed.

A railing separates the first court of the Ecole des Beaux
Arts from the Rue Bonaparte. Here, as well as in the other

courts, all the fine architectural fragments which survived the
dissolution of the Musée des Monuments Français have been built
into the walls. Thus a kind of *museum has been formed, in
which a number of highly interesting relics of mediæval architecture
are preserved.

In the first open court to the r. the celebrated portal of the
Château d'Anet, which Henry II. caused to be erected in 1548, by
Jean Goujon and Philibert Delorme, for Diana of Poitiers, forms
the entrance to the Chapelle Sixtine. In the interior of the chapel
is a fine copy by Sigalon of Michel Angelo's Last Judgment,
occupying the whole of the wall at the end. The chapel derives
its name from this and copies of the other twelve great frescoes
by Michael Angelo in the Sixtine Chapel at Rome. It contains
a collection of casts of celebrated antiques, several works of
Michael Angelo etc. In a separate chamber there is a small
model of the colossal elephant with which Napoleon I. proposed
to adorn the Place de la Bastille.

In the court, adjacent to the portal, some fragments built
into the wall once belonged to the Hôtel de la Trémouille, which
formerly stood in the Rue des Bourdonnais, interesting relics of
a fine edifice of the 14th cent.

The first court is divided into two portions by the Arc de
Gaillon, or façade of a partly Gothic, partly Renaissance palace
of that name erected in 1500 by Cardinal d'Amboise, minister
of Louis XII. It was carefully transported hither and re-erected
by M. Lenoir.

The principal building, which bounds this court on the W. side,
upwards of 80 yds. in length, contains a number of statues, copies
from the antique, the work of young French students of art at
Rome, whither the most meritorious of the pupils of the Ecole
des Beaux Arts are sent at the expense of government to complete
their studies. Three rooms in the upper story contain
works of all the pupils who have since 1721 been selected to
be sent to Rome; in others are portraits of professors, and
models of ancient structures in plaster of Paris or cork: the
amphitheatres of Arles and Orange, the Colosseum, the Baths
of Augustus, the leaning tower of Pisa etc.

The amphitheatrical examination-hall, the most interesting
part of the establishment, contains a celebrated *picture by Paul
Delaroche (d. 1856), painted on the hemicycle of the wall. The
greater number of the 75 figures represent celebrated artists of
all ages and nations, slightly in excess of life-size. On a lofty
throne in the centre, as representatives of the three arts, the
three great Greek masters, Phidias the sculptor, Iktinos, the
architect of the Parthenon, and Apelles the painter. Four
female figures in front of these represent Greek and Gothic (l.).
Roman and Renaissance (r.) art. The Muse of Gothic art with

long fair hair is a portrait of the artist's wife, a daughter of
Horace Vernet. — A large and admirably executed engraving
from this picture may be obtained at the magazine of Goupil
et Comp., Boulevard Montmartre 19, the épreuves d'artiste at 600 fr.,
épreuves avec la lettre 150 fr.

27. Palais du Corps Législatif.

The Place de la Concorde is connected with the l. bank of
the Seine by a bridge of the same name, opposite to which is
situated the posterior façade of the Palais du Corps Législatif,
an edifice in the style of a Greek temple, adorned with allegorical
statues and reliefs. In front of the principal façade in the Rue
de l'Université is a marble statue by Feuchères representing Law,
erected in 1855 by a minister of the Emperor. The palace,
formerly Palais Bourbon, was commenced by Girardini in 1722
for the dowager Duchess of Bourbon and continued by Mansard.
The Prince of Condé expended 20 million fr. on the edifice.
In 1795 the Council of the Five Hundred held their sessions
here, and subsequently the Chamber of Deputies, whose president
resides in the palace. Access daily (gratuity of 1 fr. or more),
except during the session. In order to obtain permission to visit
the gallery (see below) application must be made to the president,
either by prepaid (10 c.) letter, or by a verbal request accompanied
by a visiting-card.

The principal saloons in the palace (entrance from the river)
are: the Salle de la Paix, with ceiling painted by Horace Vernet
and several copies of antiques; Salle du Trône, now disused,
as the Chambers are now opened at the Louvre (p. —); in the
Salle Casimir Périer the statues of Mirabeau and Bailly, the
well-known mayor of Paris in 1786, by Jaley, C. Périer by Duret,
and General Foy by Desprez; in the Salle des Conférences, decorated
by Heim, a Mazeppa by H. Vernet. The Assembly Hall, decorated
with allegorical statues, has retained its original form. Here, on
Feb. 24th, 1848, the Duchess of Orleans with her two sons, the
Count of Paris and the Duke of Chartres, appeared before the
National Assembly in order to endeavour to secure the throne
for them. On May 15th of the same year the National Assembly
was expelled hence by the Socialists, and order restored by
the National Guard. Since 1863 the number of deputies has
been 283 (under the July kingdom 459). A limited number
only of cards of admission to the sittings is issued; application
should be made in writing to the president or to the ambassador
of the traveller's nationality.

The Galerie du Corps Législatif (entered from the W. portal
in the Rue de l'Université) contains about 50 modern pictures,
among which are several of great merit.

At the entrance marble statues: 51. Arethusa, Durand, 1865;
52. Bathsheba, Ottin, 1864; at the opposite extremity: 49. Mercury,
Chapu, 1863; 50. First Attempt, Delorme, 1863.

