G 
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 With 17 :\Iaps and 22 Plans. 1893." ■ T5 mai 
 
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 CONVERSATION DICTIONx\RY, in four langua^ 
 MANUAL OF CONVERSATION,
 
 
 
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 PARIS 
 
 AND 
 
 ENVIRONS 
 
 WITH 
 
 ROUTES FEOM LONDON TO PAEIS 
 
 HANDBOOK FOR TRAVELLERS 
 
 BY 
 
 KARL BAEDEKER 
 
 WITH 12 MAPS AND 33 PLANS 
 TWELFTH REVISED EDITION 
 
 LEIPSIC: KARL BAEDEKER, PUBLLSHER 
 1896
 
 'Go, little book, God send thee good passage, 
 And specially let this he thy prayere 
 Unto them all that thee will read or hear, 
 Where thou art wrong, after their help to call , 
 Thee to correct in any part or all I '
 
 PEEFACE. 
 
 DC 
 
 The chief object of the Handbook for Paris, which is now 
 issued for the twelfth time, and corresponds with the twelfth 
 French edition, is to render the traveller as nearly as pos- 
 sible independent of the services of guides, commissionnaires, 
 and innkeepers , and to enable him to employ his time and 
 his money to the best advantage. 
 
 Objects of general interest, described by the Editor from 
 his personal observation, are those with which the Handbook 
 principally deals. A detailed account of all the specialties of 
 Paris would of course far exceed the limits of a work of this 
 character. 
 
 The Maps and Plans, upon which the utmost care has 
 been bestowed, will, it is hoped, be found serviceable. Those 
 which relate to Paris itself (one clue-map, one large plan, 
 five special plans of the most important quarters of the city, 
 and one omnibus-plan) have been collected in a separate cover 
 at the end of the volume, and may if desired be severed from 
 the Handbook altogether. The subdivision of the Plan of the 
 city into three sections distinguished by different colours 
 will be found materially to facilitate reference, as it ob- 
 viates the necessity of unfolding a large sheet of paper at 
 each consultation. 
 
 There is probably no city in the world which ever 
 underwent such gigantic transformations in its external ap- 
 pearance as the French metropolis during the reign of Na- 
 poleon III., and few cities have ever experienced so appal- 
 ling a series of disasters as those which befel Paris in 1870-71. 
 Many squalid purlieus, teeming with poverty and vice, 
 were swept away under the imperial regime, to make room 
 for spacious squares, noble avenues, and palatial edifices. 
 The magnificent metamorphosis of Paris 'from brick to 
 marble' was nearly complete when the gay, splendour- 
 loving, pleasure-seeking city was overtaken by the signal 
 calamities occasioned by the Franco-Prussian war and the 
 Communard rebellion. During that period the city sustained 
 many irreparable losses, but since the restoration of peace it 
 has in most respects resumed its former appearance, the
 
 vi PREFACE. 
 
 government having done its utmost to restore everything as 
 far as possible to its former condition. 
 
 A short account of the routes from London to Paris, and 
 of the principal towns of Northern France, with their magni- 
 ficent Gothic churches, will be acceptable to most travellers. 
 
 In the Handbook are enumerated both the first-class 
 hotels and those of humbler pretension. The latter may often 
 be selected by the 'voyageur en gargon' with little sacrifice 
 of real comfort, and considerable saving of expenditure. 
 Those which the Editor has reason to believe most worthy 
 of commendation are denoted by asterisks; but doubtless 
 there are many of equal excellence among those not so distin- 
 guished. It should, however, be borne in mind that hotels 
 are liable to constant changes, and that the treatment expe- 
 rienced by the traveller often depends on circumstances 
 which can neither be foreseen nor controlled. 
 
 The Editor begs to tender his grateful acknowledgments 
 to travellers who have sent him information for the benefit of 
 the Handbook, and hopes that they will continue to favour 
 him with such communications, especially when the result 
 of their own experience. Hotel-bills, with annotations showing 
 the traveller's opinion as to his treatment and accommodation, 
 are particularly useful. 
 
 To hotel-proprietors, tradesmen, and others the Editor 
 begs to intimate that a character for fair dealing and courtesy 
 towardsUravellers forms the sole passport to his commen- 
 dations, and that advertisements of every kind are strictly 
 excluded from his Handbooks. Hotel-keepers are also warned 
 against persons representing themselves as agents for Bae- 
 deker's Handbooks.
 
 (CONTENTS. 
 
 Introduction. 
 
 Page 
 I. Language. Money. Expenses. Season. Passports. 
 
 Custom House xii 
 
 11. Railways xiii 
 
 III. Outline of History xv 
 
 a. History of France xv 
 
 b. History of Paris xxi 
 
 IV. General Remarks on Paris xxvi 
 
 V. Weights and Measures xxxi 
 
 VI. Remarks on Northern France xxxiii 
 
 Remarks on French Art, hy Prof. Anton Sprinyer . xxxv 
 
 Preliminary Information. 
 
 1 . Arrival in Paris 1 
 
 2. Hotels, Pensions, and Apartments 2 
 
 3. Restaurants 9 
 
 4. Cafes and Confectioners ... 17 
 
 5. Cabs 20 
 
 6. Omnibuses and Tramways. River Steamboats 21 
 
 7. Railway Stations. Chemin de Fer de Ceinture .... 23 
 
 8. Post and Telegraph Offices 25 
 
 9. Theatres , Circuses, Music Halls, Balls, etc 28 
 
 10. Concerts, Art Exhibitions, Sport, and Clubs 35 
 
 11. Shops and Bazaars 37 
 
 12. Booksellers. Reading Rooms. Libraries. Newspapers . . 43 
 
 13. Baths, Physicians, Maisons de Sant^ 45 
 
 14. Divine Service 47 
 
 15. Embassies and Consulates. Ministerial Offices. Banks . 48 
 
 16. Preliminary Drive 50 
 
 17. Distribution of Time. Diary 51 
 
 JlQ^^Q Bight Bank of the Seine. 
 
 1. The Palais-Royal, Rue de Rivoli , Bastille, and Boule- 
 vards 57 
 
 I. The Palais -Royal and thence to the Hotel de Ville. — 
 St. Germain -rAuxerrois. Tour St. Jacques. Place du 
 
 Chatelet St. Merri 5T 
 
 II. From the Hotel de Ville to the Bastille. — St. Gervais. 
 
 St. Paul et St. Louis. Colonne de Juillet t?7
 
 viii CONTENTS. 
 
 Route Page 
 
 III. The Boulevards from the Bastille to the Madeleine. — Place 
 de la Ee'publique. Porte St. Martin. Porte St. Denis. The 
 Ope'ra 70 
 
 IV. From the Madeleine to the Palais-Royal by the Place de 
 
 la Concorde. — Colonne Vendome. St. Eoch .... 80 
 
 2. Palace and Galleries of the Louvre. The Tuileries ... 85 
 
 I. The Palace of the Lonvre 85 
 
 II. The Galleries of the Lonvre 87 
 
 Ancient Sculptures . . 89 
 
 Egyptian Museum . . 97 
 
 Asiatic Museum 99 
 
 Mediaeval and Renaissance Sculptures 101 
 
 Modern Sculptures 104 
 
 Picture Gallerv 107 
 
 Galerie d'Apollon 132 
 
 Salle des Bijoux 135 
 
 Collection La Caze 136 
 
 Ancient Bronzes 137 
 
 Collection of Drawings 13S 
 
 Smaller Mediaeval, Renaissance, and Modern Objects 139 
 
 Antique Pottery 142 
 
 Musee de Marine 144 
 
 Musee Ethnographique 145 
 
 Musee Chinois 145 
 
 Salle des Boites 146 
 
 Musee de Chalcographie . . 146 
 
 Collection Grandidier 146 
 
 III. The Tuileries 146 
 
 Arc de Triomphe du Carrousel. Jardin des Tuileries 146 
 
 3. Champs-Elysees and Bois de Boulogne 151 
 
 I. From the Place de la Concorde to the Place de TEtoile. 151 
 
 II. From the Place de TEtoile to the Bois de Boulogne. — 
 Hippodrome de Longchamp. Jardin d'Acclimatation . . 156 
 
 4. The Trocadero. Passy and Autenil (Bois de Boulogne) . 161 
 
 I. From the Place de la Concorde to the Trocadero. Musee 
 
 de Gallie'ra. Muse'e Guimet. Musses du Trocadero . . 161 
 
 II. Passy and Auteuil (Bois de Boulogne) 168 
 
 5. Halles Centrales, Conservatoire des Arts et Metiers, and 
 Pere-Lachaise 170 
 
 I. From the Palais -Royal to the Halles Centrales. — St. Eu- 
 
 stache 170 
 
 II. From the Halles Centrales to the Conservatoire des Arts 
 
 et Metiers and the Place de la Republique 173 
 
 III. From the Place de la Re'publique to Pere-Lachaise . . 178 
 
 6. Neighhourhood of the Exchange and Quartiers de la 
 Chaussee-d'Antiu and de I'Europe 189 
 
 I. From the Palais-Royal to the Bourse. — Bibliotheque 
 
 Rationale 189 
 
 II. From the Bourse to Notre-Dame-de-Lorette , La Trinite, 
 
 and the Gare St. Lazare 187 
 
 III. From the Gare St. Lazare to St. Augustin and the Pare 
 
 Monceaux. — Les Batignolles 200 
 
 7. La Villette and Montmartre 202 
 
 I. From the Boulevards to La Villette. — St. Laurent. Gare 
 de I'Est. Gare du Kord. Buttes-Chaumont. Market and 
 
 Abattoirs at La Villette 203
 
 CONTENTS. ix 
 
 Route I'age 
 
 II. Montmartre. — St. Vincent-de-Paul. Butte Montmartre. 
 
 Cemetery of Montmartre . ' 206 
 
 8. The Quartier du Temple and Quartier du Marais . . . 213 
 
 Archives et Imprimerie Nationales. Mus^e Camavalet. 
 Place des Vosges 213 
 
 The Cits and the Left Bank of the Seine. 
 
 9. The Cite' and the Quartier de la Sorbonne 220 
 
 I. Palais de Justice and Sainte-Chapelle. Kotre-Dame. — 
 
 Tribunal de Cummerce. Pont-Neuf. Hotel-Dieu . . . 221 
 II. From the Cite to the Muse'e de Cluny. — Fontaine St. 3Ii- 
 
 chel. St. Severin. Ecole de Medecine 229 
 
 III. From the Muse'e de Cluny to the Pantheon. — Sorbonne. 
 College de France. Bibliotheque Ste. Genevieve. St. Eti- 
 enne-du-Mont 240 
 
 10. Quarters of St. Germain and the Luxembourg .... 246 
 
 I. Institut. Hotel des Monnaies. Ecole des Beaux-Arts . . 246 
 II. From the Ecole des Beaux-Arts to the Luxembourg. — 
 
 St. Germain-des-Pres. St. Sulpice 253 
 
 III. Palace, Gallery, and Garden of the Luxembourg . . . 256 
 
 11. The Jardin des Plantes and the Gobelins 264 
 
 I. From the Louvre to the Jardin des Plantes 264 
 
 II. Jardin des Plantes 264 
 
 III. From the Jardin des Plantes to the Gobelins .... 269 
 
 12. The Invalides and the Champ-de-Mars 272 
 
 I. From the Tuilerics to the Invalides. — Chambre des De- 
 putes. Ste. Clotilde 272 
 
 II. Hotel des Invalides. — Musee d'Artillerie. Eglise des 
 
 Invalides. Tomb of Napoleon 1 275 
 
 III. The Champ-de-Mars. — Eiffel Tower. Dome Central. 
 
 Exhibition Palaces. Ecole Militaire 283 
 
 13. The Southern Quarters 286 
 
 I. From the Luxembourg de lObservatoire and the Cem- 
 etery of Montparnasse 2S7 
 
 II. From the Carrefour de TObservatoire to the Pare 
 
 Montsouris 291 
 
 Environs of Paris. 
 
 14. St. Cloud, Sevres, and Meudon 293 
 
 I. From Paris to St. Cloud 2^3 
 
 II. From Paris to Sevres 297 
 
 III. From Paris to Meudon 300 
 
 15. Vincennes 301 
 
 I. From Paris to Vincennes direct 3(^2 
 
 II. From Paris to Vincennes via Charenton 303 
 
 in. Vincennes 305 
 
 10. Versailles 309 
 
 I. From Paris to Versailles 300 
 
 II. Versailles 310 
 
 17. St. Germain-en-Laye 330 
 
 I. From Paris to St. Germain by railway 330 
 
 II. From Paris to St. Germain by steam-tramway 332 
 
 III. St. Germain-eu-Laye . . . • 334
 
 X CONTENTS. 
 
 Route Pajr. 
 
 18. St. Denis, Enghien, and Montmorency 338 
 
 I. From Paris to St. Denia 338 
 
 n. From St. Denis to Enghien and Montmorency .... 344 
 
 III. From EngMen to Paris via Argenteuil 345 
 
 19. The Valley of the Oise 346 
 
 I. From Paris to Pontoise 346 
 
 a. Via St. Denis or Argenteuil and Ermont .... 346 
 
 b. Via Argenteuil and Conflans-Ste-Honorine . . . 347 
 
 c. Via Maisons-Laffitte and Aclieres 347 
 
 II. From Pontoise to Beaumont 349 
 
 III. From Beaumont to Paris 351 
 
 a. Via Montsoult. — From Montsoult to Luzarches . 351 
 
 b. Via Valmondois and Ermont. — Abbaye du Val 352 
 
 20. Sceanx, Chevreuse, Montlhery, etc 353 
 
 I. From Paris to Sceanx 353 
 
 II. From Paris to tbe Valley of Chevreuse. Valley of the 
 Bievre. Limours. — From 3Iassy-Palaiseau to Versailles ; 
 
 to Valenton; and to Juvisy . ' 356 
 
 III. From Paris to Blontlhery. Arpajon 359 
 
 21. From Pails to Fontainehleau 362 
 
 22. Chantilly and its Envixons 371 
 
 I. From Paris to Chantilly . ^ 371 
 
 II. From Chantilly to Paris via Creil and Beaumont . . . 374 
 
 III. From Chantilly to Paris via Senlis and Crepy-en-Valois 375 
 
 Routes from London to Paris. 
 
 23. By Folkestone, Boulogne, and Amiens ........ 378 
 
 24. By Dover, Calais, and Amiens 384 
 
 25. By Newhaven, Dieppe, and Rouen 386 
 
 26. By Southampton, Havre, and Rouen 393 
 
 List of Artists 397 
 
 Index 405 
 
 List of Maps and Plans.^ 
 
 A. Maps. 
 
 1. Railway Map of France, at the end of the book. 
 
 2. Bois de Boulogne, p. 156. 
 
 3. Immediate Environs of Paris, p. 292. 
 
 4. Asnieres, Rueil, and Bougival, p. 294. 
 
 5. St. Cloud and Sevres, p. 296. 
 
 6. Forest of Meudon, p. 300. 
 
 7. Vincennes and its Environs, p. 305. 
 
 8. Environs of St. Germain-en-Laye, p. 337. 
 
 9. St. Denis and Pontoise, p. 338. 
 
 10. Remoter Environs of Paris, p. 346. 
 
 11. Forest of Fontainebleau, p. 369. 
 
 12. Forest of Chantilly, p. 373.
 
 CONTENTS. xi 
 
 B. Flans. 
 
 1. Key-Plan of Paris. 
 
 2. Plan of Paris in three sections. 
 
 3. Special Plan of Arc de I'Etoile and Champ-de-Mars District. 
 
 4. „ „ „ Champs - Elyse'es, Western Boulevards, and 
 
 Louvre. 
 
 5. „ ., ., Eastern Boulevards. 
 
 6. ,, ,, ,, Hotel des Invalides and Palais du Luxem- 
 
 bourg District. 
 
 7. „ ., ,, Cite, Place de la Bastille, and Jardin des 
 
 Plantes. 
 
 8. Omnibus and Tramway Plan of Paris. 
 
 9. Historical Plan of the Louvre and Tuileries, p. 86. ' 
 10, 11, 12. Galleries of the Louvre, between pp. 86, 87. 
 
 13. Conservatoire des Arts et Metiers, p. 174. 
 
 14. Pere-Lachaise, p. 180. 
 
 15. Bibliotheque Nationale, p. 191. 
 
 16. Cemetery of Montmartre, p. 210. 
 
 17. Palais de Justice, p. 221. 
 
 18. Muse'e de Cluny, p. 232. 
 
 19. Ecole des Beaux-Arts, p. 250. 
 
 20. Jardin des Plantes, p. 264. 
 
 21. Mnsee d'Artillerie, p. 277. 
 
 22. Town and Park of Versailles, p. 310. 
 
 23. 24. Musee de Versailles, ground, first, and second floors 
 
 pp. 31'), 316. 
 
 25. St. Germain-on-Laye, p. 334. 
 
 26. Fontainebleau, p. 364. 
 
 27. Park of Chantilly, p. 373. 
 
 28. Boulogne, p. 378. 
 
 29. Amiens, p. 382. 
 
 30. Calais, p. 384. 
 
 31. Dieppe, p. 386. 
 
 32. Rouen, p. 388. 
 
 33. Le Havre, p. 394. 
 
 Abbreviations. 
 
 M. = Engl, mile; hr. = hour; min. = minute; r. = right; 
 1. = left; N. = north, northwards, northern; S. = south, etc. ; 
 E. = east, etc.; W. = west, etc. ; P. = room, route; B, = break- 
 fast; de'j. = dejeuner, luncheon; D. = dinner; A, = attendance; 
 L. = light. The letter d after a name, with a date, indicates the 
 year of the person's death. 
 
 Asterisks 
 are used as marks of commendation.
 
 INTRODUCTION. 
 
 I. Language. Money. Expenses. Season. Passports. 
 Custom House. 
 
 :'£|Langdage. For those who wish to derive instruction as well 
 as pleasure from a visit to Paris, the most attractive treasury of 
 art and industry in the world, some acq[uaintance with French is 
 indispensable. The metropolis of France, it is true, possesses Eng- 
 lish hotels, English professional men, English 'valets de place', 
 and English shops ; but the visitor who is dependent upon these is 
 necessarily deprived of many opportunities of becoming acquainted 
 with the most interesting characteristics of the place. 
 
 Money. The decimal Monetary System of France is extremely 
 convenient in keeping accounts. The Banque de France issues 
 Banknotes of 500U, 1000, 500, 200, 100, and 50 francs, and 
 these are the only banknotes current in France. The French 
 Gold coins are of the value of 100, 50, 20, 10, and 5 francs; 
 Silver coins of 5, 2, 1, 1/2? a^^d 1/5 franc; Bronze of 10, 5, 2, and 
 1 centime (100 centimes = 1 franc). '■Sou is the old name, still 
 in common use, for 5 centimes ; thus, a 5-franc piece is sometimes 
 called 'une piece de cent sous', 2 fr. = 40 sous , 1 fr. = 20 sous, 
 1/2 fr. = 10 sous. Italian, Belgian, Swiss, and Greek gold coins are 
 also received at their full value, and the new Austrian gold pieces 
 of 4 and 8 florins are worth exactly 10 and 20 fr. respectively. 
 Belgian, Swiss, and Greek sUver coins (except Swiss coins with the 
 seated figure of Helvetia) are also current at full value ; but Italian 
 silver coins, with the exception of 5-lira pieces, should be refused. 
 The only foreign copper coins current in France are those of Italy, 
 but in Paris Greek, Swiss, Belgian, and in fact any copper coins of 
 the approximate size and value, including the English penny and 
 halfpenny, are freely accepted as the equivalents of the 10 and 5 
 centime pieces. 
 
 English banknotes, gold, and even silver are generally received 
 at the full value, except at the shops of the money-changers, 
 where a trifling deduction is made. The table at the beginning of 
 the book shows the comparative value of the French, English, Ameri- 
 can, and German currencies, when at par. The currency of Belgium, 
 Switzerland, Italy, and Greece is the same as that of France. 
 
 The traveller should always be provided with small change 
 (petite monnaie) , as otherwise he may be put to inconvenience in 
 giving gratuities, purchasing catalogues, etc. 
 
 Expenses. The cost of a visit to Paris depends of course 
 on the tastes and habits of the traveller. If he selects a hotel of a 
 high class, dines at the table d'hote, or perhaps the 'Diner de Paris',
 
 I. SEASON, etc. xiii 
 
 partakes of wine of good though not extravagant quality, visits the 
 theatres, drives in the parks and environs, and finally indulges in 
 suppers (5 la carte , he must be prepared to spend 30 - 40 fr. a day 
 or upwards. Those, however, who visit Paris for the sake of its 
 monuments, its galleries, its collections, and not for its pleasures, 
 will have little difficulty, with the aid of the information in the 
 Handbook, in limiting their expenditure to 15-20 fr. a day. 
 
 Sbason. Spring and autumn are the best seasons for a visit to 
 Paris, the former perhaps deserving the preference as having fewer 
 rainy days. The long days of summer are in some respects admir- 
 ably adapted for sight-seeing; but the heat is often excessive, and 
 the absence after June of a large proportion of the ordinary resi- 
 dents deprives the city of one of its most characteristic features. 
 The winter is not generally severe, but the short days are incon- 
 venient for sight-seers. 
 
 Passports are now dispensed with in France, but they are often 
 useful in proving the traveller's identity, procuring admission to 
 museums on days when they are not open to the public, obtaining 
 delivery of registered letters, etc. 
 
 Foreign Office passports may be obtained through C. Smith and Sons, 
 63 Charing Cross; Lee and Carter, 440 West Strand; E. Stanford, 26 Cock- 
 spur St., Charing Cross; or W. J. Adams, 59 Fleet St. (charge 25.,- agent's 
 fee Is. Qd.). 
 