Pictures: r. 44. Charge of the artillery-guards at Tractir in
the Crimea (Aug. 16th, 1855), Schreyer, 1865; r. 28. Two Italian
Abbés playing at chess, Leleux, 1864; r. *42. Charlotte Corday
arrested and protected after the murder of Marat (July 23rd, 1793),
Henri Scheffer, 1831; l. 7. Sheepfold, Brendel, 1863; l. 5. Winter
Scene, Bodmer, 1850; l. 30. St. Lucia at Naples, Bodmer, 1837;
r. 20. Portrait, Hersent, 1819; r. *46. Oxen going to work, Troyon,
1855; r. 12. Hide and Seek, Duverger, 1864; r. 39. Scene from the
Night of St. Bartholomew, R. Fleury, 1833; r. 21. Joan of Arc, Ingres
(d. 1867); l. 27. Gathering carnations in Picardy, Laugée, 1860;
l. 16. "Long live the 34!" Gros-Claude, 1835; l. 9. Evening,
Breton, 1861; l. *24. The Promenade, Knaus, 1855; r. 19. Scene
at a Mont de Piété, Heilbuth, 1861; r. *6. Hay Harvest, Rosa
Bonheur, 1855; r. 26. Pine Forest near Pisa, Lanoue, 1861; l. 31.
Palace and Town of Pau, Ouvrié, 1844; l. 22. Ebb-tide, Isabey,
1833; l. 47. Sea-piece, Wyld; r. 96. Louis XIV. imparting his
benediction to his grand-nephew, Hersent, 1824; r. 43. Cossack
horses in the snow, Schreyer, 1864.

In the following cabinet: Tambourine-player, A. Hesse; 36. Sea-piece,
Place, 1849; 32. Spring, Palizzi, 1852; 10. Dante and
Virgil on the shores of Tartarus, Curzon, 1857; 35. Louis XV.
visits the battle-field of Fontenoy, Philippoteaux, 1840; 1. Festival
at Genzano near Rome, Achenbach, 1865.

The other saloons are richly decorated, but contain nothing
of special interest.

Above the Pont de la Concorde, opposite the Palais de la
Légion d'Honneur, is situated the Pont de Solferino, constructed
in 1858—59, inscribed with the names of victories gained in
the Crimea.

28. Musée d'Artillerie.

Church of St. Thomas d'Aquin.

Since the year 1797 the Dépôt Central d'Artillerie has been
established in an edifice which was formerly a convent of the
Jacobins, adjoining the church of St. Thomas d'Aquin. The spacious
apartments of this extensive building contain work-shops, laboratories,
models, maps, plans etc., as well as a highly interesting
museum, connected with the artillery service. The last-named
department is open (gratuitously) to the public on Thursdays
from 12 to 4 o'clock. The custodians are usually discharged
non-commissioned officers.

The number of objects contained in the Musée d'Artillerie is
upwards of 4000, for the thorough examination of which a catalogue
(1 fr.) is indispensable.

In the passage of the basement-story, the former cloisters of
the ancient convent, is suspended the Chaîne du Danube, 590 ft.
in length and about 8000 lbs. in weight, which was employed by
the Turks during the siege of Vienna in 1683 for the purpose
of facilitating the passage of the Danube. It formed part of the
spoil brought from Vienna by the French in 1805; another similar
chain is preserved in the imperial armoury at Vienna. Of the
numerous old guns preserved on the ground-floor the finest are
two from Algiers, near the staircase leading to the upper stories.
Here, too, are exhibited 12 different species of breech-loader,
presented by M. Krupp.

A hall on the ground-floor contains a collection of weapons,
gun-barrels, projectiles, models of gun-carriages etc. from the
time of Louis XIV. down to the present day. Here, too, is preserved
one of the Russian torpedos which in 1854 and 1855 occasioned
considerable damage to the French and English fleets
before Cronstadt. In a glass case at the end of the hall are kept
the arms of the emperor of China, brought from Pekin in 1860;
adjacent to it, his saddle, Japanese and Mongolian weapons, and
other trophies of the Chinese campaign.

The upper floor consists of four galleries and the Salle des
Armures. The latter contains numerous specimens of armour,
most of them of the 15th and 16th centuries, coats of mail,
shields, helmets and weapons. Ancient weapons of stone and
other curious and valuable relics are preserved in glass cases.

The First Gallery contains guns and pistols with flint-locks,
cross-bows, inlaid carabines and other weapons of the 16th and
17th centuries. Above the glass cabinet are placed some trophies
from the Crimean war.

The Second Gallery contains fire-arms, lances and halberds.
In the glass cases ancient and modern guns and pistols of rich
workmanship: No. 1831. Indian gun; Nos. 1838—1848. Guns from
Algiers; No. 1849. A gun inlaid with gold and precious stones,
manufactured at Rotterdam and destined by Napoleon I. as a present
for the Dey of Morocco.

In the Third Gallery more modern fire-arms of various descriptions.
In cases oriental weapons and poniards; in glass cabinets
Etruscan and Roman arms.

The Fourth Gallery contains swords, rapiers, poniards, halberds,
falchions.

In the court may be seen several Russian anchors and pieces
of ordnance captured at Sebastopol.

The contiguous church of St. Thomas d'Aquin, erected 1740,
is the parish church of the aristocratic Faubourg St. Germain. It

possesses little to interest the stranger, with the exception of a
few good pictures: in the choir frescoes by Blondel, and the
Ascension, painted on the ceiling, by Lemoine; Descent from
the Cross by Guillemot; St. Thomas Aquinas calming a storm, by
Ary Scheffer; Christ on the Mount of Olives, a landscape by E. Bertin.

Sainte Clotilde, the modern Gothic church of the Faubourg
St. Germain, see p. 165.

29. Hôtel des Invalides.

Napoleon's Tomb. Champ de Mars. Manufacture Impériale des Tabacs.

One of the most conspicuous objects in Paris is the lofty
dome of the Église des Invalides, situated at the S. W. extremity
of the city and distinctly visible from every part of it; from a
distance the basement appears to be formed by the extensive
Hôtel itself, which, however, is detached from the church.

By a decree of April 15th, 1670, Louis XIV. founded this
splendid institution, "pour assurer une existence heureuse aux militaires
qui, vieillards mutilés ou infirmes, se trouveraient sans ressources
après avoir blanchi sous les drapeaux ou versé leux sang
pour la patrie". The structure was commenced in 1671, under
the superintendence of the talented architect Libéral Bruant, and
completed in 1675.

Soldiers disabled by wounds and those who have served for
30 years are entitled to be received into the establishment. The
present number of inmates considerably exceeds 2000, of whom
about 170 are officers. In case of necessity, however, the institution
can accommodate 5000 persons. Besides board and lodging,
each inmate receives a small monthly pension, a colonel 30 fr.,
a major 20 fr., a captain 10 fr., lieutenants and corporals 5—3 fr.,
privates 2 fr. A loaf of excellent white bread and a bottle of
good wine are daily distributed to all inmates alike. On Sundays
at 12 o'clock military mass is performed in the church, at half
past 12 a parade with military music is held in the Cour d'Honneur
(p. 156).

The gate of the court, which is surrounded on three sides
by dry moats, 18 ft. in breadth, is approached by the Esplanade
des Invalides, a double avenue, about 270 yds. long. The sentinels
of the gate are posted in the two guard-houses at the entrance.

A "Batterie Trophée" of eighteen guns is here placed and employed
periodically in firing salutes on grand occasions. To the
right (facing the Seine) are two French 24-pounders, which in
1837 were employed in the siege of Constantine; two Austrian
cannons, one cast in 1681, the other in 1580, with the inscription
in German: When my song resounds in the air, many a wall
will fall before me"; four Prussian guns, decorated with the images
and names of four Electors; a Dutch 24-pounder, captured at

the siege of Antwerp in 1832; four cannons and two howitzers
from Sebastopol; a mortar from Algiers. To the left: the first
gun is from Wirtemberg, a master piece of its kind, and is decorated
with allegorical statuettes and one of the Duke; a Venetian
piece, of 1708; the remaining pieces correspond to those on the
r. side.

The remaining portion of the terrace is laid out in small
gardens, which it is the privilege of the "invalides" to cultivate;
several of them are adorned with small statues of Napoleon I.,
whose memory is still fondly cherished by the veterans who survive
him.

The Front of this handsome edifice, with its three pavilions,
is upwards of 600 ft. in length. At the corners of the lateral
pavilions are placed four groups in bronze, by Desjardins, emblematic
of four conquered nations (Burgundy, Germany, Spain,
Holland), formerly appertaining to the statue of Louis XIV. in
the Place des Victoires, but transferred to their present position
in the year 1800.

The building consists of three stories; the dormer-windows
are curiously constructed of military trophies in stone, surmounted
by helmets. On the tympan above the entrance is an equestrian
statue of Louis XIV., with the inscription: Ludovicus Magnus
militibus, regali munificentia in perpetuum providens, has œdes
posuit 1675.

In the large inner court with its open arcades, formerly termed
the Cour Royale, now Cour d'Honneur, the visitor is met by an
invalide (1 fr. gratuity) who conducts them through the courts and
external portions of the establishment. Different guides (50 c.
each) are appointed to show the dining-hall, kitchen, council-chamber
and library. The kitchen and dormitories are similar to
those of large barracks. On public days visitors are admitted
gratuitously to every portion of the establishment.

The Library, founded by Napoleon, contains about 30,000 vols.
and several MSS. of Sully and Colbert, a copy of David's picture
of Bonaparte crossing the St. Bernard, a fine portrait of Napoleon
III. by Logier, an equestrian statuette of Marshal Turenne
and the Austrian cannon-ball which caused his death near BadenBaden
in 1675; also a large plan in relief of the Hôtel des
Invalides.

The vestibule of the Council-chamber (Salle du Conseil) is
adorned with drawings of flags and banners captured in battle
and of the arms of French towns. The adjoining apartments
contain portraits of the two architects of the edifice, Libéral
Bruant and Jules Mansard, and of the following marshals: Lannes,
Bessières, Berthier, Brune, Augereau, Masséna, Victor, Lefebvre,
Kellermann, Beurnonville, Davoust, Pérignon, Duc de Coigny,
Serrurier, Suchet, Gouvion St. Cyr, Ney, Jourdan, Moncey, Oudinot,

Lauriston, Duc de Belle Isle, Duc de Broglie, Marquis de
Vioménisl; also a portrait of Napoleon I. in his coronation robes,
one of Louis XIV., and busts of Napoleon I., Napoleon II. and
Prince Jérôme.