 Custom House. In order to prevent the risk of unpleasant de- 
 tention at the 'douane' or custom-house, travellers are strongly re- 
 commended to avoid carrying with them any articles that are not 
 absolutely necessary. Cigars and tobacco are chiefly sought for by 
 the custom-house officers. The duty on the former amounts to about 
 138., on the latter to 6-1 Os. per lb. Articles liable to duty should 
 always be 'declared'. Books and newspapers occasionally give rise 
 to suspicion and may in certain cases be confiscated. — Cyclists 
 entering France with their machines must deposit a sum equal to 
 the duty on the latter, which is returned to them on quitting the 
 country. Foreign members of the Touring Club de France (p. 36) 
 are, however, spared this formality. 
 
 n. Railways."^ 
 
 The fares per English mUe are approximately: Ist'cl. 18 c., 
 2nd cl. 12 c., 3rd cl. 8 c., to which a tax of ten per oent^on each 
 
 + Railway- station , la gave (also Vembarcadire)\ booking-office, le 
 guichet or bureau; first, second, or third class ticket, un billet de premiire, 
 de seconde. de troisitme classe ; to take a ticket, prendre un billet; to 
 register the luggage , /aire enregistrer les bagages; luggage-ticket, bulletin 
 de bagage; waiting-room, salle d''attente ; refreshment-room, le buffet(X\i\rA 
 class refreshment-room, la buvette); platform, le quai, le irottoir; railway 
 carriage, le wagon; compartment, le compartiment, le coupi; smoking com- 
 partment, fumeurs; ladies' compartment, dames seules; guard, conducieur ; 
 porter, facteur ; to enter the carriage, monter en wagon; take your seats! 
 era voiture! to alight, descendre; to change carriages, changer de voiture ; 
 express train to Calais, le train express pour Calais, Vexpress de Calais.
 
 xiv II. RAILWAYS. 
 
 ticket costing more than 10 fr. is added. Return - tickets (Billets 
 d' oiler et retour) are issued by all the railway-companies at a reduc- 
 tion of 2U-25 per centj those issued on Sat. and the eves of great 
 testivals are available for three days. On some of the suburban lines, 
 however, there is no reduction on return- tickets Tickets are usu- 
 ally collected at the 'sortie'. The mail trains (drains rapides') 
 generally convey lirst-class passengers only , and the express trains 
 (Hrains express'), first-class and second-class only. The carriages 
 are inferior to those in most other parts of Europe. The trains are 
 not always provided with smoking carriages, but in the others 
 smoking is allowed unless any one of the passengers objects. In the 
 long-distance trains reserved compartments for ladies are usually to 
 be found. 
 
 Before starting, travellers are generally cooped up in the close 
 and dusty waiting-rooms, and are not admitted to the platform until 
 the train is ready to receive them; nor is any one admitted to the 
 platform to take leave of friends without a platform-ticket (10 c.) 
 which may be obtained from the ticket-checker or in some cases 
 (e.y. at the Gare de Lyon) from an automatic machine. 
 
 Travellers within France are allowed 30 kilogrammes (66 Engl, 
 lbs.) of luggage free of charge; those who are bound for foreign 
 countries are allowed 25 kilogr. only (55 lbs.) ; 10 c. is charged 
 for booking. At most of the railway-stations there is a eonsigne, 
 or left-luggage office, where a charge of 10 c. per day is made for 
 one or two packages, and 5 c. per day for each additional article. 
 Where there is no consigne, the employees will generally take care 
 of luggage for a trifling fee. The railway-porters (facteurs) are not 
 entitled to remuneration, but it is usual to give a few sous for their 
 services. The occasionally extortionate demands of the Parisian 
 porters should be firmly resisted. — Dog Tickets cost 30 c. for 20 kilo- 
 metres (121/2 M.) or less, and 5 c. for each additional 3 kilometres 
 (13/4 M.), with 10 c. for 'registration'. 
 
 Railway Restaurants (usually dear and often poor) are found at the 
 principal stations, but the stoppages of the trains are usually so short 
 that travellers are advised to carry the necessary provisions with them. 
 
 Sleeping Carriages ( Wagons - His) and Restaurant Carriages ( Wagons- 
 restaurants) are run in the chief night and day expresses respectively. 
 Dg. 31 2-5, D. 41/2-7 fr. (wine extra), according to the line; 2nd cl. on cer- 
 tain lines in Normandy, dej. 21/4, D. 31/2 fr. — Pillows and Coverlets may 
 be hired at the chief stations (1 fr.). 
 
 The most trustworthy information as to the departure of trains 
 is contained in the Indicateur des Chemins de Fer, published weekly 
 (75 c), or in the Indicateur Paul JDupont (75 c). There are also 
 separate and less bulky time-tables for the different lines ('Livrets 
 Chaix'): du Nord, de I'Est, de I'Ouest, etc. (40 c); and the Livret 
 Chaix des Environs de Paris (25 c), sold also in separate parts at 10 c. 
 for the different lines. 
 
 Railway time is always that of Paris, but the clocks in the in-
 
 111. HISTORY. XV 
 
 terior ol the stations, by which the trains start, are purposely kept 
 five min. slow. Belgian (Greenwich or West Europe) railway time 
 is 4 min. behind, and 'Mid Europe' time (for Germany, Switzerland, 
 and Italy) 56 min. in advance of French railway time. 
 
 III. Outline of History. 
 
 a. History of France. 
 
 Merovingians. Clovis, sou of Childeric, King of Toumay, 
 finally expelled the Romans about the year 496, embraced Christi- 
 anity, and became the founder of the Merovinyian Lynasty, which 
 was so named from Meroveus, father of Clovis. 
 
 Carlovingians. Pepin (Le Bref), who became King of France 
 in 752 , was the founder of the second or Carlovingian Dynasty. 
 
 Charlemagne, 768. 
 
 Louis I. (Le Debonnaire), 814. 
 
 Charles U. (Le ChauveJ, 840. France separated from Germany 
 and Italy by the Treaty of Verdun, 843. — The subsequent monarchs 
 were unable to defend their country against hostile attacks..- The 
 dynasty was deposed in consequence, and the crown given in 887 
 to Count Odd, or Eudes, who had been instrumental in repelling 
 the Normans. 
 
 Gapetians. Hugh Capet , grand-nephew of Eudes, was the 
 founder of the third or Cap etian Dynasty (987). 
 
 Robert II. (Le Pieuxjj 996. 
 
 Henri I., 1031. 
 
 Philip I., 1060. William, Duke of Normandy, conquers Eng- 
 land, 1066. First Crusade under Godfrey de Bouillon, 1096. 
 
 Louis VI. (Le Qros), 1108. Suger (p. 338), the king's minister. 
 
 Louis VII. (Le Jeune), 1137, takes part in the Second Crusade 
 (1147). His divorced wife, Eleanor of Guienne and Poitou, marries 
 Henry Plantagenet, afterwards Henry H. of England. 
 
 Philip II. (Auguste), 1180, undertakes the Third Crusade, in 
 company with Richard Coeur-de-Lion , 1189. On his return he 
 attacks the English possessions in France, occupies Normandy, 
 Maine, and Poitou, and defeats the English, Flemish, and German 
 troops at Bouvines in 1214. 
 
 Louis VIII. (Le Lion), 1223, extends the royal power in the S. 
 of France. 
 
 Louis IX. (St. Louis), 1226. Crusades to Egypt and Tunis. 
 
 Philip III. (Le Hardi), 1270, acquires Provence by inheritance. 
 
 Philip IV. (Le Bel), 1265, convokes the Etats-Generaux for 
 the first time. He causes the papal residence to be transferred 
 to Avignon, and in 1307 abolishes the order of Knights Templar. 
 
 Louis X. (Le Hutin), 1314. 
 
 Philip V. (Le Long), 1316. 
 
 Charles IV. (LeBel), 1322, dies without issue.
 
 xvi III. HISTORY. 
 
 House of Valois. Philip VI. , 1328. War with England, 
 1339 ('Guerre de Cent Ans', 1339-1453). Battle of Crecy, 1346. 
 
 JoHx (Le Bon), 1350; defeated and taken prisoner by the 
 English at Poitiers, 1356. Peace of Britigny, 1360. 
 
 Charles V. (LeSage), 1364. The English expelled by Bertrand 
 du Guesclin. 
 
 Charles VI., 1380; becomes insane twelve years afterwards. 
 Defeat of the Flemings nnder Artevelde at Rosheck, 1382. War 
 of the Armagnacs. The French under the Constable d''Albret de- 
 feated by Henry V. of England at Agincourt or Azincourt, 1415. 
 Paris occupied by the English, 1421. 
 
 Charles VH., 1422. The siege of Orleans raised by Joan of 
 Arc, 1429. Coronation at Rheims. Joan burned at Rouen as a 
 witch, 1431. The English expelled. 
 
 Louis XI., 1461, after suppressing the Ligue du Bien Public, 
 which had been formed in consequence of his hasty and wide-reach- 
 ing reforms, succeeds in establishing the administrative and terri- 
 torial unity of the country. Burgundy, Franche-Comte, Artois, and 
 Provence are added to the French crown. Introduction of printing 
 and establishment of post-office. 
 
 Charles VIH., 1483, acquires Brittany by his marriage with 
 Anne de Bretagne. Conquest of Naples, 1495. Battle of St. Jacques 
 near Bale against the Swiss, 1444. 
 
 Louis XII. , 'Le plre du peuple\ 1498 , first king of the 
 younger branch of the House of Valois , conqueror of Milan and (in 
 alliance with the Spaniards) of Naples. Having quarrelled with his 
 Spanish allies, he is defeated by them on the Oarigliano in 1503, 
 on which occasion Bayard is present. The League of Cambrai 
 is formed for the purpose of expelling the Venetians from the main- 
 land of Italy. The Venetians defeated at Agnadello, 1509 ; but 
 they succeed in destroying the League, and in forming the Ligue 
 Sainte for the purpose of expelling the French from Italy. They 
 defeat the French at Ravenna, 1512. 
 
 Francis I., 1515, defeats the Swiss at Marignano, and recov- 
 ers the Duchy of Milan. Four wars with Charles V. for the 
 possession of Burgundy and Milan. Francis defeated and taken 
 prisoner at Pavia, 1525. The royal power becomes more absolute. 
 
 Henri II., 1547, husband of Catherine de Medicis, accidentally 
 killed at a tournament (p. 67). Metz, Toul, and Verdun annexed 
 to France, 1556. Final expulsion of the English. 
 
 Francis H., 1559, husband of Mary Stuart of Scotland. 
 
 Charles IX., brother of Francis II., 1560. Regency of Cathe- 
 rine de Medicis , the king's mother. Beginning of the Religious 
 Wars. Louis de Conde, Antoine de Navarre, and Admiral Co- 
 ligny, leaders of the Huguenots ; Francois de Guise and Charles 
 de Lorraine command the Roman Catholic army. Massacre of 
 St. Bartholomew, 24th August, 1572.
 
 III. HISTORY. xvii 
 
 Uenki III., 1574, brother of his two predecessors; flies from 
 Paris, where a rebellion had broken out, by the advice of his 
 mother, Catherine de M^dicis (d. 1588); assassinated at St. Cloud 
 by Jacques Clement , a Dominican friar. 
 
 House of Bourbon. Henri IV., 1589, first monarch of the House of 
 Bourbon, defeats the Roman Catholic League at Arques in 1589, and 
 at Ivry in 1590, becomes a Roman Catholic in 1593, captures Paris in 
 1594. Sully, his minister. Religious toleration granted by the Edict 
 of Nantes (1598). Henri, divorced from Margaret of Valois in 1599, 
 marries Marie de Medicis the following year ; assassinated by Ra- 
 vaillac in 1610. Paris greatly embellished during this reign. 
 
 Louis XIII., 1610; his mother Marie de Medicis, regent; she 
 is banished to Cologne, where she dies in 1642. Richelieu, his 
 minister (d. 1642). English fleet defeated at Re, 1627; La Ro- 
 chelle taken from the Huguenots. France takes part in the Thirty 
 Years' War against Austria. 
 
 Louis XIV. , 1643 , under the regency of his mother, Anne 
 of Austria. Ministers: Mazarin (d. 1661), Lou vols (d. 1691), and 
 Colbert (d. 1683). Generals: Turenne (d. 1675), Conde' (d. 1686), 
 Luxembourg (d. 1695). 
 
 "War of the Fronde against the court and Mazarin. Conde 
 (Due d'Enghien) defeats the Spaniards at Rocroy in 1643, and at 
 Lens in Holland in 1648. Turenne defeats the Bavarians at Freiburg 
 and at Nordlingen, 1644. The Peace of Westphalia (1648) assigns 
 Alsace to France, with Jhe exception of Strassburg and Montbeliard. 
 Submission of the Fronde. Peace of the Pyrenees, with Spain, 1659. 
 
 Death of Mazarin, 1661. The king governs alone. 
 
 Louis marries Maria Theresa, daughter of Philip IV. of Spain, 
 1660. After the death of his father-in-law, Louis lays claim to the 
 Spanish Netherlands. Turenne conquers Hainault and part of Flan- 
 ders, 1667. Conde occupies the Franche Comte. Peace of Aix-la- 
 Chapelle, in consequence of the Triple Alliance, 1668. 
 
 War with Holland, Passage of the Rhine, 1672. Occupation 
 of the provinces of Utrecht and Guelderland. Victories of Turenne 
 over the Imperial army at Sinzheim, Ensisheim, Miilhausen (1674), 
 and Tilrkheim (1675). Death of Turenne at Sassbach, 1675. 
 
 Admiral Duquesne defeats the Dutch fleet near Syracuse, 1676. 
 Marshal Luxembourg defeats William of Orange at MontcasseL 1677. 
 VesiCe of Nymweg en, 1678. Strassburg occupied, 1681. Occupation 
 of Luxembourg. Revocation of the Edict of Nantes, 1685. Devas- 
 tation of the Palatinate , 1688. Marshal Luxembourg defeats the 
 Imperial troops at Fleurus (1690) and Steenkerke (1692), and Wil- 
 liam of Orange at Neerwinden, 1693. The French fleet under Ad- 
 miral Tourville defeated by the English at La Hogue, 1692. Peace 
 of Rystoyck, 1697. 
 
 Spanish war of succession, 1701. Victory of Vendome at Luz- 
 zara (1702), and of Tallard at Speyer (1702). Taking of Landau, 
 
 Babdeker. Paris. 12th Edit. t)
 
 xviii III. HISTORY. 
 
 1702. Victory at Hoc/isiadi (1703); defeat a,t Hbchstddt, or Blen- 
 Jieim (1704), by the Duke of Marlborough and Prince Eugene 
 of Savoy. Marshal Villars defeated by Prince Eugene at Turin 
 (1705), and by Marlborough and the Prince at Bamillies (1709), 
 Oudenarde (1708), and Malplaquet (1709). Peace of Utrecht and 
 Rastadt, 1714. 
 
 During this reign French literature attains its zenith : Cor- 
 neille, Racine, Moliere, La Fontaine, Boileau, Bossuet, Fenelon, 
 Descartes, Pascal, La Bruyere, Mme. de Sevigne, etc. 
 
 Louis XV., 1715; ten years' regency oi the Duke of Orleans. 
 Marries Marie Lesczinska of Poland. Austrian war of succession 
 (1741-48). Defeat at Dettingen by George II. of England. Defeat of 
 the Dutch and English at Fontenoy (1744), of the Austrians under 
 Charles of Lorraine at Rocoux (1746), and of the Allies near Laeffelt 
 ( Law f eld) in 1747. Taking of Maastricht and Peace of Aix-la-Cha- 
 pelle, 1748. Naval war against England. 
 
 Seven years' war with England. Duke of Cumberland defeat- 
 ed by Marshal d'Estrees , 1757. The French under Prince de 
 Soubise defeated the same year by Frederick the Great at Ross- 
 hach, and in 1758 at Crefeld, by the Duke of Brunswick. The 
 French defeated at Minden (1759), etc. The French defeated by 
 Marshal Broglie Sit Bergen, 1760. — French possessions in N.Amer- 
 ica surrendered at the Peace of Paris, 1763. — Acquisition of 
 Lorraine (1766) and Corsica (1768). — Voltaire, Rousseau, and 
 Diderot the most influential writers. 
 
 Louis XVI., 1774, married to Marie Antoinette, daughter of 
 Francis I. and Maria Theresa. American War of Independence 
 against England, 1777-83. Exhaustion of the finances of France ; 
 Vergennes , Turgot , Necker , Calonne , Brienne , and Necker (a 
 second time), ministers of finance. 
 
 1789. Reyolution. Assembly of the States General at Ver- 
 sailles, 5th May. Their transformation into a National Assembly, 
 17th June. Oath of the Jeu de Paume (p. 329), 20th June. 
 Storming of the Bastille, 14th July. The 'Femmes de la Halle' at 
 Versailles, 5th Oct. Confiscation of ecclesiastical property, 2nd Nov. 
 
 1790. Fete de la Fe'de'ration in the Champ-de-Mars (p. 283). 
 
 1791. The Emigration. The royal family escapes from Paris, but 
 is intercepted at Varennes, 22nd June. Oath to observe the Con- 
 stitution, 14th Sept. Assemblee Legislative. 
 
 1792. War with Austria, 20th April. Storming of the Tuileries, 
 10th Aug. The king arrested, 11th Aug. Massacres in Sept. 
 Cannonade of Valmy against the Prussians, 20th Sept. The Na- 
 tional Convention opened, and royalty abolished, 21st Sept. 
 
 First Republic proclaimed, 25th Sept. Custine enters Mayence, 
 21st Oct. Battle of Jemappes against the Austrians, 6th Nov. Con- 
 quest of Belgium. 
 
 1793. Louis XVI. beheaded , 21st Jan. Republican reckoning
 
 III. HISTORY. xiK 
 
 of time introduced, 22nd Sept. t. Reign of Terror. The queen 
 beheaded, 16th Oct. Worship of Reason introduced , 10th Nov. 
 Loss of Belgium. 
 
 1794. Robespierre's fall and execution, 27th July. Jourdan's 
 victory at Fleurus, 16th June. Belgium reconquered. 
 
 1795. Conquest of Holland by Pichegru. Bonaparte commander 
 of the troops of the Convention against the Royalists, 4th Oct. 
 (13th Vendemiaire). Directory established, 27th Oct. 
 
 1796. Bonaparte's successes in Italy (Montenotte^ Millesimo^ 
 Lodi, Milan, Mantua, Castiglione, Bassano, and Areola). 
 
 1797. Victory at Rivoli, 17th Jan. Taking of Mantua, 2nd 
 Feb. The Austrians commanded by Archduke Charles, at first 
 victorious, are defeated by Bonaparte. Peace of Campo Formio^ 
 17th Oct. Change in the Directory on 18th Fructidor (4th Sept.). 
 
 1798. Bonaparte in Egypt. Victory of the Pyramids, 21st July. 
 Defeated by Nelson at the battle of the Nile, 1st Aug. 
 
 1799. Bonaparte invades Syria. Acre attacked. Victory of 
 Aboukir, 25th July. Fall of the Directory, 9th Nov. Establishment 
 of the Consulate, 24th Dec. Bonaparte First Consul. 
 
 1800. Bonaparte's passage of the St. Bernard, 13-16th May. 
 Victories at Piacenza, Montebello, Marengo, and Hohenlinden. At- 
 tempt to assassinate Napoleon at Paris, 23rd Dec. 
 
 1801. Peace of Luneville with Germany, 9th Feb. 
 
 1802. Peace of Amiens with England, 27th March. Bona- 
 parte (with Cambaceres and Lebrun) elected Consul for life. 
 
 First Empire. 1804. Napoleon I. proclaimed Emperor by the 
 Senate, 18th May; crowned by Pope Pius VII., 2nd Dec. 
 
 1805. Renewal of war with Austria. Capitulation of Ulm, 17th 
 Oct. Defeat of Trafalgar, 21st Oct. Battle of Austerlitz, 2nd Dec. 
 Peace of Pressburg, 26th Dec. 
 
 1806. Establishment of the Rhenish Confederation, 12th July. 
 War with Prussia. Battles of Jena and Auerstddt, 14th Oct. Entry 
 into Berlin, 27th Oct. Continental blockade. 
 
 1807. War with Russia and Prussia. Battles of Eylau and Fried- 
 land. Treaty of Tilsit, 8th July. Occupation of Lisbon, 30th Nov. 
 
 + The year had 12 months : Vendemiaire (month of the vendange, 
 or vintage) from 22nd Sept. to 21st Oct., Brumaire (brume, fog) 22nd Oct. 
 to 20th Nov., and Frimaire (frimas, hoar-frost) 21st Kov. to 20th Dec, were 
 the three autumn-months ; — Nivose {neige , snow) 21st Dec. to 19th Jan., 
 Pluviose ipluie , rain) 20th Jan. to 18th Feb., and Ventose (vent, wind) 
 19th Feb. to 20th March , winter - months ; — Germinal {germe, germ), 
 21st March to 19th April , Flore'al {/leur , flower) 20th April to i9th May, 
 and Prairial {prairie, meadow) 20th May to 18th June , spring-months ; — 
 Messidor (moisson , harvest) 19th June to 18th July , Thermidor (thenne, 
 warmth) 19th July to 17th Aug., and Fructidor (fruit, fruit) 19th Aug. to 
 16th Sept., summer months. — Each month had 30 days, and consisted of 
 3 decades, weeks being abolished. At the close of the year there were 
 b jours compUmentaires , 17th to 21st Sept. — The republican calendar 
 was discontinued by a decree of 9th Sept., 1805. 
 
 b*
 
 XX III. HISTORY. 
 
 1808. War in Spain, in order to maintain Joseph Bonaparte on 
 the throne. Code Napoleon. 
 
 1809. Conquest of Saragossa. Renewed war with Austria. 
 Battle of Eckmuhl. Vienna entered, 13th May. Battles of Aspern^ 
 or Essling, and Wagram. Peace of Vienna, 14th Oct. Abolition of 
 the temporal power of the pope. 
 
 1810. Marriage of Napoleon with Marie Louise , daughter of 
 Francis II. of Austria, 11th March. 
 
 1812. Renewed war with Russia. Battles of Smolensk and Bo- 
 rodino. Moscow entered, 15th Sept. Retreat begun, 19th Oct. 
 Passage of the Beresina. — Wellington's victory at Salamanca. 
 
 1813. Battles of Lutzen, Bautzen, Grossheeren, Dresden, Katz- 
 bach, Kulm, Leipsic (16-18th Oct), Hanau, etc. 
 
 1814. Battles of Brienne, La Rothiere, Montmirail, Laon, Arcis- 
 sur-Aube, and Paris. The Allies enter Paris, 31st March. Abdica- 
 tion of the Emperor, 11th April. His arrival at Elba, 4th May. 
 
 Restoration. 1814. Louis XVIII. proclaimed King, 6th April. 
 First Treaty of Paris, 30th May. 
 
 1815. Napoleon's return from Elba; at Cannes on 1st, and at 
 Paris on 20th March. Battles of Ligny and Waterloo, 16th and 
 18th June. Second entrance of the Allies into Paris, 7th July. 
 Napoleon banished to St. Helena, where he dies (5th May, 1821). 
 
 1823. Spanish campaign, to aid Ferdinand VII. , under the 
 Due d'Angouleme, son of Charles X. 
 
 1824. Charles X. 
 
 1830. Conquest of Algiers. — Revolution of July (27th-29th). 
 
 House of Orleans. 1830. Louis Philippe elected King, 7th 
 Aug. Continued war in Africa; consolidation of the French colony 
 of Algeria. 
 