The four spacious Refectories on the ground-floor are adorned
with allegorical pictures, most of which have reference to the war
of Louis XIV. in the Netherlands (1672). Among others are
those representing the capture of Wesel, Emmerich and Utrecht,
towns which were not in a position to defend themselves and
surrendered almost without a blow. Most of these paintings are
by Martin, a pupil of the prolific Van der Meulen. The plate
used at the officers' table was presented by Marie Louise.

Patients in the Infirmerie are waited upon by 25 sisters of
charity (Sœurs de l'ordre de St. Vincent de Paul).

The Church at present consists of two separate portions, the
Ancienne Église (Église de St. Louis, église des soldats) and the
Église nouvelle (Dôme des Invalides), the latter constructed by
Jules Mansard in 1706. When united, as is intended, the former
church will form the nave, the latter the choir.

The old church is entered by a portal on the S. side of the
Cour d'Honneur. It consists of a long nave and two low aisles,
and is adorned with a number of banners, most of which were
captured during the African war under Louis Philippe. The last
flag to the r., with the double eagle, is from Sebastopol, the
white one opposite once waved on the Malakoff tower.

During the reign of Napoleon I. nearly 3000 flags adorned
the nave. On the evening before the entry of the allied troops
into Paris (March 30th, 1814), they were burned in the court
to prevent their falling into the hands of the allies, by order of
Marshal Clarke (Duc de Feltre), at that time minister of war.
The order was thrice given before the Invalides could be induced
to destroy their cherished trophies. On the same occasion the
sword which Napoleon brought from the tomb of Frederick the
Great at Potsdam in 1806 was destroyed. On Aug. 12th, 1851,
on the occasion of the funeral obsequies of Marshal Sebastiani,
several of the remaining flags were accidentally destroyed by fire.

Several monuments and memorial tablets on the pillars are
inscribed with the names of former governors of tho Hôtel des
Invalides: Comte de Guibert (d. 1786), Duc de Coigny (d. 1821),
Marshal Lobau (d. 1838), Marshal Moncey (d. 1842), Marshal
Oudinot (d. 1847) with medallion bust Baron Espagnac (d. 1782),
Marshal Jourdan (d. 1833). Two bronze tablets record the names
of those marshals and officers whose remains repose in the vaults
of the church, among others that of Marshal Mortier, who was
killed in 1835 by the explosion of Fieschi's infernal machine in
the Boulevard du Temple, and Marshal "Jacques Leroy de St. Arnaud,
chef de l'armée de l'Orient, décédé en mer à bord du Ber-

tollet" (d. 1854). On Sundays at noon mass is celebrated here,
accompanied, by the usual Roman Catholic military ceremonies.

The Dôme des Invalides consists of a square mass, 180 ft. in
breadth, surmounted by a lofty dome, above which rises a gilded
globe and cross, the summit of which is 320 ft. above the pavement.

On either side of the high altar winding staircases descend
to the entrance of the crypt which contains the *Tomb of Napoleon
I. (Admission to the Dôme and the tomb on Mondays
and Thursdays from 12 to 3; no gratuity need be given.) The
crypt consists of a circular excavation 20 ft. in depth and 36 ft.
in diameter; the walls are of polished slabs of granite, adorned
by ten marble reliefs by Simart: 1. Restoration of public order;
2. The Concordate; 3. The reformed Administration; 4. State-council;
5. The Code; 6. The University; 7. Chamber of finance; 8. Encouragement
of commerce and industry; 9. Public works; 10. The
Legion of Honour. The twelve colossal figures emblematic of
victory were one of the last works of the celebrated Pradier
(d. 1852); between them are six trophies consisting of 60 flags
which had long lain concealed in the Luxembourg. On the pavement
are recorded the names of the victories of Rivoli, Pyramides,
Marengo, Austerlitz, léna, Friedland, Wagram, Moskowa.

From the centre of the wreath of laurels in mosaic with which
the pavement is decorated rises the sarcophagus: the cover
consists of a huge monolith of reddish brown granite, weighing
upwards of 60 tons, and exquisitely polished. This ponderous
block was brought from Lake Onega in Finland; the
cost of the transport alone is said to have exceeded 140,000 fr.
Immediately above the crypt, at a height of 150 ft., rises the lofty
dome, consisting of two cupolas, the higher of which is adorned
with a painting by Delafosse, representing St. Louis receiving
from Christ the sword with which he vanquished the foes of
Christianity. The faint, bluish light admitted from above, and
the sombre aspect of the crypt and its adjuncts contribute essentially
to the solemn grandeur of the scene.

The entrance to the vault from the back of the high altar in
the old church consists of a bronze gate flanked by two sarcophagi,
on which are inscribed the names of Duroc and Bertrand,
the emperor's faithful friends. The former fell at the battle of
Bautzen in 1813, the latter (d. 1844) was the emperor's constant
companion in all his campaigns and in his captivity, and accompanied
his remains from St. Helena in 1840 to their final resting-place
in the Dôme des Invalides.

Above the entrance are inscribed these words from the emperor's
will: "Je désire, que mes cendres reposent sur les bords
de la Seine, au milieu de ce peuple français que j'ai tant aimé."

To the right and left of the entrance stand two colossal caryatides
in bronze, designed by Duret, one of which bears a globe,

the other a sceptre and crown. They are intended to proclaim
"par leur aspect grandiose et imposant, la sainteté du lieu où
l'on va descendre, et semblent destinées à la garde silencieuse
et éternelle du tombeau qui renferme les restes précieux du
plus grand capitaine des temps modernes".

The monuments of Vauban and Turenne with their recumbent
effigies, the former erected in 1807, the latter removed hither
from St. Denis, are situated in the transepts near the S. entrance,
but sink into insignificance when compared with the profoundly
impressive tomb of Napoleon.

The principal façade of the church is to the S., towards the
Place Vauban, where it is intended to erect statues of Napoleon I.
and twelve of his marshals.

In the vicinity of the S. entrance to the Dôme des Invalides
is situated the École Militaire, founded in 1751 by Louis XV.,
"pour y élever 500 gentilshommes dans toutes les sciences nécessaires
et convenables à un officier". In 1792 it was fitted up
as barracks (for 5000 men and 800 horses). From 1804 to 1830
the Guards were stationed here, and the edifice is still employed
as barracks and the seat of the general staff of the new Imperial
Guard.

In front of the École Militaire, to the N.W., extends the
Champ de Mars (site of the Exhibition of 1867), a large
open space upwards of 1000 yds. in length and 700 yds. in
breadth, surrounded by rows of trees, employed as an
exercising-ground, for reviews etc. It was formerly (till 1861)
enclosed by ditches and embankments, in the formation of
which no fewer than 60,000 Parisians of both sexes assisted in
the year 1790. The embankments were then furnished with
rows of seats, thus enabling hundreds of thousands of the
people to witness the celebrated Fête de la Fédération which took
place on July 14th of the same year. In front of the École
Militaire was erected the Autel de la Patrie, where the king, the
national assembly, the provinces and the representatives of the
army swore fidelity to the new constitution. Talleyrand, Bishop
of Autun, with 400 of the clergy, officiated in the religious portion
of the ceremony. The rejoicings on this occasion were universal,
as it was believed that the troubles of the revolution were now
happily terminated.

A similar festival, the famous Champ de Mai, was celebrated
with the utmost pomp by Napoleon, June 1st, 1815, and was
attended with the same formalities. Here too, August, 1830,
Louis Philippe presented colours to the National Guard, and in
1852 the present emperor distributed to the army the Eagles
which were to replace the Gallic Cock.

All the principal military reviews and parades are held in
the Champ de Mars, when the ground is kept clear.

These occasions afford the stranger a convenient opportunity
of seeing some of the most illustrious personages and officers of
the highest rank in France. The best point of observation is the
Pont d'Jéna, on the side nearest to the left bank of the river,
as the staff of officers usually cross this bridge, or ride past it
after having crossed by another route. Those who desire to witness
the reviews will find ample space along the margin of the
ground. The ordinary drill generally takes place on Fridays.

The races of the French Jockey Club, "Courses encouragées
par l'État", formerly took place here in September. They are
now held on the new race-course of Longchamps and in the forest
of Vincennes. Races also take place at La Marche (beyond Ville
d'Avray, p. 169), at Versailles, and at Chantilly, Department of
the Oise, stat. St. Leu on the Northern railway.

On the Quai d'Orsay (Nr. 63), a short distance below the
Pont des Invalides, two statues on which represent Navigation
and Peace, rises the extensive Manufacture Impériale des
Tabacs, occupying the entire block between the Rue St. Jean,
the Rue de l'Université and the Boucherie des Invalides. It is
accessible on Thursdays only, 10—12 and 2—4 o'clock; visitors
ring at the principal entrance, where a flag usually hangs. The
arrangements of the establishment are interesting. About
18—1900 operatives are here employed, of whom 1400 are
women; the latter, when industrious, earn 2½ fr. per diem on
an average.

There are altogether 17 Imperial manufactories of tobacco in
France, all of which are dependent on that of Paris. They yield
an annual revenue of 180 million fr.

30. Blind, and Deaf and Dumb Institutions.

At the S. extremity of the Boulevard des Invalides is situated
the *Institution Impériale des jeunes Aveugles. This handsome
edifice, erected in 1839—1845, with its two projecting
pavilions, is separated from the boulevard by a railing. The bas-relief
which adorns the pediment above the entrance, by Jouffroy,
represents Valentin Haüy (d. 1822), the founder of the institution,
instructing his pupils under the protection of Religion. In the
court is placed a marble statue of the founder; with a blind girl
at his feet. Admission on application to the director, or by passport
or visiting-card, on Wednesdays only, 1½—5 o'clock. The
primary object of the institution is the reception and instruction
of blind children of both sexes, of 9—13 years of age. Their
residence may, if necessary, be prolonged to their 20th year.
The majority of the inmates are supported by government or by
the parishes to which they belong. Private pupils of any age
are received for an annual sum of 1000 fr.

The usual number of inmates is 200—300, of which three
fourths are boys. The masters and female teachers are all themselves
blind, most of them having been educated at this establishment.

One of the attendants (fee 1 fr.) conducts visitors through the
different portions of the institution, the dining-rooms, work-rooms,
dormitories, printing-office, garden, gymnastic and play-ground.

The Printing-office is one of the most remarkable departments.
Books for the blind only are here printed in raised characters.
The alphabet consists of six points, different positions and combinations
of which form the different letters. The same system
is employed in writing, the pupil impressing the points on paper
with a pointed instrument.

The principal manual occupations of the inmates are carpentering,
turning, brush-making, straw-plaiting, netting and weaving.
Specimens of their workmanship may be purchased in a room
set apart for the purpose.