 1832. Capture of Antwerp. 
 
 1840. Body of Napoleon transferred from St. Helena to Paris. 
 
 1842. Death of the Duke of Orle'ans. 
 
 1848. Revolution of February (23rd and 24th). 
 
 Second Bepublic. 1848. Sanguinary conflicts in Paris, 23rd to 
 26th June. Louis Napoleon, son of the former King of Holland, 
 elected President, 10th Dec. 
 
 1851. Dissolution of the Assemblee, Coup d'Etat, 2nd Dec. 
 
 Second Empire. 1852. Napoleon III., elected emperor by pie- 
 biscite, 2nd Dec. 
 
 1854. War with Russia. Crimean campaign. — 1859. War with 
 Austria. Battles of Magenta (4th June) and Solferino (24th June). 
 Peace of Villafranca, 11th July. — 1862. Mexican expedition. — 
 1867. Dispute with Prussia about Luxembourg. 
 
 1870. War with Prussia. Declaration of war, 19th July. Battles 
 in August : Weissenburg (4th), Worth (6th), Spichern (6th), Borny, 
 Rezonville, and Gravelotte (lAth , 16th, 18th), Beaumont (SOtYx). 
 Battle of Sedan, 1st Sept. Surrender of Napoleon III.
 
 III. HISTORY. xxi 
 
 Third Republic proclaimed, 4th Sept. Capitulation olStrassburg, 
 27th Sept., and of Mefz, 27thOct. Battles near Orleans, 2nd-4thDec. 
 
 1871. Battle o{ St. Quentin, 19th Jan. Capitulation of Paris, 
 28th Jan. The Germans enter Paris, 1st March. 
 
 CoMMUNAED Insurrectiox, 18th March. Seat of government 
 removed to Versailles, 20th March. Second siege of Paris, 2nd 
 April. Peace of Frankfort, 10th May. Paris occupied by the Gov- 
 eiiiment troops, 25th May. The Communard insurrection finally 
 quelled, 28th May. — M. Thiers, chief of the executive since 
 17th Feb., appointed President of the Republic, 31st August. 
 
 1873. Death of Napoleon III., 9th Jan. — Marshal Macmahon 
 appointed President instead of M. Thiers, 14th May. Final eva- 
 cuation of France by the German troops, 16th Sept. — Macmahon' s 
 tenure of the presidency fixed at seven years, 20th Nov. 
 
 1875. Republican Constitution finally adjusted, 25th Feb. 
 
 1879. M. Jules Grevy becomes President in place of Marshal 
 Macmahon. The Chambers of the Legislature return to Paris. 
 
 1881. Expedition to Tunis. — 1882-85. Expeditions to Ton- 
 quin and Madagascar. — 1885. Peace veith China, 9th June. Peace 
 with Madagascar, 17th Dec. — 1887. M. Sadi Carnot becomes Pre- 
 sident ill place of M. Grevy, 3rd Dec. — 1894. Assassination of 
 President Carnot, by the Italian Caserio, 24th June. M. J. Casimir 
 Perier elected president two days later. — 1895. Resignation of 
 Casimir Perier and election of M, Felix Faure to the presidency, 
 Jan. 15th and 17th. Expedition to Madagascar and annexation of 
 that island. 
 
 b. History of Paris. 
 
 At the time of the conquest of Gaul by Julius Caesar, the Parisii 
 were a tribe settled on the banks of the Sequana or Seine, and their 
 chief village was Lutetia^ situated on the present island of La Cite. 
 In course of time Lutetia gradually increased in importance and 
 became the occasional residence of several Roman emperors, among 
 whom were Constantius Chlorus (250?-306), who built the palace 
 of the Thermae, and Julian the Apostate (331-3631, who referred to 
 it as his 'dear Lutetia'. Gratian was defeated and slain by Maxi- 
 mus in the vicinity (383). 
 
 Christianity was introduced by St. Denis about 250 A.D. ; and 
 in 360 a council was convened in the town under the name of 
 Parisea Civitas, whence the modern name is derived. About a cen- 
 tury later, in 451, the city was spared by the Huns, at the inter- 
 cession of St. Genevieve, who was afterwards adopted as its patron 
 saint. Clovis (p. xv) established Paris as his capital in 608. 
 
 Under the Merovingian and Carlovingian monarchs, who seldom 
 resided at Paris, the city hardly extended. Little is known of it at 
 this epoch, of which almost the only building now left is the church 
 of St. Germain-des- Pres.
 
 ixii Til. HISTORY. 
 
 The latter half of the 9th and the 10th cent, were times of 
 calamity (p. xv), but under the Capetian Dynasty the trade of 
 Paris began to revive. The city attained considerable prosperity 
 under Louis VI., Le Gros (1108-37), while the names of Peter Lom- 
 bard and Abelard conferred fame upon it as a school of learning. The 
 Tour St. Jacques was built under Louis VL, but his two castles, 
 known as the Grand and the Petit Chdtelet, and his fortifications, 
 which superseded the Roman works, have disappeared. — The reign 
 of Louis VII. (1137-80) witnessed the establishment of the order 
 of Knights Templar at Paris and the foundation of Notre-Dame. 
 
 With Philip II. (1180-1223) a new era dawned for Paris. This 
 monarch erected aqueducts, fountains, markets, etc., paved the 
 principal streets, organized police, continued Notre-Dame, built a 
 chateau on the site of the Louvre^ and constructed the third zone of 
 fortifications round the expanding city. The schools of Paris were 
 henceforth known as a University and the trading corporation of the 
 Parisian Hansa was organized. 
 
 Under Louis IX. or St. Louis (1226-70), who built the Sainte- 
 Chapelle, Paris obtained various municipal privileges; and the Sor- 
 bonne was founded by Robert Sorbon, the king's chaplain. The 
 great annual fair which took place in the extensive plain between 
 Paris and St. Denis (Foire du Landit) and the famous Commercial 
 Code drawn up by Etienne Boileau in 1258 afford proof of the early 
 commercial importance of Paris. The population was then about 
 120,000. 
 
 Philip IV., Le Bel (1285-1314), founded the Parlemeni, or court 
 of justice of Paris, and convoked t\i&Etats-Generaux for the first time. 
 
 During the captivity of John (1350-64) in England (p. xvi) 
 the provost Etienne Marcel put himself at the head of the Parisians 
 and constructed the fourth line of fortifications, which was strength- 
 ened by the addition of the Bastille by Charles V. (1364-80). 
 Charles also extended the Louvre , and collected a Library^ which 
 was the nucleus of the Bibliotheque Nationale. 
 
 The reign of Charles VI. (1380-1422) was disastrous for Paris. 
 A tax upon provisions led to the revolt of the Maillotins^ followed 
 by the forfeiture of municipal privileges. Heavy contributions were 
 levied upon the town to meet the senseless expenditure of the court, 
 and the capital, like the rest of France, was torn by the factions of 
 the Armagnacs and the Burgundians. The cause of the latter was 
 violently espoused by the Cabochiens^ or butchers of Paris, who mur- 
 dered 10,000 citizens. For the first eighteen years of the reign of 
 Charles VII. (1422-61), Paris was held by the English. Their 
 expulsion was followed by a plague, of which 50,000 persons died 
 (1437-38), and by a famine. The three following reigns, however, 
 afforded the city time to recover, that of Louis XI. (1461-83) being 
 marked by the introduction of printing and the erection of the Hotel 
 de Cluny.
 
 in. HISTORY. xxiii 
 
 Francis I. (1515-47) did much to adorn and improve Paris, 
 at that time a city of 300,000 inhabitants. He began the present 
 palace of the Louvre, the Hotel de Ville, and the church of St. Eu- 
 stache. The persecution of the Protestants begun by Francis I. was 
 continued under his successors , and culminated in the sanguinat y 
 Massacre of St. Bartholomew (Aug. 24th, 1572) under Charles IX. 
 (1560-74). A return to toleration under Henri III. (1574-89) in- 
 stigated the formation of the Roman Catholic League. After the 
 assassination of his rival the Duke of Guise, the king was forced to 
 flee, and was himself assassinated while besieging Paris. 
 
 Henri IV. (1589-1610), having abjured Protestantism, entered 
 Paris in 1594. During this reign the metropolis was greatly embel- 
 lished. The building of the Louvre, the Tuileries, and the Pont 
 Neufvfere continued, the Hotel de Ville was completed, and the 
 Place Roy ale , the modern Place des Vosges, was built. Under 
 Louis XIII. (1610-43) the process of embellishment was continued. 
 The Luxembourg, the Palais-Royal .^ the churches of St. Roch, Val- 
 de-Grace, etc., were built; six new Quays constructed; and the 
 Jardin des Plantes laid out. Ste. Eustache was finished with the 
 exception of the portal; and the Royal Printing Works and the 
 Academie Fran^aise were founded. 
 
 Though at the beginning of the reign of Louis XIV. (1643 
 -1715) Paris suffered from the civil war of the Fronde, and though 
 its municipal institutions were sacrificed and itself abandoned by the 
 court, the metropolis continued to make great strides. The streets 
 began to be regularly cleansed, lighted, and watched. Visitors began 
 to crowd into the capital and the French nobles to erect town-man- 
 sions or 'hotels'. Paris gradually attracted to herself the skill and 
 talent of the whole country. The decorative arts in particular re- 
 ceived a great impulse , and began to extend their influence over 
 the whole of Europe, while, as we have said, French literature now 
 reached its zenith. This reign saw the foundation of the Hotel 
 des Invalides, various Libraries and Academies, the Observatory, 
 the Gobelins Manufacture, the Comedie Fran^aise, the Opera, etc. 
 The old fortifications were levelled and the Boulevards converted 
 into promenades, adorned with four triumphal arches, of which the 
 Porte St. Denis and the Porte St. Martin still remain. Similar 
 promenades were begun on the left bank. The Colonnade of the 
 Louvre, the Pont Royal, several Quays, the Place Vendome, Place 
 des Victoires, Place du Carrousel, the Garden of the Tuileries, the 
 Champs- Elysees, etc., all date from this reign. The population of the 
 city was then nearly 560,000. 
 
 Under Louis XV. (1715-74) the Ecole Militaire, Garde-Meuble 
 (Place de la Concorde), Pantheon, St. Sulpice, Palais Bourbon 
 (Chamber of Deputies), College Mazarin (Institui), Ecole de Me- 
 dicine, etc., were built, and the Place de la Concorde (originally Place 
 Louis XV.) laid out.
 
 xxiv ni. HISTORY. 
 
 The tempest which had long been gathering burst in the reign 
 of Louis XVI. (1774-93). During the Revolution the history of 
 Paris cannot well be separated from the history of France (see 
 pp. xviii, xix). 
 
 The frightful scenes of devastation enacted during the Revolu- 
 tion, especially in 1793, were at least beneficial in sweeping away 
 the overgrown conventual establishments, which occupied the best 
 sites and one-third of the area of the city. From this period, also, 
 date many of the great institutions of Paris, including the Ecole 
 Normale and Ecole Polytechnique^ the Musees du Louvre^ d' Artillerie, 
 and des Monuments FrauQais, the Conservatoire des Arts et Metiers^ 
 the Archives Nationales^ the Institute various Libraries^ etc. In 1797 
 the octroi barrier, a sixth line of wall begun by Louis XVI., was 
 completed on the site of the old exterior boulevards ; and in 1798 
 the first industrial exhibition was held. 
 
 Under Napoleon I. (1804-14), who aimed at making Paris the 
 capital of Europe, numerous sumptuous embellishments were added. 
 This emperor erected the Arc du Carrousel and the Colonne Ven- 
 dome^ continued the Louvre, added the facade of the Hotel du Corps- 
 Legislatif, began the Arc de I'Etoile, the Bourse, the Fonts d'Au^ter- 
 litz, des Arts, d'lena, and de la Cite, cleared the other bridges of the 
 houses that encumbered them, reared twenty-six public Fountains, 
 laid out sixty new Streets, etc. 
 
 During the somewhat inglorious period of the Restoeation 
 (1814-80), the city enjoyed a golden era of prosperity. It was 
 then that liberal politicians achieved their greatest triumphs, that 
 French literature and art used their utmost endeavours to resume 
 their world-wide sway, and that French society exhibited itself in 
 its most refined and amiable aspect. At this epoch Benjamin Con- 
 stant and Royer-Collard exercised very great influence on public 
 opinion; Thiers and Mignet, Victor Hugo and Lamartme began their 
 respective careers ; the 'Romantic School' attained high importance ; 
 and Paris became the recognised headquarters of Oriental studies 
 and a number of other important sciences. Civic improvements pro- 
 gressed comparatively slowly, though the Chapelle Expiatoire, Notre- 
 Dame-de-Lorette, St. Vincent de Paul, and the Fonts des Invalides, 
 de CArcheveche, and dArcole date from this period, while the intro- 
 duction of gas-lamps, omnibuses, and foot-pavements also took place. 
 
 Under Louis Philippe (1830-48) building was resumed with 
 fresh vigour. The Madeleine and the Arc de VEtoile were finished; 
 the Obelisk and the Colonne de Juillet were erected ; the Fonts Louis 
 Fhilippe and du Carrousel were built ; and the Musee de Cluny was 
 opened. The first railways date from this reign. The present Forti- 
 fications of Paris were also erected at this period, with Detached Forts, 
 to which others have been added since 1870. 
 
 Napoleon III. (1852 - 70). During the second empire Paris 
 underwent an almost entire transformation, on a scale of magui-
 
 m. HISTORY. XXV 
 
 flcence hitherto unparalleled. Dense masses of houses and num- 
 bers of tortuous streets were replaced by broad boulevards, spacious 
 squares, and palatial edifices. Ste. Clotilde, St. Augustin, La Trinite, 
 St. Ambrose, and other churches ; part of the Nouveau Louvre ; the 
 Hotel Dieu ; the Holies Centrales ^ the Tribunal de Commerce; the 
 Fonts de Solferino, deVAlma, du Point-du-Jour, and au Change; 
 the Opera and several Theatres; and numerous other public and 
 private edifices date from this reign. The Chemin de Fer de Cein- 
 ture^ the Sewers, the Aqueducts of the Dhuis and of the Vanne^ and 
 the transformation of the Bois de Boulogne and the Bois de Vincennes 
 were among the more important public works. Universal Exhibitions 
 were held in 1855 and 1867. 
 
 In 1860 the outlying communes between the old exterior boule- 
 vards and the fortifications were incorporated with the city, increas- 
 ing its area by about 1000 acres and its population by nearly 300,000. 
 The division of the city into twenty arrondissements (p. xxviii) also 
 dates from this period. In 1861 the total population was 1,667,841. 
 
 The events which led to the fall of the empire and those that 
 followed have already been sketched (p. xxi). 
 
 The siege of Paris in 1870-71 ranks among tlie most remarkable oc- 
 currences in tlie annals of modern warfare. After the decisive battle of 
 Sedan (p. xx) the victorious German troops pushed forward to Paris with- 
 out delay, while the Government of the National Defence under Gen- 
 eral Ti'ochu made the most strenuous exertions to place the capital in a 
 state of defence. Cattle and grain were sent into the city in immense 
 quantities, the roads by which the Germans would probably march were 
 rendered impassable, and the arming of the forts and the Enceinte (p. xxviii) 
 was proceeded with as rapidly as possible. The troops in Paris at the 
 beginning of the siege numbered about 200,000 men, but of these only 
 60,000 or 70,000 were regular soldiers. The besieging force was com- 
 posed of six army-corps under the Crown Prince of Prussia and the army 
 of the Meuse under the Crown Prince of Saxony, the full strength of 
 which consisted of 202,000 infantry, 34.000 cavalry, and 900 guns. 
 
 By 15th Sept., 1870, the advanced guard of the Crown Prince's army 
 was within 10 M. of Paris, and on the 17th a pontoon bridge was thrown 
 across the Seine at Villeneuve-St - Oeorges (p. 363). After a short but 
 severe contest at Sceaux with General Ducrot, Versailles was reached, 
 and here a few days later the German Headquarters were established 
 (comp. p. 311). Meanwhile the army of the Meuse had occupied the ground 
 on the right banks of the Seine and Marne , thus completing the investi- 
 ture. The aim of the besiegers was the reduction of the city by famine, 
 while the only course of defence practicable to the besieged was to pierce 
 the investing lines and establish communication with the relief army on 
 the Loire. 
 
 The first important sortie took place on 30th Sept., when General Vinoy, 
 with 10,000 men. made an ineflfectual effort to break the German lines at 
 Villejuif (p. 361), to the S. of Paris. A second attempt in the direction of 
 Clamart (p. 298) on 13th Oct., and a third on La Malmaison and Buzanval 
 (pp. 333, 297) on 2ist Oct. were equally ineffectual. It was during the 
 latter that St. Cloud was set on fire by a shell from Mont Valerien. The 
 sortie of 29th Oct. towards the N. was at first more successful, as the 
 French gained possession of the village of Le Bourget (p. 377). The Germans, 
 however, succeeded in recapturing it on the 31st, after prolonged fighting 
 and heavy loss. The besieged did not again assume the offensive till 
 30th Nov. , when Generals Trochu and Ducrot led large bodies of troops 
 against the German positions to the S.E. of Paris. For three days the
 
 xxvi IT. GENERAL REMARKS. 
 
 conflict was severely contested, but on 3rd Dec. the French generals were 
 compelled to withdraw their soldiers, enfeebled by cold and hunger, into 
 the city, leaving their object unaccomplished. A sortie towards Le Bourget 
 on 21st Dec. met with the same fate as the others. 
 
 In the meantime the besiegers had decided on a general bombard- 
 ment of the city. On 29th Dec. Mont Avron succumbed before the G-er- 
 man artillery, and from 5th Jan., 1871, onwards an active cannonade was 
 directed against the city from almost every point of its environment. The 
 distress of the besieged now reached its climax. The hopelessness of the 
 situation was recognised by all military authorities , but a final sortie 
 was undertaken in deference to public opinion. The National Guards, 
 who had hitherto been spared active service , took part in this sally, 
 which was directed against Vei'sailles , under cover of the guns of Mont 
 VaUrien. The French were once more driven back, with immense loss, 
 on 19th January. 
 
 Resistance was now at an end. On 23rd Jan. Jules Favre went to Ver- 
 sailles to negotiate an armistice , which was arranged on 28th Jan. On 
 the following day the Germans were put in possession of the forts. The 
 preliminaries of peace were concluded on 24th Feb. and signed on 28th 
 Feb. Part of the German army made a triumphal entry into Paris on 
 1st March, but was withdrawn in two days on the prompt ratification of 
 the treaty of peace by the National Assembly at Bordeaux. 
 
 The CoMMuxAED Insurrection entailed a second siege of Paris 
 (April 2nd-May 21st), more disastrous than the first, followed by a 
 fierce and sanguinary week of street-fighting. The Tuileries and 
 the Hotel de Yille were burned to. the ground, the Yendome Column 
 overthrown, and many other public and private edifices more or less 
 completely ruined. 
 
 Under the presidency of Thiers (1870-73) and MacMahon 
 (1873-79) Paris rapidly recovered from these disasters. Most of the 
 ruined buildings rose from their ashes, and new works were under- 
 taken on the occasion of the Universal Exhibition of 1878. The 
 Opera House was completed, the Avenue de VOpera was opened, the 
 Palais du Trocadero and the new Hotel de Ville were built. When 
 the Chambers of the Legislature returned to Paris in 1879, a new 
 period of prosperity definitely dawned for Paris , signalized by the 
 brilliant Exhibition of 1889, commemorating the Revolution of 1789. 
 The Eiffel Tower and the Ejchibition Palaces in the Champ de Mars 
 were built. 
 
 IV. General Remarks on Paris. 
 
 Paris, the capital and by far the largest town of France, is situ- 
 ated in 48*^50' N. lat. and 2° 21' E. long, on the Seine, which flows 
 through it from S.E. to S."W., forming a bold curve to the N. The 
 population in 1896 was 2,511,455, including about 181,000 for- 
 eigners. As early as the end of the 13th cent, the population was 
 nearly 200,000 ; in 1675, under Louis XIV. , it reached 540,000; 
 in 1789 it was 600,000; in 1852, 1,053,762; in 1860, after the 
 inclusion of the faubourgs, 1,525,235; in 1870, 1,825,274; and 
 in 1891, 2,447,000. This huge city, which occupies an area of 
 about 20,000 acres, of which 12,000 are covered with buildings,
 
 IV. GENERAL REMARKS. :xxvii 
 
 lies in a basin of tertiary formation, the borders of which are about 
 200-300 ft. above the level of the river and 420 ft. above that of 
 the sea. The most elevated points in or adjoining the city are the 
 heights of Charonne^ Menilmontant, Belleville (3S0 it.\ La Villette, 
 and Montmartre (420 ft.) on the right bank of the Seine, and those 
 oi La Maison Blanche, the Butte-aux-Cailles, a,nA Ste. Oenevilve 
 (198 ft.) on the left. The length of the part of the Seine within 
 the city is about 7 M. and is crossed by 30 bridges. It contains two 
 islands of some size, the lie St. Louis "and the lie de la Cite, each 
 formed by the union of several islets. 
 
 Paris is thus naturally divided into three parts ; the quarters on 
 the right bank, the Cite with the island of St. Louis, and the quar- 
 ters on the left bank. The old distinctions between Old Paris, the 
 Faubourgs, and the Communes Annexees have entirely disappeared 
 amid the great transformations of the past thirty years, during which 
 many of the ancient streets have been destroyed, the main arteries 
 of traffic prolonged to the fortifications, and the whole area covered 
 with large and handsome edifices. The only sensible difference 
 between the various districts now consists in the greater traffic 
 observable in the central quarters. A glance at the Plan will show 
 the limits of Old Paris, bounded by the first circle of boulevards, 
 the so-called Grands Boulevards (p. 71). It should be noted, 
 however, that on the left bank the old city of Paris extended as far 
 as the boulevards to the S. of the garden of the Luxembourg. 
 Outside the Great Boulevards lie the Old Faubourgs or suburbs, 
 the names of which are still preserved in those of the chief streets 
 radiating from the centre of the city, and extending to the Outer 
 Boulevards (^Boulevards Exterieurs, p. 71). The Faubourgs them- 
 selves are generally named after the corresponding district of the 
 old town. The most important on the right bank, named from E. 
 to W., are the Faubourgs St. Antoine, du Temple, St. Martin, St. 
 Denis, Poissonniere, Montmartre, and St. Honore. Those on the 
 left bank are less known, with the exception of the Faubourg St. 
 Germain, which from an early period formed part of the old city. 
 The Faubourgs of St. Antoine and the Temple are the great indus- 
 trial districts, the former being the headquarters of the manufac- 
 ture of furniture, and the latter of the various fancy articles classed 
 together as 'articles de Paris' (real and imitation jewellery, artificial 
 flowers, toys, articles in leather and carved wood, etc.). The Fau- 
 bourgs of St. Martin, St. Denis, and Poissonniere are rather commer- 
 cial than industrial , and form the centre of the wholesale and 
 export trade of the great capital. The streets near the centre of 
 the tovm, however, particularly the Great Boulevards, contain many 
 of the finest retail shops in Paris. The Faubourg Montmartre 
 and the quarters of the Exchange, the Palais-Royal, and the Op^ra 
 are the financial quarters of the town, and also contain nearly all 
 that is necessary for the comfort and entertainment of visitors
 
 xxviii IV. GENERAL REMARKS. 
 
 to Paris. The Faubourg St. Honore and the Champs-Elyse'es are 
 occupied by the mansions of the aristocracy of wealth, while the 
 Faubourg St. Germain is more or less sacred to the aristocracy 
 of blood, and contains most of the embassies and ministerial of- 
 fices. The Quartier Latin or Quartier des Ecoles, which adjoins the 
 Faubourg St. Germain on the E., owes its name to the fact of its 
 being the seat of the university and of many of the scientific insti- 
 tutions of Paris. It also contains several of the chief libraries. 
 
 The principal Communes Anjtexbbs, or outlying districts within 
 the fortifications, but not incorporated with the city till 1860, are 
 the following, enumerated from E. to W. : Bercy, carrying on an ex- 
 tensive wine and export trade ; Charonne, Menilmontant, Belleville, 
 La Villette, La Chapelle, and Montmartre, the principal quarters of 
 the working classes and the seat of the largest workshops ; Les Ba- 
 tignolles, with the studios of numerous artists and many handsome 
 private houses (on the side next the Park of Monceau]; Passy and 
 Auteuil, with their villas ; Grenelle, with iron foundries and chemical 
 works ; Vaugirard, Montrouge. etc. , inhabited by persons of moderate 
 means, small shopkeepers, and artisans, and containing numerous 
 large market-gardens. 
 
 The Administration of Paris is shared between a Prefect of the 
 ^eine, appointed by government, and a Town Council (Conseil Mu- 
 nicipale), elected by the citizens. The annual budget amounts to 
 300,000,000 fr. (upwards of 10,000,000Z.}. The city is subdivided 
 into twenty Abrondissbmbnts, separated from each other by the 
 principal arteries of traffic, and each governed by a Maire and two 
 councillors : 1. Louvre; 2. Bourse; 3. Temple; 4. Hotel de Ville ; 
 5. Pantheon; 6. Luxembourg; 7. Palais- Bourbon; 8. Elysee; 9. 
 Opera ; 10. Enclos St. Laurent (between the Rue du Faubourg-Pois- 
 sonniere and the Rue du Faubourg-du-Temple) ; 11. Popincourt 
 (extending from the Faubourg du Temple to the Faubourg St. An- 
 toine), 12. Reuilly (between the Faubourg St. Antoine and the 
 Seine); 13. Les Gobelins; 14. Observatoire ; 15. Vaugirard- Gre- 
 nelle ; 16. Passy; 17. Les Batignolles-Monceauz ; 18. Montmartre ; 
 19. Les Buttes-Chaumont ; 20. Menilmontant. 
 
 The Fortifications of Paris were constructed in consequence 
 of a decree of 1840, and were completed within five years at an 
 expense of 140 million francs (5,600,000 i.). The Enceinte, with its 
 94 bastions, is 21 M. in length. The ramparts, 82 ft. in height, 
 with a parapet 19 ft. in width, are environed by a moat 48 ft. in 
 width, and a glacis. The approaches to the city are also commanded 
 by seventeen Forts Detaches, at different distances from the city, 
 up to a maximum of 2 M. On the N. side, near St. Denis, are the 
 Forts de la Briche, Double Couronne du Nord, and de VEst; on the 
 E., Fort d' Aubervilliers , near Le Bourget, Forts de Romainville, de 
 Noisy, de Bosny , de Nogent , and de Vincennes, and the redoubts 
 de la Faisanderie and de Gravelle; on the left bank of the Marne
 
 IV. GENERAL REMARKS. xxix 
 
 lies Fort de Charenton ; to the S. , on the left bank of the Seine, 
 Forts d'lvry, de Bicetre, de Montrouge, de Vanves , and d'Isay; on 
 the W. , the Forteresse du Mont Val'rien. Most of these were entire- 
 ly destroyed in 1870-71 , hut have since been rebuilt. A second 
 line of forts, at a greater distance from the ramparts, has also been 
 constructed on the heights commanding the valley of the Seine. 
 On the right bank of the Seine: the Forts de Cormeilles, de Mont- 
 lignon, de Domon, Montmorency, d'Ecouen, de Stains^ deVaujours, 
 de Chelles, de Villiers, and de Villeneuve - St - Georges ; on the left 
 bank: the Forts de Chdtillon, de la Butte- Chaumont, de Palaiseau, 
 de Villeras, deHaut-Buc, de Saint-Cyr, de Marly, deSainte-Jamme, 
 and d'Aigremont. The area included within this elaborate system 
 of fortifications is 400 sq. M. in extent, and besides the capital it- 
 self embraces the seven towns of Versailles, Sceaux, Villeneuve- 
 St-Georges , St. Denis , Argenteuil , Enghien , and St. Germain- 
 en-Laye. 
 
 The general appearance of Paris is more uniform than that of 
 most other towns of its size, partly owing to the mixture of classes 
 resulting from the Great Revolution, but principally on account of 
 the vast schemes of improvement carried out in our own days. 
 
 The stranger is almost invariably struck by the imposing effecl 
 produced by the city as a whole, and by the width, straightness, and 
 admirable condition of the principal streets. Picturesqueness has 
 doubtless been greatly sacrificed in the wholesale removal of the 
 older buildings, but the superior convenience and utility of those 
 spacious thoroughfares is easily appreciated; and the amount of 
 traffic in them proves that their construction was a matter of almost 
 absolute necessity. Most of them, built at the same period and of- 
 ten as a mere building speculation, exhibit an almost wearisome 
 uniformity of style, but in those at a distance from the central 
 quarters considerable variety of taste is often shown. 
 
 The central quarters of the city are remarkably bustling and 
 animated, but owing to the ample breadth of the new streets and 
 boulevards and the fact that many of them are paved with asphalt 
 or wood, Paris is a far less noisy place than many other large cities. 
 Its comparative tranquillity, however, is often rudely interrupted 
 by the discordant cries of the itinerant hawkers of wares of every 
 kind , such as 'old clothes' men , the vendors of various kinds ot 
 comestibles, the crockery-menders, the 'fontaniers' (who clean and 
 repair filters, etc.), the dog-barbers, and newspaper-sellers. As a 
 rule, however, they are clean and tidy in their dress, polite in man- 
 ner, self-respeoting, and devoid of the squalor and ruffianism which 
 too often characterise their class. In many cases they claim to have 
 plied their vociferous trades ever since the middle -ages. Their 
 pronunciation will, of course, often puzzle the uninitiated. On the 
 long vowels and the letter r they usually lay prodigious stress, while
 
 XXX IV. GENERAL REMARKS. 
 
 the short vowels are either prononnoed in a very light and airy 
 fashion oraltogether omitted. Another characteristic, though modern, 
 feature in the street-noises of Paris consists of the hoarse blasts of 
 the horns of the tramway-cars. 
 
 As a rule the Parisian may he said to invite and deserve the 
 confidence of travellers. Accustomed hy long usage to their pre- 
 sence, he is skilful in catering for their wants, and recommends 
 himself to them hy his politeness and complaisance. In return the 
 traveller in France should accustom himself to the inevitable ^s'il 
 vous plait\ when ordering refreshments at a cafe or restaurant, or 
 making any request. It is also customary to address persons even of 
 humble station as ^Monsieur , ^Madame', or ^Mademoiselle'. 
 
 The Sergents de Ville, or Gardiens de la Paix, who are to be 
 met with in every street and public re5ort, are always ready to 
 give information when civilly questioned. Visitors should avoid the 
 less frequented districts after night-fall, and, as a general rule, it is 
 not advisable to linger even in other quarters later than 1 a.m. They 
 should also be on their guard against the huge army of pickpockets 
 and other rogues, who are quick to recognize the stranger and skilful 
 in taking advantage of his ignorance. It is perhaps unnecessary 
 specially to mention the card-sharpers sometimes met with in the 
 suburban and other trains, or the various other dangers to purse and 
 health which the French metropolis shares with other large towns. 
 
 The Parisian directory, published annually, and familiarly known 
 as the ^BoUin\ which may be consulted at the principal hotels and 
 cafes and also (for a fee of 10-15 c.) at various book-shops, will often 
 be found useful by those who make a prolonged stay at Paris. It con- 
 sists of two huge volumes, one of which containsalistof the streets 
 and their inhabitants , while the other gives the addresses of the 
 most important persons in the provinces, and even of a number of 
 persons in foreign countries. 
 
 All strangers intending to settle in Paris must make a Declaration of 
 their intention, with proof of their identity, within fifteen days, at the 
 Prefecture de Police, 36 Quai des Orfevres (Palais de Justice), between 
 10 and 4. Foreigners who intend to practise any trade, business, or pro- 
 fession in Paris or other part of France must also make a declaration to 
 that eflfect within a week. 
 
 Paris is not only the political metropolis of France , but also 
 the centre of the artistic, scientific, commercial, and industrial life 
 of the nation. Almost every branch of French industry is repre- 
 sented here, from the fine-art handicrafts to the construction of 
 powerful machinery ; but Paris is specially known for its 'articles 
 de luxe' of all kinds. 
 
 Paris has long enjoyed the reputation of being the most cosmo- 
 politan city in Europe, where the artist, the scholar, the merchant, 
 and the votary of pleasure alike find the most abundant scope for 
 their pursuits. Nor does this boast apply to modern times only ; for
 
 V. WEIGHTS AND MEASURES. xxxi 
 
 there have been periods when it was more generally admitted to be 
 justifiable than at the present day. For its early cosmopolitan char- 
 acter the city was chiefly indebted to its University, to which stu- 
 dents of all nationalities flocked in order to be initiated into the 
 mysteries of the scholasticism which was taught here by its most ac- 
 complished professors. At the same time industrial and commercial 
 pursuits made rapid strides, in consequence of which the population 
 increased rapidly, and an extension of the municipal boundaries was 
 repeatedly rendered necessary. The adverse fortunes of the French 
 kings frequently compelled them to give up their residence in the 
 capital; but the municipal element continued steadily to develop 
 itself, and at the present day forms the chief characteristic of the city. 
 During the Revolution and the period immediately succeeding it, 
 the unquestioned predominance of Paris, which had steadily grown 
 since the reign of Louis XIV., received a temporary check from the 
 political disorganisation of the day ; but under the Directory, and 
 particularly during the First Empire, the city speedUy regained its 
 pre-eminence. With a similar buoyancy Paris not only survived the 
 revolutions of 1830 and 1848 but has recovered from the shock of 
 the appalling disasters of 1870-71 , which seemed to threaten its 
 very existence. 
 
 V. Weights and Measures. 
 
 
 
 
 
 (In use 
 
 since 
 
 L799.) 
 
 
 
 
 
 ^ 
 
 
 
 "S 
 
 S 
 
 S 
 
 £ 
 
 S 
 
 
 
 
 
 ^ 
 
 1 
 
 « 
 
 ^ 
 
 i 
 
 u 
 
 35 
 
 1 
 
 
 I 
 
 1 
 
 
 "y) 
 
 
 'bC 
 
 S 
 
 1 
 
 1 
 
 ■a 
 
 2 
 
 % 
 
 
 H 
 
 a 
 
 jS 
 
 -« 
 
 a 
 
 
 
 zx 
 
 a 
 
 ti 
 
 9 
 
 
 8 
 
 W 
 
 3 
 
 a 
 
 W 
 
 w 
 
 « 
 
 ui 
 
 ^ 
 
 < 
 
 » 
 
 » 
 
 < 
 
 1 
 
 0,30 
 
 1 
 
 3,28 
 
 1 
 
 1,61 
 
 1 
 
 0,62 
 
 1 
 
 0,40 
 
 1 
 
 2,47 
 
 2 
 
 0,61 
 
 2 
 
 6,56 
 
 2 
 
 3.22 
 
 2 
 
 1,21 
 
 2 
 
 0,81 
 
 2 
 
 4,94 
 
 3 
 
 0,91 
 
 3 
 
 9.84 
 
 3 
 
 4,83 
 
 3 
 
 1,86 
 
 3 
 
 1,21 
 
 3 
 
 7,41 
 
 4 
 
 1,22 
 
 4 
 
 13,12 
 
 4 
 
 6.44 
 
 4 
 
 2,4S 
 
 4 
 
 1,61 
 
 4 
 
 9,8S 
 
 5 
 
 1,52 
 
 5 
 
 16.40 
 
 5 
 
 8,04 
 
 5 
 
 3,10 
 
 5 
 
 2,02 
 
 5 
 
 12.35 
 
 6 
 
 1,83 
 
 6 
 
 19,69 
 
 6 
 
 9,65 
 
 6 
 
 3,73 
 
 6 
 
 2,42 
 
 6 
 
 14,82 
 
 7 
 
 2,13 
 
 7 
 
 22,97 
 
 7 
 
 11,26 
 
 7 
 
 4,35 
 
 7 
 
 2,83 
 
 7 
 
 17,30 
 
 8 
 
 2,44 
 
 8 
 
 26,25 
 
 8 
 
 12,87 
 
 8 
 
 4,97 
 
 8 
 
 3,23 
 
 8 
 
 19,77 
 
 9 
 
 2.74 
 
 9 
 
 29,53 
 
 9 
 
 14,68 
 
 9 
 
 5,6T 
 
 9 
 
 3,63 
 
 9 
 
 22,24 
 
 10 
 
 3,04 
 
 10 
 
 32,81 
 
 10 
 
 16,09 
 
 10 
 
 6,21 
 
 10 
 
 4,04 
 
 10 
 
 24,71 
 
 11 
 
 3,35 
 
 11 
 
 36,09 
 
 11 
 
 17,70 
 
 11 
 
 6,83 
 
 11 
 
 4.44 
 
 11 
 
 27,19 
 
 12 
 
 3,66 
 
 12 
 
 39,37 
 
 12 
 
 19,31 
 
 12 
 
 7,45 
 
 12 
 
 4,85 
 
 12 
 
 29,65 
 
 13 
 
 3,96 
 
 13 
 
 4-2,65 
 
 13 
 
 20,92 
 
 13 
 
 8,07 
 
 13 
 
 625 
 
 13 
 
 32,12 
 
 14 1 4,27 
 
 14 
 
 45,93 
 
 14 
 
 22,53 
 
 14 
 
 8,69 
 
 14 
 
 566 
 
 14 
 
 34,59 
 
 15 14,57 
 
 16 
 
 49,21 
 
 15 
 
 24,13 
 
 15 
 
 931 
 
 15 
 
 6,06 
 
 15 
 
 37,05 
 
 16 4,88 
 
 16 
 
 52,49 
 
 16 
 
 2;3,74 
 
 16 
 
 9,98 
 
 16 
 
 6,46 
 
 16 
 
 39,53 
 
 17 5,18 
 
 17 
 
 55,7S 
 
 17 
 
 27135 
 
 17 
 
 10,55 
 
 17 
 
 6,87 
 
 17 
 
 42,00 
 
 18 5,49 
 
 18 
 
 59.06 
 
 18 
 
 28,96 
 
 18 
 
 11,18 
 
 18 
 
 7,27 
 
 18 
 
 44,47 
 
 19 5,79 
 
 10 
 
 62,34 
 
 19 
 
 30,67 
 
 19 
 
 11,80 
 
 19 
 
 7,67 
 
 19 
 
 46,96 
 
 20 6,10 
 
 20 
 
 65,62 
 
 20 
 
 32,18 
 
 20 
 
 12,42 
 
 20 
 
 8.08 
 
 20 
 
 49,42
 
 xxxii V. THERMOMETRIC SCALES. 
 
 The English equivalents of the French weights and measures 
 are given approximately. 
 
 MUlier = 1000 kilogrammes = 19 cwt. 2 qrs. 22 lbs. 6 oz. 
 Kilogramme , unit of weight , = 21/5 lbs. avoirdupois = 
 
 27/io lt)s. troy. 
 Quintal = 10 myriagrammes = 100 kilogrammes = 220 lbs. 
 Hectogramme (i/io kilogramme) = 10 decagrammes = 100 gr. 
 = 1000 decigrammes. (100 grammes = 31/5 oz. ; 15 gr. 
 = 1/2 oz. ; 10 gr. = 1/3 oz. ; 71/2 gr. = V4 oz.) 
 
 Hectolitre = i/^o cubic metre = 100 litres = 22 gallons. 
 Decalitre = 1/100 cubic metre = 10 litres = 21/5 gals. 
 Litre unit of capacity, = I3/4 pint; 8 litres = 7 quarts. 
 
 The following terms of the old system of measurements are 
 still sometimes used: — 
 
 Livre = 1/2 kilogramme = l^/io ^^- Pi^d = Vs naetre = 13 in. 
 
 Aune = 11/5 metre = 1 yd. 11 in. Toise = l^/io metre = 
 2 yds. 4 in. 
 
 Lieue = 2^/2 miles. Arpent = I1/25 acre. 
 
 Sutler = 11/2 hectolitre = 33 gals. 
 
 Thermometric Scales. 
 
 
 « 
 
 
 
 .-^ 
 
 
 
 ^ 
 
 
 
 *j 
 
 
 
 1 
 
 
 :3 
 
 J 
 
 
 
 
 *S 
 
 
 ^1 
 
 
 
 ,4 
 
 
 a 
 
 a 
 
 s 
 
 a 
 
 <u 
 
 s 
 
 a 
 
 SJ 
 
 B 
 
 S 
 
 3 
 
 s 
 
 
 'S 
 
 
 
 Pi 
 
 
 3 
 
 
 •s< 
 
 
 
 
 •El 
 
 c3 
 
 ^ 
 
 
 
 .a 
 
 'm 
 
 <3 
 
 ^ 
 
 5 
 
 c3 
 
 ,4 
 
 00 
 
 '^ 
 
 
 
 
 cj 
 
 "3 
 
 vqj 
 
 d 
 
 <0 
 
 -(O 
 
 ^ 
 
 "3 
 
 Pj 
 
 fe 
 
 
 
 ^ 
 
 ^ 
 
 
 
 P5 
 
 fe 
 
 
 
 pj 
 
 fn 
 
 
 
 +30,22 
 
 +100 
 
 +37,78 
 
 +21,78 
 
 +81 
 
 +27,22 
 
 +13,33 
 
 +62 
 
 +16.67 
 
 +4,89 
 
 +43 
 
 +6,11 
 
 29,78 
 
 99 
 
 37,22 
 
 21,3a 
 
 80 
 
 26,67 
 
 12,89 
 
 61 
 
 16,11 
 
 4.44 
 
 42 
 
 5,56 
 
 29,33 
 
 98 
 
 36,67 
 
 20,89 
 
 79 
 
 26,11 
 
 12,44 
 
 60 
 
 15,56 
 
 4,00 
 
 41 
 
 5,00 
 
 28,89 
 
 97 
 
 36,11 
 
 20,44 
 
 78 
 
 25,56 
 
 12,00 
 
 59 
 
 15,00 
 
 3,56 
 
 40 
 
 4,44 
 
 28,44 
 
 96 
 
 35,56 
 
 20,00 
 
 77 
 
 25,00 
 
 11,56 
 
 58 
 
 14,44 
 
 3.11 
 
 39 
 
 3,89 
 
 28,00 
 
 95 
 
 35,00 
 
 19,56 
 
 76 
 
 24,44 
 
 1111 
 
 57 
 
 13,89 
 
 2,67 
 
 38 
 
 3,33 
 
 27,56 
 
 94 
 
 34,44 
 
 19,11 
 
 75 
 
 23,89 
 
 10,67 
 
 56 
 
 13,33 
 
 2,22 
 
 37 
 
 2,78 
 
 27,11 
 
 93 
 
 33,89 
 
 18,67 
 
 74 
 
 23.33 
 
 10,22 
 
 55 
 
 12,78 
 
 1,78 
 
 36 
 
 2,22 
 
 26,67 
 
 92 
 
 33.33 
 
 18,22 
 
 73 
 
 22,78 
 
 9,78 
 
 54 
 
 12.22 
 
 1,33 
 
 35 
 
 1,61 
 
 26,22 
 
 91 
 
 32,78 
 
 17,78 
 
 72 
 
 22,22 
 
 9,33 
 
 53 
 
 11,67 
 
 0,89 
 
 34 
 
 1,11 
 
 25,78 
 
 90 
 
 32.22 
 
 17,33 
 
 71 
 
 2167 
 
 8,89 
 
 52 
 
 11,11 
 
 0,44 
 
 33 
 
 0,56 
 
 25.33 
 
 89 
 
 31,67 
 
 16,89 
 
 70 
 
 21,11 
 
 8,44 
 
 51 
 
 10,56 
 
 0,00 
 
 32 
 
 0,00 
 
 24,89 
 
 88 
 
 31,11 
 
 16,44 
 
 69 
 
 20,56 
 
 8.00 
 
 50 
 
 10,00 
 
 -0,44 
 
 31 
 
 -0,56 
 
 24,44 
 
 87 
 
 30,56 
 
 16,00 
 
 6S 
 
 20,00 
 
 7;56 
 
 49 
 
 9,44 
 
 0,89 
 
 30 
 
 1,11 
 
 24,00 
 
 86 
 
 30,00 
 
 15,56 
 
 67 
 
 19,44 
 
 7,11 
 
 48 
 
 8,89 
 
 1.33 
 
 29 
 
 1,67 
 
 23,56 
 
 85 
 
 29,44 
 
 15,11 
 
 66 
 
 18,89 
 
 6,67 
 
 47 
 
 8.33 
 
 1,78 
 
 28 
 
 2,22 
 
 23,11 
 
 84 
 
 28,89 
 
 14,67 
 
 65 
 
 18,33 
 
 6,22 
 
 46 
 
 7,78 
 
 2,22 
 
 27 
 
 2,78 
 
 22,67 
 
 83 
 
 28,33 
 
 14,22 
 
 64 
 
 17,78 
 
 5,78 
 
 45 
 
 7,22 
 
 2,67 
 
 26 
 
 3 33 
 
 22,22 
 
 82 
 
 27,78 
 
 13,78 
 
 63 
 
 17,22 
 
 5,33 
 
 44 
 
 6,67 
 
 3,11 
 
 25 
 
 3,89
 
 VI. Remarks on Northern France. 
 
 The majority of visitors to Paris will find comparatively little to 
 Interest them in the provinces of Northern France. The scenery is 
 seldom so attractive as to induce a prolonged stay , while the 
 towns are mere repetitions of the metropolis on a small scale. 
 The modern taste for improvement , which has been so strongly 
 developed and so magnificently gratified in Paris, has also mani- 
 fested itself in the provincial towns. Broad and straight streets 
 with attractive shop -windows are rapidly superseding old and 
 crooked lanes; whole quarters of towns are being demolished, and 
 large, regular squares taking their place ; while the ramparts of 
 ancient fortifications have been converted into boulevards, faintly 
 resembling those at Paris. Admirably adapted as these utilitarian 
 changes doubtless are to the requirements of the 19th (;entury, it 
 cannot but be deeply regretted that the few characteristic rem- 
 nants of antiquity which survived the storms of the wars of the 
 Huguenots and the great Revolution , and have hitherto resisted 
 the mighty centralising influence of the metropolis, are now rapidly 
 vanishing. Those who were acquainted with such towns as Rouen 
 and Angers about the year 1850 or earlier will now become pain- 
 fully aware of this fact. 
 