The most important branch of instruction is music, for which
the blind usually evince a remarkable aptitude, and which of all
pursuits is the best calculated to enable them to gain their own
livelihood. Several public concerts are given annually in the
chapel, the directors of which are blind as well as the orchestra.
The frescoes in the chapel, by H. Lehmann, represent Christ
speaking words of consolation to the blind.

On the last Saturday of every month an examination of the
pupils takes place. Visitors may obtain access by applying to
"Monsieur Boué de Verdier, Directeur de l'Institution Impériale
des jeunes aveugles, Boulevard des Invalides 56" (comp. formula
given at p. 150).

The Deaf and Dumb Institution (Institution impériale des
sourds-muets), Rue St. Jacques 224, in the vicinity of the Jardin
du Luxembourg, is a similar establishment to the above-mentioned,
but less extensive and far inferior in its internal arrangements. The
Class d'articulation, which usually begins at half past 4 o'clock,
well merits a visit. Here different trades are likewise taught,
such as turning, shoemaking, lithographing etc. The number of
pupils is about 200, 75 of whom are girls. The Salle des Exercices
is adorned with busts of the Abbé de l'Epée, the founder of the
establishment (p. 108), and his successor the Abbé Sicard. It also
contains an interesting picture representing the Abbé de l'Epée
embracing the young Comte de Toulouse, one of his deaf and
dumb pupils, who had been abandoned by his relations.

The altar-piece in the chapel, by Vernet, represents Christ
healing a deaf man; to the l. is a painting of the deathbed of
the Abbé de l'Epée, by Peyson, a deaf and dumb artist.

Both of these establishments are closed during the vacation
(August and September).

31. Churches on the Left Bank of the Seine.

St. Sulpice, St. Étienne du Mont, St. Germain des Prés, Ste. Clotilde.

Of the churches mentioned at p. 103 the four following are
situated in the S. quarter of the city, on the l. bank of the
Seine. In these also the three styles of architecture observable
in all the Parisian churches will be remarked: St. Sulpice,
modern style; St. Étienne du Mont, late Gothic and Renaissance;
St. Germain des Prés, early Gothic; Ste. Clotilde, the first attempt
at modern Gothic in Paris.

*St. Sulpice, a short distance to the N. W. of the Palais du
Luxembourg, is the most important and the richest of these
churches. Its proportions are strikingly grand. It was commenced
in 1646, but not completed until a century later. The form of
the church is a cross, 432 ft. in length, 174 ft. in breadth, 100 ft.
in height; the interior consists of a nave and two aisles which
surround the choir also. The façade is open to criticism and the
towers are not symmetrical.

On the W. side the church is approached by a flight of steps,
intersected by the projecting bases of the Doric pillars of the
portico At the entrance are placed as receptacles for holy water
two remarkably large shells (tridachna gigas), which rest on rock-work
of marble, designed by Pigalle.

The principal objects of interest are the frescoes in the chapels.
R. *1st Chapel on the S. side: 1. Jacob wrestling with the Angel;
2. Balthazar ejected from the Temple; on the cupola, St. Michael
conquering Satan; all by Eug. Delacroix.

*2nd Chapel: 1. Religion solacing a dying man; 2. Efficacy of
prayer for the dead; by Heim.

3rd Chapel; 1. St Roch praying for the cessation of the
plague; 2. Death of the saint in the prison of Montpellier; on
the ceiling his Apotheosis; executed by Abel de Pujol in 1821.

4th Chapel: Scenes from the life of St. Maurice, painted by
Vinchon in 1822.

5th Chapel: Marble monument of the pastor Lenglet (d. 1750),
by Michael Sloodtz

1st lateral Chapel on the N. side: 1. St. François Xavier
resuscitating a corpse; 2. Miraculous cure of sick persons past
whom the saint's remains are carried; by Lason.

2nd Chapel: 1. St. François de Sales preaching in Savoy,
2. Ste. Chantal receiving from the saint statutes of a new
order of nuns; painted by Hesse in 1860.

3rd Chapel: St. Paul's Conversion and his announcement of
the resurrection before the Areopagus at Athens, painted by
Drolling in 1850.

4th Chapel: St. Vincent de Paul recommending foundlings to
the care of sisters of charity; the saint at the deathbed of
Louis XIII., executed by Guillemot in 1825.

1st Chapel on the N. side of the choir: Triumph and Martyrdom
of St. John, two frescoes painted by Glaize in 1859.

1st Chapel on the S. side of the choir: St. Denis preaching
to the heathen Romans and his Condemnation to death, both by
Jobbé-Duval in 1859.

The pulpit, which is supported by the staircase alone, is adorned
with figures of Faith, Hope and Charity. The organ is
richly carved and is externally the finest in Paris.

The Baptistery in the N. aisle contains a fine stained glass
window representing the Marriage of the Virgin.

The statues of St. Paul and St. John by the sacristy are by
Pradier, those of the twelve apostles on the piers of the choir
transepts by Bouchardon.

The handsome square in front of the church is adorned by
the Fontaine St. Sulpice, designed by Visconti and erected in
1847. It consists of three concentric basins, one above the other,
over the highest of which in niches are placed statues of the
four most celebrated preachers in France: Bossuet (d. 1704),
Fénélon (d. 1715), Massillon (d. 1742) and Fléchier (d. 1710).