 The towns of France, as a rule, present less variety than those 
 of most other countries. They almost invariably rejoice in their 
 boulevards, glass-arcades, 'jardins des plantes', theatres, and cafes, 
 all of which are feeble reproductions of their great Parisian models. 
 Each also possesses its museum of natural history, its collection 
 of casts and antiquities, and its picture-gallery, the latter usually 
 consisting of a few modern pictures and a number of mediocre 
 works of the 17th and 18th centuries. 
 
 The magnificent churches, however, which many of these towns 
 possess, offer attractions not to be disregarded by even the most 
 hasty traveller. The Gothic style, which originated in France, has 
 attained a high degree of perfection in the northern provinces, espe- 
 cially in Normandy, which was a district of great importance in the 
 middle ages. Architects will find abundant material here for the 
 most interesting studies, and even the amateur cannot fail to be 
 impressed by the gems of Gothic architecture, such as St. Ouen at 
 Rouen, or the cathedral of Chartres, notwithstanding the alterations 
 which most of them have undergone. The Huguenots made de- 
 plorable havoc in the interiors of the churches, and the Revolution 
 followed their example and converted the sacred edifices into 'Tem- 
 ples of Reason'. The task of restoring and preserving these noble 
 monuments has been begun and is now everywhere progressing. 
 
 Hotels of the highest class and fitted up with every modern 
 comfort are found in such towns only as Havre, Rouen, Dieppe, and 
 Tours, where the influx of visitors is very great, and where the 
 
 BAEDEKJiK. Paris. 12tli Edit.
 
 xxxiv VI. GENERAL REMARKS ON N. FRANCE. 
 
 charges are quite on a Parisian scale. In othei places the inns 
 generally retain their primitive provincial characteristics, which, 
 were it not for their frequent Tvant of cleanliness, might prove 
 lather an attraction than otherwise. The usual charges at houses 
 of the latter description are — R. 2 fr., L. 25-50 c, A. 50 c. 
 The table d'hote dinner (3-4 fr.) at 5. 30 or 6 o'clock is generally 
 better than a repast procured at other places or hours. The dejeuner 
 (11/2-2 fr.) at 10 or 11 o'clock will be regarded as superfluous by 
 most English travellers , especially as it occupies a considerable 
 time during the best part of the day. A slight luncheon at a cafe, 
 which may be partaken of at any hour , will be found far more 
 convenient and expeditious. In southern districts, as on the 
 Loire , wine is usually included in the charge for dinner. In 
 Normandy a kind of cider is frequently drunk in addition to, or 
 as a substitute for wine. The usual fee for attendance at hotels 
 is 1 fr. per day , if no charge is made in the bill ; if service is 
 charged, 50 c. a day in addition is generally expected. At the cafes 
 also the waiters expect a trifling gratuity, but the obnoxious system 
 is not carried to such an extent as in the metropolis. 
 
 The Chueches , especially the more important , are open the 
 whole day; but, as divine service is usually performed in the 
 morning and evening, the traveller will find the middle of the day 
 or the afternoon the most favourable time for visiting them. The 
 attendance of the sacristan, or 'Suisse', is seldom necessary; 
 the usual gratuity is 50 c. 
 
 Considerable English communities are resident in many of 
 the towns mentioned in the Handbook, and opportunities of 
 attending English churches are frequent (e. g. at Calais, Boulogne, 
 Dieppe, Havre, and Rouen). 
 
 The Museums are generally open to the public on Sundays 
 and Thursdays from 12 to 4 o'clock, when they are often crowded. 
 Visitors may always obtain access at other times for a gratuity 
 (1 fr.). Catalogues may be borrowed from the concierge. 
 
 A fuller account of N. France is given in Baedeker s Handbook 
 to Northern France.
 
 Remarks on French Art 
 
 by 
 
 Prof. Anton Spbingeb.. 
 
 The visitor to the Metropolis of France will naturally be desi- 
 rous of knowing something about the character and history of the 
 national art, the chief monuments of which, at least in the provin- 
 ces of painting and sculpture, are collected in the great public 
 galleries of the Louvre and the Luxembourg. The Frenchman 
 and the foreigner alike will be chiefly attracted by the works of the 
 modern school in these collections ; but the works of an earlier pe- 
 riod are also deserving of notice, both on account of their historical 
 value, and as tending to throw light on the recent development and 
 present position of French art. 
 
 The different phases through which art has passed in France in 
 the course of centuries have been surprisingly numerous. For a 
 long period French artists served an apprenticeship with Nether- 
 landers, Italians , and other foreign masters , until at length they 
 evolved a peculiar style of their own which gained them univer- 
 sal applause. They attained this distinction in the 18th century, 
 and they enjoy a renewal of it at the present day, but their earliest 
 triumphs were in the department of architecture so far back as the 
 12th and i3th centuries. It is well known that the Gothic Style was 
 first brought to perfection in Northern France, and that it was after- 
 wards more or less directly adopted and imitated throughout the 
 whole civilised world. In France itself, however, its development 
 was frequently interrupted by political dissensions and civil war. 
 In the 15th century, when the country had recovered its political 
 stability and was preparing to enter on a career of great historical 
 importance , the Flemings took precedence of their French neigh- 
 bours in the province of art. A busy traffic in works of art between 
 the two countries now began, and richly-illuminated MSS. in par- 
 ticular were frequently executed in Flanders for the French court. 
 The precise period at which France ceased to be exclusively the 
 recipient has not yet been ascertained. As a great painter of the 
 15th century, we may mention Jean Fouquet of Tours (born about 
 1415), who seems to have been educated both in Italy and in France 
 itself. The Renaissance era now began , but it was not without 
 hesitation that the French painters followed in the footsteps of the 
 Italians. Francois Clouet^ surnamed Jehannet (born at Tours in 
 1500, died about 1572), for example, still follows in his portraits 
 (Charles IX. and his consort) the stiff old Frankish style. The 
 
 b*
 
 xxxvi FRENCH ART. 
 
 arcMteets, on the other hand , adopted the new style more readily, 
 incorporating it with their own in a series of baronial chateanx, 
 particularly in Touraine , and thus unconsciously , but effectually 
 establishing the French Renaissance Architectubb, a style which 
 has to some extent again come into vogue at the present day. 
 
 In the 17th century art in France was still dependent, partly on 
 that of Italy, and partly on that of the Netherlands. Thus Simon 
 Vouet (1590-1649) adopted the style of the Italian school, in which 
 a stirring revival took place in his time ; and to the same school 'be- 
 longed. Nicolas Pons sin (1594-1665), the most admired master of 
 his age, whose skill and industry, however, hardly sufficed to con- 
 ceal his natural want of freshness and originality. His compositions 
 are too studied, each group betrays the deliberate calculation with 
 which it has been designed, and it is evident that his reason has 
 too often entirely overruled his imagination ; whereas Rubens , on 
 the other hand, an equally learned and accomplished man, has often 
 obviously had difficulty in curbing the natural exuberance of his 
 conceptions. Poussin's historical and mythological pictures are 
 therefore rather admired as a duty than enjoyed by the spectator. 
 His landscapes, however, particularly those of his later years, when 
 his colouring moreover became more vigorous, are pervaded with a 
 poetic sentiment which still renders them attractive. His most 
 famous work of this kind is the 'Arcadian Shepherd', who is repre- 
 sented kneeling before a tombstone and mournfully reading the in- 
 scription, 'Et in Arcadia ego'. — Though a native of France, Claude 
 Gelie, or Claude Lorrain (1600-82), does not properly belong to the 
 French school, his style having been formed and matured in Italy. 
 Claude and Oaspar Dughet, surnamed Poussin (1613-75), are 
 among the most distinguished representatives of the idealistic 
 school of landscape-painting, and Claude in particular surpasses 
 all his contemporaries in his skill in presenting finely-composed 
 and beautiful landscapes, with their characteristic accessories of 
 cloud and atmosphere. 
 
 Contrasting strikingly with Poussin , the next painter of im- 
 portance is Philippe de Champaigne (iQ02-7 A') of Brussels, a master 
 of great natural ability, who went to Paris early in life , and was 
 much employed by Marie de Medicis, Richelieu, and Louis XIII. 
 His religious compositions are tinged with the austerity of the 
 Cistercian monks of Port-Royal at Paris, whose mystic and ascetic 
 doctrines were highly revered at that period, while his portraits are 
 remarkable for their warm, rich colouring and their strong individ- 
 uality. Portrait-painting was indeed the province in which the 
 French masters of the 17th century chiefly excelled. No one can 
 now be roused to enthusiasm by Lesueur's (1617-55) feeble scenes 
 from the life of St. Bruno, or admire Lehrun's (1619-90) theatri- 
 cal heroism, unless it be remembered that he was merely a showy 
 decorator and the 'Directeur des Gobelins'; and even Jouvenefs
 
 FRENCH ART. xxxvii 
 
 (1644-1717) able and vigorously-coloured works in Poussin's style 
 will now interest but few spectators; whereas the portraits by 
 Mignard, Largilliere, Rigaud^ and others still delight us with their 
 lifelike freshness and refined individuality. 
 
 The ostentatious and declamatory element in French culture 
 which was developed in the reign of Louis XIV. survived down to 
 a late period in the 18th century. And yet there existed a second 
 element, which played a still more important part throughout the 
 whole of that century, although not, so to speak, officially recognised. 
 The victory gained by this new element was due to the material 
 changes which had taken place in the social life of the country. 
 Paris had become the intellectual centre of the nation, and the im- 
 portance of the court had rapidly and signally decreased. The 
 court had indeed itself betrayed its uneasiness under the burden of 
 the traditional bombast, and shown its preference for the incognito 
 enjoyment of unrestrained amusement. The most marked out- 
 come of these changes was the development of the Rococo Style 
 of architecture and ornamentation, a style which may be described 
 as emanating from the ladies' boudoir. The same taste was mani- 
 fested in the plastic forms which now came into vogue, particularly 
 in the pleasing groups of miniature figures and other knicknacks 
 executed for the private drawing-room ; and in the prevailing love 
 of comic tableaux, pastoral scenes , mythological travesties , and 
 joyous masquerades, painted in delicate roseate hues. 
 
 Most deserving of careful study among the painters of the rococo 
 period is Antoine Watteau of Valenciennes (1684-1721), the most 
 interesting of whose works are preserved in the Collection La Caze 
 at the Louvre. His 'Gilles', one of the chief characters in French 
 comedy, possesses far higher artistic merit than his famous 'Em- 
 barkation for the Island of Love', while his 'Indifferent' and 'Finette' 
 are masterly delineations of character, entitling him, even as a mere 
 colourist, to a much higher rank than any of his contemporaries. 
 The chief exponent of the less refined Rococo type is Frangois 
 Bowc/i6r (1704-70), whose pictures, however, soon weary the specta- 
 tor with their artificiality and sickliness. In the same style, but 
 more pleasing, are the love-scenes depicted by Fragonard (1732- 
 1806), a master of Provence, who, like Watteau, is best represented 
 in the La Caze Collection. 
 
 Again in sympathy with changes in the literary and social world, 
 French painting entered on another new phase about this period, 
 and began to draw its themes unvarnished from humble life, and 
 to aim at greater fidelity to nature. Thus we find Chardin (1699- 
 1779), who was also an accomplished painter of still-life, abandon- 
 ing the shepherds and comedians of his contemporaries, and exe- 
 cuting such works as the 'Grace before Meat', the 'Industrious 
 Mother', and the 'Card House', which derive their themes from tlie 
 picturesque features of humble society. The chief illustrator of
 
 xxxviii FRENCH ART. 
 
 domestic drama, however, was Jean Baptiste Oreuze (1725-1805), 
 whose style occasionally borders on the sentimental , and at other 
 times degenerates into triviality. His 'Marriage Contract', 'Pater- 
 nal Curse', and 'Broken Pitcher' are so cleverly conceived and so full 
 of meaning as to rivet the attention of all beholders and suggest to 
 them the whole surrounding history of the scene ; but his talent as 
 a painter unfortunately fell short of his poetical taste, and, as in 
 the case of Fragonard , his peculiar style was but short-lived and 
 soon fell into oblivion 
 
 About the middle of the 18th century , when antiquarian pur- 
 suits began to be fashionable and to influence social life, artists 
 again began to resort to antiquity for their inspirations. Even 
 before the Revolution there appeared numerous harbingers of this 
 return to archaic subjects and forms, while the Revolution itself, 
 which boasted of being founded to a great extent on ancient republi- 
 can institutions, enabled the new school to gain a complete victory. 
 The most distinguished representative of this school, and at the 
 same time the father of modern painting in France, was Jacques 
 Louis David (1748-1825), whose political importance, as well as 
 the fact that his school was largely visited both by Frenchmen and 
 foreigners, contributed not a little to enhance his reputation. His 
 style somewhat resembles that of Raphael Mengs, his German con- 
 temporary, and his earlier works in particular betray the declama- 
 tory element and a cold and calculated imitation of the antique. 
 His 'Horatii and Curiatii', his 'Death of Socrates', his 'Brutus', and 
 even his 'Sabine Women', a work in which he aimed at reviving 
 the Greek style of art, now possess little more than historical inter- 
 est. — His contemporaries , Girodet (1764-1824) and Prud'hon 
 (1758-1823), alone asserted their independence of David's school 
 of painting, Prud'hon in particular endeavoured to attract by re- 
 fined sentiment and delicacy of colouring ; but owing to the temper 
 of the age and the influence of David , which continued dominant 
 throughout Napoleon's regime , his efforts were attended with but 
 little success. — The chief painters of the Napoleonic period were 
 (?erard (1770-1837), (?ros (1771-1835), and G-uerm (1774-1833). 
 Gerard's portraits are not only interesting as studies of costume, 
 but show the skill of the master in representing his subjects in the 
 most favourable light, and bear traces of his appreciation of the true 
 province of art. They at least possess far higher artistic merit than 
 the pictures of public ceremonies and battles which were so much 
 in vogue in his day. These painters, however, have already lapsed 
 into a kind of historical twilight, as they have rarely produced 
 works of great intrinsic value, and are deficient in those high ar- 
 tistic qualities which immortalise pictures and render them in- 
 dependent of changes of taste and style. 
 
 The era of modem French art properly begins with the period 
 of the Restoration, and its dawn may be said to have been inau-
 
 FRENCH ART. xxxix 
 
 gurated by the exhibition of Theodore Oericault's (1791-1824) 
 'Shipwreck of the Medusa' in the year 1819. Gerlcault was even 
 more revolutionary in his views than David; he repudiated the 
 traditions of the past more completely, and introduced thorough 
 innovations with greater boldness. He was the first to give ex- 
 pression to passion and unrestrained emotions, he preferred fidelity 
 to nature to all other aims, he did not shrink from the melodrama- 
 tic element, he aimed at vigorous and effective colouring, and used 
 every effort to enhance the impression produced on the spectator. 
 His example proved a powerful stimulant to a series of younger 
 painters, and at length gave rise to the establishment of the Roman- 
 tic ScHOOii, which after violent opposition eventually became 
 dominant, owing partly to the sympathy of a cognate school of 
 poetry and the patronage of the liberal opposition. Its success was 
 farther materially promoted by the circumstance that its disciples 
 evinced an intelligent interest in the public topics of the day and 
 paid sincere homage to literary culture. They were enthusiastic 
 admirers of Dante, the great mediieval poet, and showed their 
 acquaintance with most celebrated poets and authors of other 
 nations. They drew their favourite inspirations from Shakspeare, 
 Goethe, Byron, and Walter Scott, and were at the same time skil- 
 ful illustrators of the most interesting pages in their own national 
 history. Holding but little intercourse with the art of the past, 
 they devoted themselves entirely to the life of the present. The 
 hostile outcry with which their first appearance had been greeted 
 gradually subsided , and differences were smoothed over. The 
 Romanticists used their victory with moderation, anil their oppon- 
 ents learned to appreciate many of their good qualities, and parti- 
 cularly their skill in depicting emotions drawn directly from actual 
 life and their effective style of colouring. The whole of Europe 
 now rang with their praises. Foremost among their ranks are the 
 distinguished names of Eugene Delacroix, Ary Sche/fer, Horace 
 Vernet, Paul Delaroche, and Jean Auguste Dominique Ingres. The 
 reputation of Ary Scheffer was the first to fade away; but the works 
 of Delacroix, a thorough Romanticist, who was little disposed for 
 compromises, exercised great influence long after his death. The 
 same may be said of the works of Ingres, whose remarkable versa- 
 tility enabled him both to take the position of leader of the Ideal- 
 ists and to compete with the Romanticists. 
 
 Eugene Delacroix (1799-1863) appeared for the first time in 
 the Salon of Paris in 1822, when he exhibited his 'Dante and Virgil'. 
 Two years later he produced his 'Massacre at Scio', which awakened 
 much interest owing to the general sympathy felt for the Greeks, but 
 at the same time roused intense indignation among artists of the older 
 schools. It might indeed be called amassacre of all academic rules, of 
 all sacred traditions : drawing and grouping seemed alike objection- 
 able. Delacroix, however, persevered in his course and proceeded to
 
 xl FRENCH ART. 
 
 develop Ms style consistently. He invariably composed with a 
 view to produce effective colouring, and grouped his figures in 
 accordance with their contrasts in colour. He intensified the lights, 
 and collected the masses of contrasting tints, imparting to them a 
 subdued glow according admirably with the passionate emotions 
 and the often exaggerated vehemence of action depicted by him. 
 This method is best exemplified by his 'Marino Falieri' and the 
 'Assassination of the Bishop of Liege'. A visit to Algiers extended 
 his range of subjects, and enabled him to handle his kaleidoscope 
 colouring with still greater effect. Examples of this later period are 
 his 'Jewish Wedding in Marocco' and the 'Convulsionaries of Tan- 
 giers'. Towards the end of his life he evinced a preference for 
 religious compositions, in which he has embodied the tragic element 
 with very striking success. In order, however, thoroughly to ap- 
 preciate Delacroix's style, the traveller should also inspect his 
 mural paintings in the Palais du Corps Legislatif , in the Luxem- 
 bourg, and in the Chapelle des Anges in the church of St. Sulpice. 
 
 Greatly inferior to Delacroix was his contemporary Abt Scheffer 
 (1795-1858) of Dordrecht, who was formerly regarded as one of the 
 chief representatives of the Romantic School, but rather from his 
 choice of subjects than his adoption of its style of colouring. The 
 amiable character of the master , however, accounts to a great ex- 
 tent for the reputation he enjoyed during his lifetime. His 'Battle 
 of the Suliots' (1827) was the first work that brought him into 
 notice. His pictures from Goethe ('Marguerite') and Uhland were 
 gratefully regarded by the Germans as a well-meant tribute to their 
 national poetry , while his religious pieces , strongly tinged with 
 sentimentality, delighted numerous female admirers. 
 
 Horace Yerxet (1789-1863) is another master of the same 
 group whose lustre has begun to pale. He was once the most popu- 
 lar painter in Europe, particularly in his own country, the glorious 
 exploits of which he so magnificently illustrated , and was highly 
 honoured and almost treated as an equal by princes of all nations. 
 Within the first few years of the Restoration period he dedicated 
 his art to the service of the French army. The reminiscences of the 
 Napoleonic era afforded him abundant materials, while the national 
 exasperation at the humiliation of the country and the hope of 
 revenge ensured a welcome to every picture which fostered these 
 feeUngs. Vernet attained the zenith of his reputation in 1830-40, 
 when he painted the exploits of the army in the wars of the 
 Revolution and in Algeria. He possessed a remarkable knowledge 
 of military manoeuvres, and succeeded in grouping the most compli- 
 cated battle scenes in a manner clear and intelligible to the specta- 
 tor. He was thoroughly familiar with the characteristics of the 
 French soldier, of whom he has painted a number of admirable 
 tvpes, while the technical details of his battles are depicted with 
 the utmost spirit. His works, however, can boast of none of the
 
 FRENCH ART. xli 
 
 more refined and subtle charms of his art. His scenes from Roman 
 life, with which he became well acquainted during his stay in Rome 
 as director of the French Academy, are destitute of freshness and 
 originality, and their attractions are therefore superficial only. To 
 Vernet is due the chief merit of introducing Oriental subjects into 
 French painting, and of being the first to endeavour to render 
 Biblical scenes more attractive by representing them with their ap- 
 propriate surroundings. 
 
 Closely treading upon Horace Vernet's fame during the 'July 
 Monarchy', was that of Paul Dblarochb (1797-1856), to whom 
 historical pictures are mainly indebted for their long-lived popular- 
 ity in France. His works appeal directly to the spectator's interest 
 in the progress of culture, he utilises for his pictures the historical 
 poetry for which a taste then prevailed, and is judicious in his 
 choice of objects. Moderate in character, averse to extremes and 
 exaggeration, and a keen and intelligent observer, he adopts many 
 of the methods of the Romanticists, and in particular learns from 
 them the art of effective colouring, while by no means insensible 
 to the merits of the opposite school of art. Though correct enough 
 in style to satisfy the adherents of the idealistic school, he suc- 
 ceeds in imparting sufficient life and freshness to his figures to 
 prevent the Romanticists from regarding him as an antagonist. In 
 1829 his 'Death of Queen Elizabeth' caused great sensation. The 
 figures are of life-size, the colouring of the drapery is manifestly 
 calculated for effect, and the expression of the pain attendant on 
 the death-struggle is unrestrained. Among his other works resem- 
 bling scenes from a historical romance , in which the harsh and 
 unpleasing features of his characters are softened by their genre- 
 like treatment, and which have become extensively known from 
 engravings, may be mentioned his 'Richelieu and Cinq Mars', his 
 •Mazarin on his Deathbed', his 'Cromwell by the coffin of Charles I.' 
 and his 'Princes in the Tower'. Probably the best of his scenes from 
 French and English history are his 'Lady Jane Grey' and his 'Assass- 
 ination of the Due de Guise'. His strong points , consisting of 
 delicacy in expressing individuality and skill in arrangement of 
 detail, as well as his inefficiency in the construction of groups, are 
 equally traceable in his so-called Hemicyle in the Ecole des Beaux- 
 Arts. Towards the end of his life, like Delacroix, he showed a pre- 
 ference for religious themes, chiefly of a sombre character, such as 
 the Sufferings of Mary, a style to which he was inclined owing to 
 a tendency to melancholy increased by domestic afflictions. 
 