The Place St. Sulpice is one of the most animated omnibus
stations. A flower-market is held here on Mondays and Thursdays.

The long edifice on the S. side of the Place is the Séminaire
de St. Sulpice, for the education of priests. — In the vicinity
is the Marché St. Germain, see p. 18.

*St. Étienne du Mont, at no great distance from the Pantheon,
is internally an extremely interesting edifice, but externally
presents a singular mixture of different architectural styles;
the W. façade is partly Gothic, partly Italian. The church is believed
to have been founded about the beginning of the 12th cent.;
in the 13th cent. the square tower with the circular turret at
the side was probably erected; in 1537 the greater portion of
the edifice was rebuilt, and in 1610 the W. portal was erected
by Margaret Valois, first consort of Henry IV.

The interior consists of a nave and two aisles, the latter unusually
lofty; the columns are connected half way up by arches
which support a narrow gallery. The rich and elaborate decorations
belong to the latest Gothic style, shortly before the transition
to the Renaissance. The lofty vaulting is supported by
graceful round columns from which spring the ribs terminating
in imposts. The choir is separated from the nave by a *Lectorium
(screen) of the most exquisite workmanship; round the pillars
wind two light and graceful spiral staircases, which ascend to
the galleries.

The S. aisle, contiguous to the choir, contains the Tomb of
Ste. Geneviève (d. about 500), the patron saint of Paris. The
sarcophagus is said to be the original depository of the remains
of the saint, but is evidently a work of the 13th cent. The
chapel containing it is gorgeously painted and gilded in the Byzantine
style.

A chapel on the same side, the 5th from the entrance, contains
a life-size Entombment of Christ, in stone.

The Pulpit, designed by Lahire, is borne by a Samson and
adorned with elegant statuettes.

Most of the paintings are of the 18th cent.: the S. chapels,
however, contain some fine modern works by Grenier, Abel de
Pujol, Aligny and Caminade. The stained glass dates from 1568.

The aisles contain two fine pictures presented by the city of
Paris: S., the Genius of France with the Parliament interceding
with Ste. Geneviève for the cessation of a famine: N., the Prévôt
des Marchands and civic dignitaries; both executed at the end
of the 17th cent. by Largillière, the greatest portrait-painter of
his time.

On marble tablets are inscribed the names of several illustrious
personages interred in this church, among others Pascal
(d. 1662) and Racine (d. 1699). On January 3rd, 1857, Archbishop
Sibour was here assassinated by an ex-priest.

St. Germain des Prés, Rue Bonaparte, situated a short distance
to the S. of the École des Beaux Arts, is the most ancient
church in Paris, and to antiquarians an object of great interest.
The original edifice was dedicated in 557 and appertained to a
monastery, the most ancient in Paris, founded through the advice
of St. Germain, Bishop of Paris, by Childebert I. about the year
551. The monastery and church were almost entirely destroyed
by the Normans in the 9th cent.; at the close of the 10th cent.
the construction of the present edifice was commenced, and in
1163 completed. The basement portion is Romanesque, the upper
part Gothic. A view of the W. portal only can be obtained, the
three other sides being enclosed by narrow streets.

In 1789, on the outbreak of the revolution, the church was
secularized and converted into a saltpetre manufactory; in 1794
it was seriously damaged by an explosion; under Charles X. it
was once more used as a place of worship, and in 1836 the
restoration was completed. The gorgeous style in which the
interior has recently (1852—1856) been painted and gilded is
an imitation of the ancient decorations of the abbey-church.

The large frescoes on a gold ground in the choir are by
Flandrin, on the N. side Christ entering Jerusalem, on the S. side
Christ bearing the Cross; over the arches the twelve apostles and
the emblems of the evangelists, the Angel, Lion, Ox and Eagle.

The windows of the choir are filled with modern stained glass,
representing Christ, the Virgin and the apostles.

The frieze of the nave is also decorated with a series of fine
frescoes by Flandrin, representing biblical subjects, so arranged
that there are two compartments over each arch, one containing
a subject from the Old, the other from the New Testament.

The S. transept contains a handsome marble monument of the
Castellan family, dating from the latter half of the 17th cent.
The chapel in the choir, contiguous to the sacristy, is the burialplace
of James, Duke of Douglas (d. 1645). The following
chapel contains memorial tablets of black marble which record
the names of several illustrious men of letters interred here:
Mabillon (d. 1707), Descartes (d. 1650) and Montfaucon (d. 1641).

The Chapel of Our Lady behind the high altar is a modern
structure, adorned with the Adoration of the Magi and the Presentation
in the Temple, by Abel de Pujol. The Chapel of St. Paul
contains a tablet in memory of the poet Boileau, whose heart was
transferred hither from the Sainte Chapelle in 1819. The adjoining
chapel contains another monument of the Douglas family.

The N. aisle contains the tomb of Casimir V. (d. 1672), king
of Poland, who, at first a Jesuit and cardinal, succeeded his
brother in 1648 on the Polish throne. In 1668 he abdicated,
and resuming his ecclesiastical garb became Abbot of St. Germain
des Prés.

*Ste. Clotilde, Place Bellechasse, Faubourg St. Germain, near
the Palais du Corps Législatif, is one of the newest churches in
Paris, having been commenced in 1846 at the instance of Queen
Amélie. It is a chapel of ease to the church of St. Thomas
d'Aquin, the insignificant parish church of this wealthy and
aristocratic quarter of the city, and was completed in 1857 at
a cost of 8 million fr.

Ste. Clotilde, the first new church (300 ft. long, 100 ft.
broad, 80 ft. high) in Paris of the Gothic style, is well situated
in an open space. Two towers rise above the N. portal, which
contains three entrances. The interior is remarkable for its dignified
simplicity, being decorated with marble-reliefs only. The
magnificent stained-glass windows, especially those of the choir,
effectually soften and subdue the light. The frescoes of the
five chapels of the choir are by Picot, those of the two chapels
in the transepts by Lehmann, those in the Baptistery and
Burial Chapel by Delaborde. The sculptures are by Pradier,
Duret, Guillaume, Triqueti, Paul Gayrand, Lequèsne etc., the
stained glass by Maréchal, Hesse, Lamotte and Chancel. The
stalls in the choir are masterpieces of carving.

32. Cemetery of Montparnasse.

This cemetery, the third of the great Parisian burial-grounds,
is intended for all the interments which take place in the S.
portion of the city, on the l. bank of the Seine. It was first
laid out in 1824, when it consisted of a space of about 30 acres;
its present extent is nearly five times greater. Compared with
the cemetery of Père Lachaise, and even that of Montmartre, it
presents few features of interest; the stranger may, however, conveniently
visit it either before or after an excursion to Versailles,
the railway-station for which (rive gauche) is in the vicinity.

Near the entrance, to the r., is the burying-ground of the
sisters of charity, where one of the most conspicuous crosses indicates
the grave of Sœur Rosalie Rendu, who was presented
with the cross of the Legion of Honour in recognition of her unwearied
and disinterested labours in the Crimea. That her name
is still regarded with reverence is indicated by the fresh flowers
and wreaths placed on her grave at intervals by soldiers of the
French army. A short distance farther, to the l. as the principal
avenue is entered, is the monument of a Mlle. Leontine Spiegel,
remarkable for the beauty of the statue in white marble which
adorns it.

A cross to the l. in the principal walk, leading from N. to S.,
indicates the grave of Henri Grégoire (d. 1832), "ancien évêque de
Blois", one of the first of the clergy who swore fidelity to the
new constitution in 1790, and in 1795 a member of the council
of the Five Hundred. In 1815 he was deprived of his bishopric
by Louis XVIII. and excluded from the Institut of which he was
a member. On his death the archbishop of Paris refused his remains
Christian burial.

In the preceding adjacent walk the visitor will perceive the
names of several men of letters: Mongez, Thurot, Duval etc.
Beyond these: Ottavi, "orateur, parent de Napoléon".

In the rotunda, to the l.: Mazois (d. 1826), an eminent architect;
Orfila, the physician; Boyer, the celebrated surgeon, with
a bust. — Farther on, to the l.: Champagny, duc de Cadore,
minister of the exterior from 1807 to 1811.

To the r. in the principal walk: Duval (d. 1842), the dramatist.

In the W. avenue, to the r. when entered from the rotunda:
Admiral Count Dumont d'Urville, who with his wife and only
son lost his life by a railway accident in 1842 (comp. p. 169),
with gaudy representations of his principal voyages.

In the E. avenue: General Henri de Mylius (d. 1866), who
entered the army in 1800 and was thrice wounded in the campaigns
of Napoleon, a large monument with a bust in bronze.
Then: Boulay, de la Meurthe (d. 1840), member of the Five

Hundred and president of the legislative commission under Napoleon
I.

In the vicinity (opposite) the singular monument of Aug.
Dornès, "représentant du peuple, mort pour la République".

In the N. E. avenue: Jacques Lisfranc (d. 1847), an eminent
military surgeon and professor; one of the reliefs on the sides
represents a scene from the battle of Leipsic, the other a lecture
attended by numerous pupils.

33. The Catacombs.

The Catacombs were formerly quarries known and employed
as far back as the Roman period, yielding a soft kind of limestone
which hardens on exposure to the air. Many of the streets
in the S. part of Paris, being undermined by these quarries, began
to give indications of sinking, in consequence of which in
1784 steps were taken by government to avert the danger by constructing
piers and buttresses where the upper surface was insufficiently
supported. About the same time the Council of
State issued a decree for the removal of the bodies from the
Cemetery of the Innocents and others to these subterranean quarries.
The catacombs were accordingly consecrated in 1786 and
the work of conveying the bones to their new receptacle performed
by night. During the revolution and the Reign of Terror
immense numbers of bodies were thrown into these cavities, and
the bones brought from other quarters were heaped together in
confused masses. In 1810, however, a regular system was commenced
for the more seemly disposition of these remains and the
proper organisation of their final resting-place. New pillars have
since then been erected to support the roof, excavations made to
admit more air, and channels dug to convey away the underground
springs. The galleries and different compartments are
completely lined with human bones, arranged with great care and
intermingled with rows of skulls. Several chapels have also been
constructed entirely of the same ghastly materials and furnished
with various inscriptions. There are altogether upwards of sixty
different entrances to the catacombs, the principal staircases being
at the former Barrière de l'Enfer, in the Rue de la Tombe Isoire
and in the plain of Montsouris. These gloomy caverns once constitued
one of the usual sights of Paris; the public are now
excluded, and it is a matter of great difficulty to obtain permission
to visit them. The official to whom application must be
made is the Ingénieur en Chef des mines et inspecteur général des
carrières de Paris, who resides at the Hôtel de Ville.