 Older than these contemporaries, J. A. D. Ingres (1780-1867) 
 survived them all. His labours extended over a period of sixty 
 years. He began his career as an artist as a piipil of David in 1801. 
 Within the next ten years, after having expanded his ideas by a 
 sojourn in Italy, he produced his 'Venus Anadyoraene' and his 
 '(Edipus with the Sphinx', works which vie with those of his later
 
 xlii FRENCH ART. 
 
 life, and to tlie style of wMcli he afterwards to some extent reverted. 
 A venerator of antiquity and an enthusiastic admirer of the nude 
 female form, Ingres nevertheless wandered far into the realms of 
 far-fetched allegory, frequently chose religious themes, and achieved 
 great success in his studies of colour. So widely divergent in char- 
 acter are many of this fertile painter's works that it is difficult to 
 believe that they possess a common origin. What a contrast, for 
 example, is presented hy his apotheoses of Homer and Napoleon, 
 his 'Francesca da Rimini', 'Pope Pius VII. in the Sixtine Chapel', 
 'The Spring', and 'The Yow of Louis XIII.' ! Even his portraits of 
 Cheruhini, Bertin, and Mad. Devau^ay show great differences of 
 style. It was chiefly owing to this versatility that he was unreserved- 
 ly admitted to be the greatest French painter of his time, although 
 he never attained to so great popularity as Horace Vernet. — The 
 most distinguished of his pupils was Hippolyte Flandrin{i802-M'), 
 whose skill was chiefly dedicated to religious frescoes. Numerous 
 and important as are the frescoes in Parisian churches painted since 
 the second quarter of the present century, it may confidently be 
 asserted that Flandrin's pictorial frieze in the church of St. Vincent 
 de Paul is the finest work of the kind in France. His conceptions 
 are indeed so able, his forms so beautiful, and his execution so 
 masterly, that Flandrin's works are probably nowhere surpassed in 
 the realms of modern fresco-painting. 
 
 Coaeval with these great painters there flourished a considerable 
 number of other able masters, some of whose works are extremely 
 pleasing, although their authors never attained great distinction. Thus, 
 few masters surpass Decamps (1803-60) as a colourist of Oriental 
 scenes j and very effective historical genre-pieces have been produced 
 by Robert-Fleury (d. 1890), Steuben (d. 1856), Deveria (d. 1865), 
 Charles Comte, and Coignet (d. 1881). The last-named also attained 
 a high reputation as a teacher of his art. — A pupil of David, and 
 afterwards moulded in Italy, Leopold Robert [1794-1835) dedicated 
 his art to humble life. He began with pictures of brigands, but after- 
 wards succeeded admirably in themes from ordinary Italian life and 
 character. His compositions are vigorous and impressive, and the in- 
 dividual figures very attractive. He introduces us. indeed, merely 
 to fishermen, rustics, and reapers ; yet they seem endowed with a 
 slumbering heroism of characterreminiscentof the mighty past of their 
 nation. — Towards the middle of the century Diaz (d. 1876) excelled 
 in the art of depicting female charms in their most captivating form, 
 thus foreshadowing the taste of a somewhat later period. So, too, 
 Couture' s (d. 1879) 'Romans of the Decline', exhibited in 1847, was 
 one of the first modern works which manifested a tendency to depict 
 classical themes in their sadder aspects, and an endeavour more effect- 
 ively to adapt the colouring to the subject. — On the other hand 
 several more recent painters have clung to the style of their prede- 
 cessors, such as Chenavard and Gleyre, a master rarely appreciated
 
 FRENCH ART. xliii 
 
 as he deserves, both of whom belong to the Idealistic School ; Hibert, 
 who trod in the footsteps of Robert, though somewhat sickly in taste ; 
 and Leon Benouville, who died young, the most worthy successor of 
 Ingres and Flandrin. 
 
 The Second Empiee inaugurated a new era in the history of 
 French art. The influence of the earlier masters had begun to 
 wane, and the new institutions and customs of the new generation 
 now sought and found expression in a new school of art. That this 
 school possesses various merits, and in some respects surpasses its 
 predecessors, cannot be denied. Its chief superiority consists in 
 greater ease and mastery of manipulation, and it has benefited by 
 the experience of its elders in the management of colouring ; but 
 its weak points are not less clearly apparent. A disregard for the 
 higher objects of painting as a branch of culture has unfortunately 
 crept in. Figures, nude and clothed, are now painted with con- 
 summate skill and with sensuously-admirable fidelity; but the 
 souls by which they are animated are too often of the shallowest type. 
 Instead of attempting compositions on a large scale, most of the 
 painters of the present day prefer to execute small groups or single 
 figures, in which perfection of form and effectiveness of colouring 
 are their great aims, so that the French school is becoming more 
 strongly individualised than ever. Each painter strives to solve his 
 favourite problem in his own way, and to exhibit Ids own parti- 
 cular talent ; the result of which is that the school can scarcely be 
 said, like the Romanticists, to possess any worthier object of ambi- 
 tion in common. It is therefore hardly possible to group these most 
 modern masters in any well-defined classes, particularly as some of 
 them have practised several different styles at one and the same time. 
 In portrait-painting this interchange of style has acted very bene- 
 ficially, by counteracting the natural tendency of that branch of art 
 to stereotyped monotony. Eminent historical and genre painters, 
 and even a number of sculptors, have turned their attention to 
 portrait-painting with marked siiccess, bringing to it a richer sense 
 of form and a wider and more penetrating conception of character 
 than are usually possessed by the ordinary portrait-painter. Four 
 of the most successful modern portrait-painters are Florentin Bon- 
 nat, P. Baudry (d. 1886), Ricard, and Mile. Nelie Jacquemart. 
 
 Of the masters of the new school Louis Ernest Meissonier (1815 
 -1891) is generally admitted to be the most distinguished. His pic- 
 tures, which are often of very small size, recall in many respects 
 the Dutch masters of the 17th century, rivalling them in sterling 
 merit and skilful execution. His colouring is less brilliant than that 
 of many other masters, but is remarkable for its clearness and the 
 delicacy of its silvery grey tones. His characters , admirably true 
 to nature, are often pervaded by an innocence and amiability which 
 lend a great charm to many of his pictures ; but he was less success- 
 ful as a painter of battle-scenes containing numerous figures.
 
 xliv FRENCH ART. 
 
 Meissonier's graceful costumes and correspondingly pleasing fig- 
 ures rarely date from an earlier period than the 18th century, but a 
 numher of his contemporaries seek to attract admirers by the 
 quaintness and uncommonness of their scenes. Fromentin (d. 1876) 
 and Bida, for example, have ransacked the East for this purpose, and 
 seek to enhance the effect of their works by the representation of 
 striking landscapes. The pourtrayal of ancient customs has now 
 become a special province of painting to which many artists have 
 devoted themselves entirely. The versatile Leon Gerome may 
 be regarded as one of the chiefs of this department. While 
 thoroughly accurate in the archaic garb in which he presents his 
 works, he at the same time studiously humours the taste of the pre- 
 sent day by the sensuousness or sensational character of his scenes. 
 Hamon has chosen the attractive Pompeian frescoes , resembling a 
 kind of porcelain painting, for his model. Other masters, too, 
 while chiefly aiming at representing the attractions of the female 
 form , frequently introduce antiquarian adjuncts. How far such 
 works are the embodiment of ideal conceptions, and to what extent 
 they are merely tributes to the popular voluptuousness of taste , is 
 often not easily determined. The most famous works of this char- 
 acter are the creations of P. Baudry, whose paintings in the New 
 Opera House bear magnificent testimony to the fertility of his ima- 
 gination. Next in order may be mentioned Cdbanel (d. 1889), 
 distinguished also as a portrait-painter and a decorator, and among 
 others Gust. Moreau, Amaury-Duval (d. 1885), and Em. Levy. 
 
 Strongly contrasting with these refined idealists, Gustave Courhet 
 (d. 1877), a prominent political agitator, is the chief modern votary 
 of the coarsest realism. Naturally talented , and really successful 
 as a painter of hunting-scenes and landscapes , he afterwards de- 
 scended to the lowest depths of society for some of his themes, and 
 ruined others by his love of singularity, paradox, and exaggeration. 
 His views, as gathered from his later pictures, seem to be that the 
 object of art is not to embellish life, but to sadden it, and to illustrats 
 the infinite hideousness of the world. — There are other artists, 
 however, whose commendable object is to cast a pleasing poetic halo 
 around the simple annals of humble and domestic life. At the head 
 of these stands Jean Francois Millet (1815-1875), the well-known 
 delineator of peasant-life, whose works are distinguished by their ad- 
 mirable union of finely-toned landscape with fresh and characteristic 
 figures , and by the artist's partiality for depicting the peasant 
 at work rather than in his moments of relaxation. Jules Breton, 
 another painter of the same class, suffuses his village-scenes with 
 a kind of idealistic glow that invests them with a peculiar charm. 
 Rustic life in different provinces of France has been admirably 
 illustrated by Gustave Brion and Gustave Jundt (Alsace), Ad. Le- 
 leux and Eug. Leroux (Brittany), and others. Florentin Bonnat has 
 signalised himself as a painter of Italian scenes. — Landscape-
 
 FRENCH ART. xlv 
 
 painting, too, has undergone vicissitudes and conflicts similar to 
 those already mentioned. In this province also, after the abandon- 
 ment of painting in the classical style and on a large scale, the 
 school which has become dominant devotes itself almost exclusively 
 to the study of unambitious subjects, taken directly from nature, 
 and rendered attractive by sedulous attention to light and shade. It 
 was long before Corot (d. 1875), Theodore Rousseau (d. 1867), Ca- 
 bat (d. 1893), Dupre (d. 1889), Fran^ais, and Dauhigny (d. 1878), 
 the most distinguished modern landscape-painters in France, at- 
 tained the reputation due to their merits ; but, like their contem- 
 poraries in other departments, these masters show a marked tendency 
 to individualism, and a taste for engaging in a number of divergent 
 styles. The painting of scenes of military life, always popular in 
 France, has found in Alphonse de Neuville (d. 1885) and Edouard 
 Detaille worthy successors of H. Vernet, Charlet, Raffet, and other 
 eminent battle-painters of an earlier generation. In the province 
 of animal-painting Troy on (d. 1865), who will even bear com: 
 parison with the great Dutch masters, is 'facile princeps'; and 
 second to him must be mentioned the talented Rosa Bonheur. 
 
 Paris contains more numerous private picture-galleries than 
 any other city on the continent, to some of which amateurs will 
 perhaps succeed in gaining access ; but if unable to see them, the 
 traveller may rest satisfied with the Louvre and the Luxembourg as 
 affording him a sufficient survey of the history and development of 
 French painting. The Luxembourg gallery enables us to make 
 acquaintance with the most recent styles , among which we may 
 mention the intensified system of colouring adopted by Regnault, 
 who fell in a skirmish at Buzanval, and Carolus-Duran's method of 
 painting ladies' portraits resembling the lay-figures of tha 'modiste'. 
 
 It is a more difficult matter for the traveller to obtain a com- 
 plete survey of modern French Sculpture, as the numerous monu- 
 ments in the churches, as well as those of a public character, are 
 so widely scattered throughout the city. Pere-Lachaise may, how- 
 ever, be recommended to the notice of visitors as almost the only 
 place where numerous specimens of sculpture are to be found side 
 by side. The classical style was adhered to in French sculpture 
 much longer than in painting , though frequently modified by the 
 modern taste for gracefulness and sensation. The chief represen- 
 tative of this style was Pradier (1786-1852), whose sculptures for 
 a long period formed the standard works of the kind. An opposite 
 style, practised by David d'Angers (1789-1856), found less favour, 
 except perhaps in the province of portrait-sculpture, of which he 
 produced numerous exanples. Genre-sculpture, bordering to some 
 extent on the Renaissance style, has been practised of late with 
 much success. Among the most popular works of the kind are 
 Rude's (1784-1855) 'Neapolitan Fisherman', Buret's (1804-65) 
 'Tarantella Dancer' , and Jouffroys (1800-52) 'Young Girl'. Most
 
 xlvi FRENCH ART. 
 
 of the latest sculptors, wMle inclining to idealistic principles, have 
 also admitted naturalistic elements 5 they show a preference for 
 the pourtrayal of action and passion, and do not always avoid an 
 approach to the picturesque. Since the time of Pradier and David 
 d'Angers two new generations have sprung up, among whom Ouil- 
 laume, Cavelier (1814-1894), and Dumont (1801-1884) are the 
 most distinguished seniors, while Perraud (1821-1876), Bourgeois, 
 Barrias ('Oath of Spartacus'). Moreau . Mercie ('Gloria Victis'), 
 Maindron (1801-1884), Chapu (1833-1891), and Carpeaux (1827- 
 1875) are also names of high repute. In the special department of 
 animal-sculpture the most marked success has heen achieved by 
 Barye (1796-1876). In the execution of his 'Florentine Singer' 
 Paul Dubois (1829-1883) took a very promising step by reverting 
 to the early Italian Renaissance style. 
 
 One of the chief glories of the French plastic art, however, as 
 is well known, consists in its bronze works, which are unrivalled 
 both in technical manipulation and in artistic taste. Indeed the in- 
 timate association of the artist and the art-handicraftsman, and the 
 perfection to which the works of the latter are brought in almost 
 every branch, form the most characteristic features of Parisian art, 
 and are traceable to the foundation of the Gobelins Manufactory 
 oy Colbert in 1666.
 
 PARIS. 
 
 PRELIMINARY INFORMATION. 
 
 1. Arrival in Paris. 
 
 The Custom-house examination of hand-baggage from England 
 takes place at Calais or other port of entry, but travellers must also 
 declare the nature of its contents to the octroi officials at the exit 
 from the station in Paris. Articles of food are liable to duty, pay- 
 able at the adjoining octroi-office. Travellers with luggage-tickets 
 have usually about 10 min. to wait till the baggage is all arranged 
 for distribution on the long tables in the Salle des Bagages. This 
 interval should be employed in engaging one of the fiacres or cabs 
 which are in waiting outside the station. (The cabs in the first row 
 are generally pre-engaged.) After receiving the driver's number 
 (numero) and telling him to wait for the luggage (Westez pour 
 attendre les bagages'), the traveller may proceed to superintend the 
 examination of luggage (comp. p. xiv). Hand-bags and rugs should 
 not be lost sight of, or deposited in the cab before the traveller is 
 himself ready to take his seat, as there are numerous thieves always 
 on the look-out for such opportunities. 
 
 As soon as the traveller is released from the custom-house 
 examination , he should secure the services of a porter {facteur, 
 20-30 c. for a single trunk, 50 c. for several), telling him the number 
 of the fiacre engaged. Cab-fares, see the 'nume'ro' or the Appx.p.33. 
 
 The ordinary omnibuses are not available for travellers with 
 luggage, and considerable acquaintance with Paris is moreover 
 necessary to understand the various lines (comp. p. 21). The latter 
 remark also applies to the Railway Omnibuses from the Gare de 
 Lyon and the Gare d'Orle'ans, for though these vehicles take lug- 
 gage, their routes lie outside the quarters preferred by visitors. — 
 The Voitures Speciales (see below) and the railway Omnibus de Fa- 
 mille are comfortable conveyances for families or large parties. The 
 latter are usually to be found waiting at the station, but it is safer 
 to order one by telegram (forwarded gratis by any station-master 
 on the route), or by letter the day before arrival , addressed to the 
 Chef du Bureau des Omnibus at the station where the traveller is 
 to alight. The charge varies according to the station and the size 
 of the omnibus required (usually with 7 or 12 seats). Detailed 
 information may be found in the Indicateur des Chemins de Fer 
 (p. xiv). Railway offices in Paris, see p. 26. 
 
 The Voitures Spiciales at the Gare du Nord resemble the "Voitures 
 de Remise (p. 20), but are stationed iu front uf them beyond the omni- 
 
 Basdeksb. Paris. 12th Edit. 1
 
 2 2. HOTELS. Preliminary 
 
 buses (see the placards); fares, per drive, including luggage, for 4 pers. 
 21/2 fr. by day (6 or 7 a.m. to midnight), by night 3 fr., or when ordered 
 beforehand 4"fr. — The Voitures SpMales at the Gave de VOuesi have the 
 same tariff as the ordinary cabs wiih four seats (comp. Appx., p. 33), but 
 are dearer if ordered beforehand and for the drive to the Gare de Lyon 
 or Gare d'Orleans. Comp. the Indicateur. 
 
 Travellers arriving late at night, and not wishing to put up 
 at one of the large hotels mentioned at p. 3, had better proceed 
 on foot with their hand-baggage to the nearest hotel, leaving their 
 heavy luggage (the receipt for which they retain) to be claimed next 
 day. Hotels near the stations, see p. 8. 
 
 2. Hotels. 
 
 Alphabetical list at the end of the Book, after the Index. 
 
 Travellers for pleasure, with whom economy is of no serious mo- 
 ment, will naturally prefer either the Boulevards or the principal 
 streets in the vicinity of the Opera, the Louvre, and the Bourse, 
 especially if ladies are of the party. Gentlemen travelling alone 
 may, on the other hand, secure very comfortable quarters at a much 
 more moderate rate in the less-frequented houses in various side 
 streets, as well as on the left bank of the Seine. 
 
 The following list of Parisian hotels comprises merely a selection 
 of the better known houses in the quarters frequented by strangers. 
 It is often difficult to draw the line between houses of the first, 
 and those of the second class , but the situation and charges may 
 generally be regarded as determining this point (p. 3). When la- 
 dies are of the party an unmistakably first-class hotel should always 
 be selected. The prices given here have been obtained on the best 
 available authority, but their absolute accuracy cannot be guaranteed, 
 for changes axe always liable to occur. Enquiry as to prices should 
 always be made on the day of arrival or the day following, to prevent 
 unwelcome surprises. This is quite customary, even when the visit 
 is to be of a night's duration only, and it is especially useful in the 
 case of hotels which do not publish their tariff. The rooms first 
 shown to travellers are rarely either the best or the least expensive. 
 When a prolonged stay is contemplated the bill should be obtained 
 every two or three days, in order that errors, whether accidental or 
 designed, may be detected. When the traveller intends to start 
 early in the morning, he had better pay, or at least examine, his 
 bill on the previous evening. 
 
 There is no obligation, direct or indirect, to partake of the table 
 d'hote meals in the hotels ; and for sight-seers it would frequently be 
 a great inconvenience to have to return to the hotels for these meals. 
 
 Articles of Value should never be kept in the drawers or cup- 
 boards at hotels. The traveller's own trunk is probably safer; but 
 it is better to entrust them to the landlord, from whom a receipt 
 should be required, or to send them to a banker. Doors should be 
 locked at night.
 
 Information. 2. HOTELS. 3 
 
 The charge for meals stated in the following list includes wine, unless 
 the contrary is stated; and lights and attendance are sometimes included 
 in the charge for rooms. Meals served separately or iu private rooms 
 are usually, of course, charged higher. Even when Atlendance is an item in 
 the bill, it is usual to give the concierge, the 'boots', and the waiter by 
 whom the traveller has been specially attended, a fee of 1-3 fr. each, accord- 
 ing to the length of the sojourn in the hotel. 
 
 No hotel can be recommended as first-class that is not satisfactory 
 in its sanitary arrangements, which should include an abundant flush of 
 water and a supply of proper toilette paper. 
 
 Bight Bank of the Seine. The largest hotels in Paris are: the 
 *H6tel Continental , Rue de Castiglione 3 , and Rue de Rivoli 
 (Plan, Red, 18; special plan 77 1), opposite the Garden of the Tui- 
 leries. — The *Grand Hotel , Boulevard des Capucines 12, ad- 
 joining the Opera House (PL R, 18 ; 77). — The *Grand Hotel 
 DU LouvBB, Rue de Rivoli 172, adjoining the Palais-Royal (comp. 
 PI. R, 20; 77), somewhat reduced in size since its disconnection 
 from the Magasins du Louvre. — The Hotel Terminus, at the 
 Gare St. Lazare (PL B, 18), and the *H6tel Moderns, Place 
 de la Re'publique (PL R, 27; 777; p. 7), are not quite so well 
 situated as the others, being beyond the strangers' quarters. 
 
 These hotels , magnificent edifices occupying whole blocks of 
 streets, and each containing 300-600 rooms, are admirably managed 
 Travellers are sure to find accommodation at any of them , at any 
 hour of the day or night ; but many will prefer the smaller, quieter, 
 and less expensive houses, especially when ladies and children are 
 of the party. On arrival a room at the desired charge is asked for 
 at the bureau, where also the bill is afterwards paid. It is not ne- 
 cessary to take any raeals in the house, and articles are paid for as 
 consumed. The hotels are, of course, provided with lifts. The 
 ordinary charges are : R. 4 to 10 fr., L. 1 fr,, A. I-IV2 ^^-j ^- (*^^ ^^ 
 coffee with bread and butter) l-2y.2 fr. , dej. 5 fr,, table d'hote 6 
 (Louvre), 7, or 8 fr. (Grand Hotel), 
 
 In the Rue de Rivoli: 172, Grand Hotel du Louvre (see above); 
 *Meurice, 228, R., L., & A. from 6, B. 2, D. 6 fr., wine extra ; 
 ♦Windsor, 226; *Brighton, 218, R., L., & A. 6, B. ll/o-2, dej. 5, 
 D. 7 fr., wine extra; *Wagram, 208, R. 4-5, B. IV2, dej. 4, D. 6 fr., 
 wine extra; Jardin des Tuileries, 206; *St. James & d'Albany, 
 202, R. 4-7, L. 1/2, A. 1, B. 172-*^, dej. 4, D. 7 fr., wine extra. 
 These six, all of the first class and opposite the Garden of the 
 Tuileries, are much frequented by English travellers. 
 
 Rue de Rivoli 83, not far from the Louvre, *H6tel Ste. Marie. 
 
 In the Rue du Louvre^ 40, Hot. Central de la Bourse ])e 
 Commerce. 
 
 In the Rue St. Honore (PL R, 18; 77), first-class, frequented 
 
 t For explanation of references to Plan, see end of the book , before 
 the index of streets. The italicised Roman numerals (//) refer to the 
 special or district plans. The streets parallel with the Seine are numbered 
 from E. to W., while the numbers of the cross-streets begin at the end 
 next the river; the even numbers are on the right, the odd on the left. 
 
 1*
 
 4 2. HOTELS. Preliminary 
 
 by English travellers: Hotel de Lille bt d'Albion, 223 (R., L., 
 & A. 6-14, B. 13/4, d^j.4, D. 5fr., wine extra); Gbakd Hotel St. 
 James, 211; Hotel de France et de Choiseul, 239 & 241. 
 
 Rue d' Alger 13 and Rue St. Honors 221 , Hotel d'Oxford bt 
 DE Cambbidge, good, R., L., & A. 4-8, B. IV2, d^j. 31/2, !>• ^ fr. 
 — Rue d' Alger 4, *de la Tamise, R., L., & A. 4-12, B. 1% dej. 
 3V2j D. 41/2 fr., wine extra. Rue d' Alger 1 and Rue de Rivoli, 
 
 GlBBALTAB,. 
 
 In the Rue St. Roch: 4, Hotel de Paris et d'Osborne, R., L., 
 & A. 3-11, B. 11/2, dej. 4, D. 4 fr. ; 5, St. Romain, R. 3-10, L. 1/2, 
 
 A. 1/2 fr. 
 
 In the Place Vendome (PI. R, 18; /i) : *Bristol (patronized 
 by the Prince of Wales) , *du Rhin, Vendome, aristocratic houses, 
 with special clienteles. 
 
 In the two streets leading respectively southwards and north- 
 wards from the Place Vendome are several large hotels , much fre- 
 quented by English visitors. Rue de Castiglione : *Continental, 
 No. 3 (see p. 3); Balmoral, 4, R., L., & A. from 7, B. IV2, de'j. 
 4, D. 6 fr. ; DE LoNDRES, 5; Metropole, 6, R., L., & A. from 6, 
 
 B. 11/2) D.5fr., wine extra; Castiglione, 12; Dominici, 7; de 
 Liverpool, 11. — Rue de la Paix : *MiRABEAir, 8, a family hotel, 
 with comparatively few rooms (6-13 fr.); de Westminster, 11 & 
 13 ; DE Hollands, 18 & 20 ; des Iles Britanniques, 22 ; all of 
 the first class. — Rue Cambon: 8, Metropolitain, R., L., & A. from 
 6, B. 2, de'j. 5, D. 6 fr., wine extra; 37, Hotel Castille. 
 
 In the Avenue de V Opera (PI. R, 18, 21 ; IT): *Bellbvue, 39, 
 R., L., & A. 4-15, B. IV2, dej. 5, D. 7 fr.; des Deux-Mondes, 
 22. — In the Rue deVEchelle: 11 and 7, *H6tel Binda and Grand 
 Hotel Normandy, both good hotels frequented by the English. — 
 Rue Ste. Anne ll^is. Hotel Paris Centre, of the first class. 
 
 In the Rue Daunou (PL R, 18; It) : Grand Hotel de l'Ami- 
 RAUTE, 5; Chatham, 17 & 19 (slightly dearer; English guests); 
 DE Choiseul bt d'Egypte, 1 ; de Rastadt, 4 ; de l'Empire, 7 ; 
 d'Orient, 6 & 8. — In the Rue des Capucines , No. 5, Hotel de 
 Calais, R., L., & A. 4, B. IV2, dej. 3, D. 4 fr., wine extra. — In the 
 Rue Louis-le- Grand (PI. R, 18; 11): Hotel de Boston, 22, R., L., & 
 A. 3-6, B. 3/4-11/4, de'j. 3, D. 4 f r. ; Louis-le- Grand, 2 (meuble). 
 
 In the Rue d'Antin: d'Antln, 18, R., L., & A. 3, B. IV4, dej. 
 3, D. 4fr.; Raynaud, 20, R. 31/9-10 fr.; dbsEtats-Unis, 16 ; Mai- 
 sons Meuhlees, 18 and 22. — Rue de Port-Mahon 9, Hotel de 
 Port-Mahon, R., L., & A. from 2, B. IV4, dej. 21/2, D. 3 fr. 
 
 In the Boulevard des Capucines (PI. R, 18 ; U) : Grand Hotel 
 DBS Capucines, 37; Maisons Meublees, 25 and 29, R. 3-6 fr. 
 
 Near the Madeleine (PI. R, 18; //) : Cite du Retiro, 5, Hotel 
 Pbrey, R., L., & A. 6-7, B. I1/2. d^j. 3, D. 4 fr., wine extra; 9, 
 ♦Hot. & Pens. T^tb, R., L., & A. 4, B. IV4, dej. 21/2, D. 31/2 &-, 
 wine extra. — Rue Boissy d' Anglos 15, Hotel Vouillbmont, B.,
 
 Information. 2. HOTELS. 5 
 
 L., & A. from 5, dej. 4, D. 5 fr. — Boulevard Maleaherhee 26. 
 Hotel Malbshbkbes, R., L., & A. 4-10, B. 1V2-2, dej. 5, D, 
 7 fr. — Rue de la Bienfaisance 16, Grand Hotel Alexandra, 
 well situated, to the right of St. Augustin and opposite the Avenue 
 Portalis, pens. 9-12 fr. (English guests). — In the Rut de V Ar- 
 cade: Bedford, 17 & 19, English, R., L., & A. from 5, B. IV2, 
 d^j. 4, D. 6 fr., wine extra ; Newton, 13 ; de l' Arcade, 7, R., L., & 
 
 A. 3-5, B. 1, dej. 3, D. 4 fr. — Rue Pasquier 82, Buckingham, 
 R., L., & A. 4-8, B. 11/2, de'j. 21/2, D- 31/2 fr. — In the Passaic de la 
 Madeleine, at the end of the Place : 4, Hotel Lartisibn; 6, Hotel 
 Pfeiffer, both unpretending. — Rue de Size 16, Hotel de Seze, 
 R., L., & A. 2-8, B. IV2 fr. 
 
 To the S. of the Boulevard de la Madeleine, in the Rue Riche- 
 panse: 15, Hot.-Pens. Rapp, R.4, L.l/o, B. IV2, de'j. 31/2, D. 4 fr., 
 well spoken of; 11, Hotel du Danube; 6, de la Concorde; 14, 
 RiCHEPANSB (meuhM). — Rue Duphot: 8, Burgundy, frequented 
 by English visitors ; 20, de l'Amtraute (meuble). 
 
 To the N. of the same Boulevard, nearer the Opera : Rue de 
 Caumartin: 14, Hotel de Grande Bretagne, R., L., & A. from 4, 
 
 B. I-IV21 dej. 4, D. 5 fr. ; 33&35, *St. Petersbourg, R., L., & A. 
 from 5, B. 11/2) dej. 3, D. 4 fr., wine extra. 
 
 Near the Opera: Grand Hotel, see p. 3 ; hotels in the arenue, 
 boulevards, and adjoining streets , see above and below. — Rue 
 Scribe 15, Grand- Hotel de l'Athenee, expensive , frequented by 
 Americans. 
 
 BoMieuard des ifaZJens (PI. R, 21;//), No. 32, and Rue duHelder 6, 
 *H6tel de Bade, R. 4-10, L. & A. 2, de'j. 31/2-6, D. 6 fr.; same 
 Boulevard, 2, and Rue Drouot 1, *H6tel de Russie. 
 
 To the N. of the Boulevard des Italiens. In the Rue du Helder : 
 9, Hotel du Helder; 11, Richmond, R., L., & A. 5-14, B. IV2) 
 dej. 4, D. 5 fr.; 16, de l'Opbra, R., L., & A. 41/2-12, B. li/a* dej. 
 31/2, D. 4 fr., well spoken of; 8, du Tibre, R. 4-12 fr. ; 40, duNil. 
 — In the Rue Taitbout: 4 & 6, d'Espagne et db Hongrib ; 12, 
 Taitbout. — Rue de Chdteaudun 30, de Berne, R. & A. from 3 fr. 
 
 In the Rue Laffitte, also issuing from the Boulevard des Italiens 
 (PL B, 21 ; //): 20 & 22, *Bykon, R., L., & A. 3-6, B. IV2, dej. 
 31/2, D. 4 fr.; 38, Laffitte, R., L., & A. 3-7, B. li/4, d^j. 8, D. 
 31/2 fr.; 32, desPays-Bas; 16, Maison Meublee. 
 
 In the Rue Le Peletier, parallel to the Rue Laffitte : 5, Grand 
 Hotel de l'Europe ; Maisons Meublees at Nos. 13 and 27. — 
 Rue Rossini 16, *Rossini, R., L., & A. from 21/2, B. 1, dej. 3, D. 4 fr. 
 
 In the Rue Lafayette, parallel to the Boulevards on the N. (PL 
 B, 21): 5, near the Op^ra, Grand Hotel Suisse, R. 3-6, L. 1/2, 
 A. 1/2, B. 11/2, de'j. 872, D- ^^/-i fr. — Adjoining the last, in the 
 Cite d'Antin: 10, Hotel Victoria; 1 & 3, and 57 Rue de Provence, 
 DB France. — Rue St. Georges 18, Hotel St. Georges (meuble'}. 
 
 To the S. of the Boulevard des Italiens (PL R , 21 ; //). Rue
 
 6 2. HOTELS. Preliminary 
 
 de la Michodilre 9, Hotel de Gand et de Germanie, R. 2-8, L. 1/2, 
 B. 11/4, d^j. 21/2, D-3V2 ^^'1 unpretending. — Rue Monsigny : 9, 
 Gbani) Hotel de la Neva, R. 3-6, dej. 3, D. 4fr. ; 1, Monsignt. 
 
 — Rue Marivauxb, Fay art. — Ruede Grammont: 2, Grand Hotel 
 
 DTjPeRIGORD; 1, DE MANCHESTER. 
 
 To the S. of the Boul. des Italians and the Boul. Montmartre. 
 Rue de Richelieu (PI. R, 21 ; II, HI): 63, de Malte, R. 3-6, L. I/2, 
 A. 3/4, B. IV2, dej. 4, D. 5fr., well spoken of; 69, de Valois; 17, 
 Grand Hotel d'Oeleans ; 95, Cusset (meuhle), near the boule- 
 vards. — In the Square Louvois, *Grand Hotel Louvois, R., L.. 
 & A. 4-7, B. IV2, dej. 4, D. 41/2 fr. 
 
 Rue Vivienne['P\. R, 21 ; IT), 40, Vivibnne, near the. boulevards. 
 
 — Place de la Bourse (PL R, 21 ; ///), 13, Claise (first class). 
 Rue Notre-Dame-des- Victoires (PI. R, 21 ; III) : 36, Grand Ho- 
 tel DE Nice ; 17, Grand Hotel de la Bourse et des Ambassa- 
 DEURs ; 23, Grand Hotel Suisse (meuble), near the boulevards. — 
 Rue Paul-Lelong 27, Hotel des Colonies. 
 
 Rue Croix-des-Petits-Champs (PI. R, 20, 21 ; //, III), near the 
 Palais Royal: 10, de l'Univers et du Portugal, R., L., & A. 3-6, 
 B. IV4, dej. 3, D. 4 fr., well spoken of; 27, *du Levant, R., L., 
 & A. 3-6, B. 11/4, dej. 3, D. 31/2-4^ fr. ; 4, du Globe, R., L., & A. 
 2-5, B. IV4, dej. 3, D. 31/2 fr. — Rue Radzivill 31 , Grand Hotel 
 deHollande (another entrance Rue de Valois 46). — Rue de Valois 
 4, near the Louvre, Cosmopolitan Hotel. — Rue Jean-Jacques 
 Rousseau 5, Grand Hotel du Rhone, moderate , near the Louvre. 
 
 Boulevard Montmartre (PL R, 21 ; III): 3, Grand Hotel 
 DoRE ET DES PANORAMAS ; 10, RoNCERAY (de la Terrosse) , R., L., 
 & A. 4-8, B. I-IV2, de'j. 3, D. 5 fr. — Rue Montmartre (PI. R, 21 ; 
 ///), near the Bourse, 56, Grand Hotel d'Angleterrb. 
 
 Boulevard Poissonnilre (PL R, 21; III): 32, Hotel des 
 Grands-Boulevards; 30, Beau-Sejour (R. 3-20 fr.); 16, Rouge- 
 
 MONT. 
 
 In the CiteBergere, to the N. of the two last-named boulevards, 
 are some cheaper houses. — Rue du Faubourg-Montmartre : 38, 
 *Gr. Hot. de Paris, R., L., & A. 21/2-8, B. I-IV2, de'j. 3, D. 4 fr. 
 
 — Rue Berglre 34. *Gr. Hot. Bbrgere, R. 3-6, L. 1/2^ A- ^i B. I1/2, 
 d^j. 4, D. 5fr. — Rue Richer (PL R, 21; 111), 60, Gb. Hot. 
 Richer. — Rue de Trevise (PL R, 21 ; III), a quiet street: 10-12, 
 *DE Cologne ; 7, db Bblgique et db Hollands ; 18, de Trevise ; 
 44, DE LA Ha VANE ; 46, DE Frikourg, at the corner of the Rue 
 Lafayette. — Rue du Conservatoire (PL R, 21 ; III), parallel to 
 the last: 17 (and Rue Richer 11), db Bavierb ; 7, de Lyon & de 
 New York. — Rue du Faubourg - Poissonnilre a.ni Passage Violet, 
 Hotel Violet, R., L., & A. from 4, B. 11/2) dej. 31/2 (incl. wine 
 and coffee), D. 5 fr. (incl. wine). 
 
 The hotels in the Rue St. Denis, Boul. de S^bastopol, BouL de 
 Strasbourg, and that neighbourhood, are somewhat distant from the
 
 Information. 2. HOTELS. 7 
 
 principal sights, but well situated for business purposes. — Rue 
 St. Denis 165, de Rouen, near the Rue de Turbigo, R., L., & A. 
 
 3 fr. (from 25 fr. per month), D. 21/2 ft. — Rue de Turbigo: 39; 
 DU Chariot d'Or; 67, Grand Hotel Europeen, R., L., & A. 41/2, 
 B. 1, de'j. 3, D. 37-2 fr. — Place de la RepiMique (PL R, 27; ///), 
 Hotel Mouernb, a large establishment (see p. 3), R. 3-15, B. li 2, 
 dej. 4, D. 5 fr. — Avenue Victoria 20, near the Hotel de Ville, 
 *H6tel Britanniqije, English, R., L., & A. 2V2-'7, B. 11/4 ,L). 33/4 fr. 
 
 In the Champs- Ely sees : Meyerbeer, Rue Montaigne 2, at the 
 Rond-Point; d'Albe, Avenue des Champs-Elysees 101 and Avenue 
 de I'Alma 73, R., L., & A. 6-12, B. li/o-^, dej. 5, D. 7 fr. ; du 
 Palais, Cours-la-Reine 28, well spoken of. — Near the Arc de 
 Triomphe (PL B, 12; /): Avenue de Friedland, 43, Royal Hotel, 
 61, Hotel Campbell, two English houses of the first class. — Rue 
 Balzac: 11, Hotel Chateaubriand; 4, Villa Balzac; 3, des 
 Champs-Elysees ; 8, Villa Beaujon. — Rue Lord Byron 16, Villa 
 Lord Byron. 
 
 Left Bank of the Seine. The hotels on the S. side of the 
 river, being at some distance from the Palais-Royal and the Boule- 
 vards, are less conveniently situated than the above for sight- 
 seeing, especially if the traveller's stay be short. 
 
 Quai Voltaire (PL R, 17 ; IV), 19, Hotel Voltaire. — Rue de 
 Lille 45, DES Ambassadeurs, R.', L., & A. 3-8, B. IV4, dej. 31/2, I>- 
 
 4 fr. — Rue de Beaune 5, de France et de Lorraine. — Rue de 
 I'TJniversite : 32, des Ministres; 22, de l'Univbrsitb; 4, St. 
 Georges. — Rue Bonaparte: 3, de Londres, R., L., & A. 2-5 fr., 
 L. 40 c, B. 1, dej. 21/2, !>• 3 fr., well spoken of; 61, Bonaparte, 
 near St. Sulpice. — Rue des Beaux-Arts, Hotel de Nice, well spoken 
 of. — Rue du Vieux-Colombier : Q, Massillon; 4, Vatican. — Rue 
 des Saints-Peres 65, des Saints-Perbs, R., L., & A. from 4, D. 4, 
 pens, from 10 fr. — Rue de Orenelle 16 & 18, duBon Lafontaine. 
 The last three hotels are frequented by the clergy. — Rue Jacob: 44, 
 Jacob; 29, d'Isly, nnpretending; 58, Maison meublee. — Rue de 
 Seine: 52, de Seine; 63, du Mont Blanc. — Rue de Tournon 33, 
 near the Palais du Lnxembourg, Foyot. 
 
 The following are in the Quartier Latin (comp. p. 220). Boule- 
 vard St. Michel (PL R, 19; V): 3, Gr. Hot. d'Harcourt ; 31, Gr. 
 H6t, de Suez; 21, 41, and 43, Maisons Meuhlies . — Rue Racinel, 
 close to the Boulevard St. Michel, des Etrangers, R.,L., & A. 21/2-5 
 (30-80 fr. monthly), B. 1, dej. 2, D. 21/.2 fr. — Rue Casimir-De- 
 iavigne 7, *H6tel St. Sulpice, R., L., «fe A. 21/2-5, pens. 100 fr. 
 monthly. — Rue de VEcolede-Medecine 4, *St. Pierre, R., L., & A. 
 1 Y.2-3V2) B. 3/4, dej. 2, D. 2 fr., unpretending. — Rue de la Sorbonne : 
 8, Montesquieu; 10, des Facultbs; 12, du College de France; 14, 
 Gerson; 18, RoLLiN, the largest of these. — Rue du Sommerard 
 22, DU Midi, R.2V2-3V2, L- V4) B. 34, dej. 2i;2, D. 3, pens.Sfr.— 
 Rue des Carmes 5 & 7 , Hotel des Carmes. — Rue CujaSy near
 
 8 2. HOTELS, Preliminary 
 
 the Boulevard St. Michel: 18, db Constantine, 17, du Mont 
 St. Michel, both well spoken of. — Rue Oay-Lmsac, near the 
 Luxemhourg : 6, Hotel d'Athenes ; 9, de l'Univers; 29, Gay- 
 LussAC. — Rue Corneille 5, adjoining the Od^on, Cornelllb, R., 
 L., & A. 3-51/4 fr., B. 60-80 c, dej. 2, D. 21/2, pens. 7-9 fr. 
 
 Hotels near the Stations. Near the Oare du Nord (PI. B, 23, 
 24) : Grand Hotel du Chemin de Fee du Nord, Hotel Cailleux, 
 both opposite the exit from the station ; Hotel Belgb, Rue St. 
 Quentin 35tis; Hotel de la Gare du Nord, Rue St. Quentin 31, 
 R., L., & A. 2-8, de'j. IVifr. 
 
 Near the Oare de VEst (PI. B, 24): Hotel Fbancais, Rue de 
 Strasbourg 13, to the right on leaving the station, R. from 31/2 fr. ; 
 then, in the Boulevard de Strasbourg : 78, Grand Hotel de Stras- 
 bourg; 74, *H6tel de l'Europe, R., L., & A. 33^4-6, B. IV4, dej. 
 21/2, D. 3 fr., wine extra; 72, Hotel de Paris. In the Rue de 
 Metz, on the same side as the arrival platform : 6, Hotel de Bale, 
 R., L., & A. 21/2-6, B. 11/4 fr. ; 4, Hotel St. Laurent & de Mul- 
 house. In the Rue de Strasbourg, left side : 5, Hotel de la Yille de 
 New York; 8, dbs Yoyageurs; 11, du Chemin de Fer, etc. 
 
 Near the Gare St. Lazare (^Ouest, Rive Droite; PI. B, 18) : Hotel 
 Terminus, see p. 3 ; Hotel de Londres & de New York, Rue du 
 Havre 15, opposite the station; Hotel Anglo-Americain, Rue St. 
 Lazare 113, R., L., & A. from 3, dej. from 31/2, D. from 4 fr. ; Gr. 
 Hotel de Rome, Rue de Rome 15 ; Belletue ( meuble). Rue Pas- 
 quier 46 and Rue de laPepiniere 3; also several small hotels in the 
 Rue d'Amsterdam. 
 
 Near the Gare Montparnosse (^Ouest.^ Rive Gauche; PL G, 16) : 
 Grand Hotel de France & de Bretagne, Rue du Depart 1 & 3 ; 
 Hotel de la Marino & des Colonies, Boulevard Montparnasse 59. 
 
 Near the Gare de Lyon, (PI. G, 28) : Terminus du Chemin de Fer 
 DE Lyon, Boulevard Diderot 19 & 21, R., L., & A. 3-6, B. II/2 fr. ; 
 Hotel de l'Univers, Rue de Chalon 46, on the departure side. 
 
 Near the Gare d'Orleans (PI. G, 25) : several small hotels in the 
 Boulevard de I'Hopital, opposite the arrival side; de la Tour d' Ar- 
 gent, Quai de la Tournelle 15, I/2 ^- farther on, with restaurant. 
 
 Pensions. A bedroom, with full board, may be obtained in 
 Paris from 6 tolOfr. per day. The Editor has reason to believe that the 
 following boarding-houses are at present (1896) fairly comfortable. 
 
 Near the Arc de FEtoile and Champs-Elyse'es : Mme. Bellot-Carol, Eue 
 Boccador 4 ; Mme. Second, Avenue dela Grande- Armee 62; Miss Wood, same 
 Avenue 21; Mme. Ducreux, Avenue Mac Mahon 9; Mme. Armand, Eue de 
 Mirome'nil 79; Mile. Castris, Eue Marbeuf 4; Pension Levies, Eue Chateau- 
 briand IS; Pens. Internationale, Avenue Malakofl' 57 (from 6 fr.); Villa 
 Marceau, Avenue Mirceau 37: Mme. Thierry, Eue de Clichy 44. 
 
 On the left bank: Mrs. Van Pelt, 145 Eue de Grenelle; Mme. Lepoids, 
 Eue de lUniversite 195; Mme. Marche, Eue Jacob 54, unpretending. 
 
 Furnished Apartments are easily obtained in all the principal quar- 
 ters of Paris. A yellow ticket on the door indicates furnished, a white 
 nnfumished rooms. In winter a furnished room in the vicinity of the
 
 Information. 3. RESTAURANTS. 9 
 
 Boulevards coflts 80-120 fr. per month, a small suite of rooms 250-500 fr. •, in 
 summer prices are much lower. Eooms near the Arc de TEtoile, though 
 perhaps somewhat out of the way for a short stay, are cheaper. Mrs. Kirk, 
 17 Rue des Acacias, owns several small furnished suites, adapted for 
 English or American visitors. A room in the Latin Quarter may even 
 be obtained for 30-50 fr. 
 
 3. Bestanrants. 
 
 Alphabetical list at the end of the Book, after the Index. 
 
 Paris is indisputably the cradle of high cnlinary art. As the 
 ordinary tables d'hote convey but a slender idea of the perfection 
 to which the art is carried , the 'chefs d'oeuvre' must be sought 
 for in the first-class restaurants, where, however, the connoisseur 
 must be prepared to pay 10-15 fr. for his dinner, exclusive of wine. 
 
 Parisian restaurants may be divided into ReHaurants ct la carte, 
 Restaurants h prix fixe , and Etablissements de Bouillon. We shall 
 enumerate a few of the best, especially those in the most frequented 
 situations (Palais-Royal, Boulevards, etc.). The least expensive 
 are those at some distance from the most fashionable streets ; and 
 at such establishments the cuisine is often as good as in the more 
 showy houses. The charges are stated approximately, but, like those 
 of the hotels, they generally have an upward tendency. 
 
 Besides the restaurants enumerated here, there are many others 
 of every kind in every part of the city. Wherever the traveller may 
 chance to take up his abode, he may depend on obtaining a tolerable 
 breakfast and dinner at some restaurant in the vicinity, although 
 the house may not be mentioned in the Handbook. 
 
 HouKs. The Parisian's first breakfast generally consists of a 
 cup of coffee and a roll at an early hour. The second breakfast, 
 or Dejeuner d, la Fourchette, is a substantial meal , resembling 
 dinner, and is served at the restaurants between 11 and 1 o'clock. 
 The Parisian dinner-hour is 6-8 p.m. ; to avoid the crowd, strangers 
 should not be too late. Most of the restaurants on the Grands 
 Boulevards are kept open almost the whole night. 
 
 ^Gar(on, Vaddition, s^il vous plait!'' 'Waiter, the bill!' The 
 waiter then brings the account from the ^dame de comptoir\ and 
 on receiving payment expects a 'pourboire' of 25-30 c. (10-20 in 
 the inferior restaurants). When three persons dine together, it is 
 sufficient to double the above pourboire. 
 
 Restaurants a la Carte. At these (pp. 12-14) the portions 
 are generally so ample, that one portion suffices for two persons, 
 or two portions for three. The visitor should, therefore, avoid din- 
 ing alone. It is even allowable to order one portion for three persons. 
 Ladies may dine at the best restaurants with perfect propriety. 
 
 Most of the larger restaurants , particularly those in the Boule- 
 vards, have ^cabinets particuliers\ or private dining-rooms, with sep- 
 arate entrances and a distinct staff of servants, where the charges 
 are much higher than in the public rooms.
 
 10 
 
 3. RESTAURANTS. 
 
 Preliminary 
 
 The Bill of Fare usually presents a very extensive choice of 
 viands. At the large restaurants whatever dish is selected is sure 
 to be found unexceptionable of its kind, but at the smaller restau- 
 rants it is not prudent to order anything not mentioned in the 
 ^ carte du jour\ "Waiters, when asked what can be had , naturally 
 enumerate the most expensive dishes first. 
 
 If the diner partakes of the 'hors d^auvre' presented to him 
 between the courses, consisting of radishes, butter, prawns, etc., his 
 bill will swell into proportions for which he is probably not prepared. 
 
 A whole bottle of the ordinary red table-wine, or vin ordinaire, 
 is generally placed on the table for each person. If, however, the 
 traveller expressly states that he only wishes half a bottle, he has 
 to pay only for what he consumes. At the smaller restaurants it is 
 often advisable to mix the vin ordinaire with water or mineral 
 water ; the best-known varieties of the latter are Eau de Seltz (si- 
 phon or demi-siphon), Eau St. Galmier, Eau de Vals, Eau de Mon- 
 rand, and Eau Bussang. 
 
 The following list comprises the names of the commonest dishes. 
 The triumphs of Parisian culinary skill consist in the different modes 
 of dressing fish and 'filet de boeuf, and in the preparation of 'fri- 
 candeaus'. 'mayonnaises', and sauces. 
 
 1. POTAGES (Soups). 
 
 Potage au vermicelle. vermicelli soup. 
 
 Pate d^Italie, soup with maccaroni. 
 
 Potage a la Julienne, soup containing 
 finely-cut vegetables. 
 
 Purie aux croHtons, a kind of pea-soup 
 with dice of toast. 
 
 Consommi aux oeufs pochis , broth 
 with eggs. 
 
 Tapioca, a kind of sago soup. 
 2. HoRS d'ceuvbe. 
 
 Huitres, oysters. 
 
 Rdties, pieces of toast. 
 
 Saucisson, sliced sausage. 
 
 Cojmichons, pickled cucumbers. 
 
 Tourte, pate with fish or meat. 
 
 Vol au Vent, light pastry with meat. 
 
 Escavgots. snails. 
 
 Orenouilles, legs of frogs. 
 3. B(EUF (beef). 
 
 Boeuf au naturel, boiled beef. 
 
 Boeuf sauce tomate, beef with tomato 
 sauce. 
 
 Beefsteak, or biftek aux pommes, beef- 
 steak with potatoes (bien cuit, 
 well-done-, saignant, underdone). 
 
 Chateaubriand, a kind of steak. 
 
 Filet aux truffes, fillet of beef with 
 truffles. 
 
 Filet au Jus, fillet with gravy. 
 4. MouTON (mutton). 
 
 Cdtelette panie , cutlets with bread- 
 crumbs. 
 
 Blanquette d'agrneoM, fricassee of lamb. 
 Gigot de mouton., leg of mutton. 
 Ragodt de mouton or Navarin aux 
 
 pommes, mutton with potatoes and 
 
 onion-sauce. 
 
 5. Veao (veal). 
 Ris de veau, sweetbreads. 
 Fvicandeau de veau, slices of larded 
 
 roast-veal. 
 Blanquette de veau, fricassee of veal. 
 Cervelle de veau au beurre noir, 
 
 calfs-head with brown sauce. 
 Foie de veau, calf's-liver. 
 Rognons de veau, veal kidneys. 
 Veau rdti, roast veal. 
 
 6. PoRC (pork). 
 
 Pieds de cochon a la Ste. Menehould, 
 pig's pettitoes seasoned. 
 
 Pore rdti, roast pork. 
 
 7. VoLAiLLE (poultry). 
 
 Chapon, capon. 
 
 Poulet, chicken, prepared in various 
 ways. Un quart de poulet, enough 
 for one person, and even for two 
 persons at the large restaurants. 
 {Vaile ou la cuisse ? the wing or 
 the leg? the former being rather 
 dearer). 
 
 Croquette devolaille,cToquette of fowl. 
 
 Canard aux navels, duck with young 
 turnips. 
 
 Caneton, duckling. 
 
 Caneton a la presse, duckling cooked
 
 Information. 
 
 3. RESTAURANTS. 
 
 11 
 
 on a chafing-dish in presence t»f 
 the guest, with the juice of the 
 carcase squeezed out by a silver 
 press. 
 
 Oie, goose. 
 
 Dindon, turkey. 
 
 Pigeon^ pigeon. 
 
 8. GiBiEE (game). 
 
 Perdrix, partridge {aux choux, with 
 cabbage and sausages). 
 
 Pei'dreaux, young partridges. 
 
 Caille au gratin, quail with bread- 
 crumbs. 
 
 Filei de chevreuil, roast venison. 
 
 Civet de lihvre, ragout of hare. 
 
 9. Patisseeie. 
 Pdti au jus^ meat-pie. 
 Pdti de /oie gvas aux truffes, a kind 
 of paste of goose-liver and truffles. 
 
 10. PoissoN (fish). 
 
 Saumon, salmon. 
 
 Sole au gratin, baked sole. 
 
 Limande, a kind of flat fish. 
 
 Brocket, pike. 
 
 Carpe, carp. 
 
 Anguille, eel. 
 
 Turbot, turbot. 
 
 Rate , roach (aw beurre noir , with 
 brown sauce). 
 
 Maquereau. mackerel. 
 
 Truite, trout; truite saumonie ^ sal- 
 mon-trout. 
 
 Matelote., ragout of eels. 
 
 Morue^ cod. 
 
 Moules, mussels. 
 
 Ecrevisses, crabs. 
 
 Eomard, lobster. 
 
 Crevettes, shrimps. 
 
 11. Salades (salads). 
 Salade suivant la saison , salad ac- 
 cording to the season. 
 Laitue (pamm4e), lettuce-salad. 
 Chicorde, endive-salad. 
 
 12. Entbemets or Legumes 
 (vegetables). 
 Lentilles, lentils. 
 Asperges., asparagus. 
 Artichauts., artichokes. 
 Petits pois.%r&&xi peas («« 6««rrc,with 
 butter-sauce; piirie de pois., mash- 
 ed peas). 
 Haricots vei'ls OTflageolet.<^ small green 
 beans, French beans ; haricots blancs 
 or toitsons, white beans. 
 Choux., cabbages ; choux fleurs^ cauli- 
 flowers; choux blancs^ white cab- 
 The bread of Paris is excellent and 
 
 bages; choux raves., kohl-rabi; 
 
 choux deBruxelles^Brusaels sprouts; 
 
 choucroute , pickled cabbage (gar- 
 
 nie, with lard and sausages). 
 Pomme*, potatoes (it is not customary 
 
 to add de terre). 
 Pommes /rites, fried potatoes. 
 Pommes sauties , potatoes stewed in 
 
 butter. 
 Pommes it, la maitre d''h6tel, potatoes 
 
 with butter and parsley. 
 Purie de pommes, mashed potatoes. 
 Epinards, spinach. 
 Chicorie, endives. 
 Oseille, sorrel. 
 Caroties, carrots. 
 Navets, turnips. 
 Betteraves, beetroot. 
 Oignons, onions. 
 Tomates, tomatoes. 
 
 13. Entremets SucRfes (sweet dishes). 
 Omelettes of various kinds (au sucre, 
 
 soufflie , anx con/itiires , aux fines 
 
 herbes, etc.). 
 Beignets, fritters. 
 
 Charlotte de pommes, stewed apples. 
 Crtme a la vanille, vanilla-cream. 
 Tourte aux confitures, jam-tart. 
 Nougat, pudding flavoured with nut."; 
 
 or almonds. 
 
 14. Dessert. 
 
 Various kinds of fruit. 
 
 Meringue h la cr^me, cream-tarts. 
 
 Par/ait, cofi"ee-ice. 
 
 The usual varieties of cheese are : 
 
 Fromage (d, la crtme) Suisse or Che- 
 valier (the name of a manufactur- 
 er), a kind of cream-cheese. 
 
 Fromage de Gruyire, Grnyere cheese. 
 
 Fromage de Neu/chdtel (Normandy), 
 INeufchatel cheese. 
 
 Fromage de Roque/ort (Aveyron). 
 
 ^ green cheese made of a mixture 
 of sheep's milk and goat's milk. 
 
 15. Wines. 
 
 The finer wines principally in vogue 
 are: — Red Bordeaux or Claret: 
 St. Emilion and St. Julien (3-4 fr.), 
 Chdteau Larose, Ch. Latour , and 
 Ch. Lafitte (6-8 fr.). White Bor- 
 deaux: Sauternes (3-4 fr.). — Red 
 Burgundy : Beaune (2V2-4 fr.), Po- 
 mard, Volnay, Nuit.'^ (4-5 fr.), Ro- 
 mance and Chambertin (5-8 fr.). 
 White Burgundy : Chablis (IV2- 
 2V2 fr.), Montrachet (!^ fr.) , and 
 Hermitage (6 fr.). 
 Vin /rappi, wine in ice. _ 
 
 Cara/e /rapp ie.z9,T^^^ of iced water. 
 
 has been fam since
 
 12 3. RESTAURANTS. Preliminary 
 
 Restatjbants a Prix Fixe. The ^Diner h Prix fixe' resembles 
 a table d'hote in being a complete repast at a fixed charge, which 
 varies from 1 to 5 fr. in accordance with the number and quality 
 of the dishes ; but the diner is at liberty to come at any time be- 
 tween 6 and 8, and is enabled to dine as expeditiously or as lei- 
 surely as he pleases. Payment in some instances is made at the 
 door on entering. Where a whole bottle of table-wine is included 
 in the charge for dinner, half a bottle of a better quality may al- 
 ways be obtained in its stead. Meats and vegetables are served sep- 
 arately, but may be ordered together if desired. The cuisine is 
 sometimes little inferior to that of the best restaurants. These 
 establishments are recommended to travellers who are not au fait 
 at ordering a French dinner. 
 
 The connoisseur in the culinary art will , however , avoid the 
 'diner a prix fixe', and betake himself with one or two discrimin- 
 ating friends to a restaurant of the best class ; and even the soli- 
 tary traveller will often prefer a less showy, but more substantial 
 repast at a good 'restaurant k la carte'. 
 
 Visitors are generally admitted to the table d'hote of the hotels 
 even when not staying in the house , but in some instances pre- 
 vious notice is required. The dinners of the large hotels mentioned 
 at p. 3 are patronised by numerous outsiders. 
 
 Restaurants a la Carte in and near the Palais-Royal. 
 
 Galerie Montpensier (W.side), Corazza (Douix), first class. — 
 Galerie Beaujolais, near the theatre, Grand-Vefour. — Galerie de 
 Valois, at the N. end, Petit -Vefour, also a prix fixe (3 and 4 fr.). 
 — Galerie d'Orleans (S. side), Cafe d' Orleans. 
 
 Before entering the Galerie Montpensier from the end next the Louvre, 
 we observe the ^Maison Chevef, Galerie de Chartres 12 and 15 , an unri- 
 valled emporium of delicacies, but not a restaurant. Those who wish to 
 give a really good dinner get their materials from Chevet. Laffitte , the 
 celebrated banker, and minister of Louis Philippe , is said to have sent 
 to Chevet for fish for a dinner to be given at Dieppe. 
 
 Rue de Valois 6 & 8, at the S. end of the Galerie d'Orle'ans : 
 Au Boeuf ct la Mode, comparatively moderate. 
 
 Restaurants a la Carte in the Boulevards. 
 
 The even numbers are on the N., the uneven numbers on the S. side 
 (comp. p. 3, note). 
 
 Place de la Madeleine: 2, Durand ; 3, Larue ; 2, Lucas. 
 
 Boulevard des Capucines: 12, Cafe de la Paix; 14, Grand Cafe; 
 4, Cafe Americain; S, Restaurant Julien. — Rue Scribe 2, English- 
 American Restaurant and Bar. 
 
 Boulevard des Italiens : 13, *Cafe Anglais, elegantly fitted up; 
 20, *Maison Doree, fashionable; 16, Cafe Riche, more of a cafe'- 
 brasserie; 38, Paillard, good. — In the Passage des Princes, near 
 the Rue de Richelieu, Nos. 24-30 : *Noel-Peters, quiet. 
 
 Boulevard Poissonniere : 26, Cesar; 9, Restaurant de France;
 
 Information. 3. RESTAURANTS. 13 
 
 2, Poissonniire or Duflos. All these are reasonable. — Boulevard 
 Bonne - Nouvelle 36, *Marguery, with glass-covered terrace, a fav- 
 ourite resort of merchants. — Boulevard St. Denis 18-14, *Maire, 
 moderate. — Boulevard St. Martin (or rather, No. 50 Rue de Bondy, 
 which here meets the boulevard), Lecomte. — Boulevard du Temple 
 29-31, Bonvalet, also k prix fixe. — Boulevard Beaumarchais 3, 
 near the Place de la Bastille, Aux Quatre Sergents. 
 
 Other Kestaurants a la Carte on the Right Bank. 
 
 Avenue de I'Op^ra: 41, Cafe de Paris; 26, Ruth Mitchell, lun- 
 cheon rooms (American dishes; good but not cheap). — Behind the 
 Opera, Rue Halevy 12 and Chausse'e d'Antin 9, Sylvain (T^vermei). 
 
 Near the Boulevard des Italiens : Rue du Helder 7, Au Lion 
 d'Or, first class, tastefully fitted up; Rue de Marivaux 9, Restau- 
 rant de Marivaux (Joseph), well spoken of; Place Boi'eldieu 1, Ta- 
 verne de Londres (Edouard); Rue St. Augustin 10, Restaurant Gail- 
 Ion, quiet and moderate. 
 
 Rue Daunou , to the S. of the Boulevard des Capucines , 22, 
 Vian, less pretending. 
 
 Place de la Bourse 13 , Champeaux (Catelain) , with garden, 
 first class. 
 
 Rue St. Honore 261, and Rue Cambon 16, Voisin , expensive 
 (good wine). 
 
 Rue Royale 21, Cafe-Restaurant Anglais (Weber). 
 
 Rue de Rivoll, in the Hotel Continental (p. 3), elegantly fitted 
 up, with caf^. 
 
 Champs-Elysebs. Most of the restaurants here are expensive. 
 
 — To the left on entering, Ledoyen, to the right, des Ambassadeurs, 
 both with fine terraces; Cubat, 25 Avenue des Champs-Elyse'es (left 
 side), first class ; Cafe- Restaurant du Rond- Point, to the right at 
 the Rond-Point, first class ; Grand Cafe du Cirque (price-list hung 
 up), etc. To the left, Restaurant d'Albe, at the Hotel d'Albe (p. 7). 
 
 Bois DE Boulogne. All the restaurants here are on a large scale. 
 At the end of the Avenue du Bois de Boulogne (p. 156), the Pavil- 
 ions Chinois, in the Chinese style. Near the entrance beside the 
 Porte Maillot: Gillet , Avenue de Neuilly 25. Near the Jardin 
 d'Acclimatation : * Pavilion d'Armenonville, of the first class, well 
 spoken of. There is also a restaurant in the Jardin d'Acclimatation. 
 
 — Cafe- Restaurant de la Cascade (comp. p. 167). near the Cascade. 
 
 — Beyond the race-course, near the Pont de Suresnes, the Chalets 
 du Cycle, frequented by cyclists. There are several other smaller 
 restaurants beyond the bridge. — At the Porte de Madrid (p. 159), 
 Restaurant de Madrid. — Avenue de Neuilly 93 (^Rue d'Orle'ans), 
 near the Jardin d'Acclimatation, Cafe-Restaurant Dehouve, also a prix 
 fixe (21/2 and 3 fr.). There are several other cafe's at the foot of 
 the Avenue de la Grande Arm^e.
 
 14 3. RESTAURANTS. Preliminary 
 
 Restaurants a la Carte on the Left 
 Rue de Lille 33, near the Rue du Bac, Blot, recommended. 
 Rue Mazet 3, first street diverging from the Rue Dauphine to 
 the right when approached from the Pont-Neuf (PL R, 20), 
 *Magny. — On the adjacent Quai des Grands- Augustins : 51, 
 *Laperouse. 
 
 In the QuAETiER Latin : *Foyot, Rue de Tournon 33, near the 
 Luxembourg (PI. R, 19). — Boulevard St. Germain 110, opposite 
 the Ecole de Medecine, Mignon. — Boulevard St. Michel 25, Cafe- 
 Restaurant Soufflet. — Quai de la Tournelle 15, and Boul. St. Ger- 
 main 6, De la Tour d' Argent, somewhat expensive. 
 
 Restaurants near the Stations. 
 Gare du Nord : Buffet, to the right of the facade ; Lequen, Boule- 
 vard de Denain 9 ; Barbotte, Rue de Dunkerque 25, opposite the 
 station, well spoken of ; Bouillon Duval, at the corner of the Boule- 
 vard Magenta and Rue Lafayette. — Gare de I'Est: '^Restaurant 
 Schaeffer, at the Hotel Fran^ais, Rue de Strasbourg 13; Bouillon 
 Duval, Rue de Strasbourg 6. — Gare St. Lazare : Buffet, beside 
 the Cour du Havre ; Restaurant du Terminus (p. 3) ; Bouillon 
 Duval, Place du Havre 12 & 14; and several restaurants a prix 
 fixe (p. 12). — Gare Montparnasse : Cafe-Restaurant , below the 
 station ; Restaurant de la Gare , Rue du Depart 1 ; and several 
 restaurants k prix fixe (p. 12). — Gare de Lyon : Buffet. — Gare 
 d'Orleans : *Chalet du Jardin des Plantes , in the square at the 
 entrance to the garden ; Cafe de I'Arc en Ciel, Boulevard de I'Ho- 
 pital 2, k la carte and a prix fixe (3 fr.). 
 
 Restaurants a Prix fixe in the Palais-Royal and Vicinity. 
 
 Where two prices are stated , the second includes a better quality of wine. 
 
 Galerie Montpensier (W. side, pleasantest on summer after- 
 noons, because in the shade), beginning from the end next the 
 Louvre: No. 23, *Rest. de Paris (Laurent Catelain), dej. 2, D. 
 21/2 ft. ; 40, 41, Vidrequin, de'j. 1 fr. 15 or 1 fr. 25, D. 1 fr. 50 c. 
 or 2 fr. ; 65, Aux Cinq Arcades, de'j. 2, D. 21/2 fr. 
 
 Galerie de Valoi8(E. side), returning towards the Louvre: 108, 
 Vefour, d^j. 3, D. 4fr. (also a la carte); 142 & 145, Tavernier Atne, 
 d^j. 2, D. 21/2 fr.; 173, ''Diner National, dej. 3, D. 31/2 or 5 fr. 
 (paid on entering), or a la carte. 
 
 Place du Theatre Fran^ais 5 and Avenue de I'Opera 1, Restau- 
 rant Oazal, new, dej. or D. 2 or 3 fr. — Rue St. Honor^ 202 (Ist 
 floor), beside the Palais-Royal and opposite the Louvre, Restaurant 
 Leon, d^j. or D. IV2, 2, or 3 fr. 
 
 The following Tables d'Hote may also be mentioned : *Philippe, 
 Rue et Galerie de Yalois , Palais-Royal, 43 and 105, d^j. 1 fr. 60, 
 D. 2 fr. 10 c. ; Grande Table d'Hote Vivienne, Rue Vivienne 2bi8, 
 same prices ; Grande Table d'Hote du Mail , Rue du Mail 6 ; etc.
 
 Information. 3. RESTAURANTS. 15 
 
 Restaurants a Prix fixe in the Boulevards. 
 
 Boulevard Montmartre 12 (passage), "* Diner de Paris, an old- 
 established house, dej. 1^/2, D- 31/2 fr., also h. la carte. — Passage 
 Jouffroy : 10, Restaurant de la Terrasse Jouffroy, d^j. 3, D. 5 fr. ; 
 16, Restaurant du Rocher,Teo-peued in iSQQ, dej. Ifr. 15 c., D. 2fr. 
 
 Boulevard des Italiens : 27, *D7ner Fran^ais (table d'hote Ex- 
 coffier), d^j. 31/2^ ^- ^^U f^. ; 9, Gr. Restaurant Universel, dej. 2, D. 
 3fr. — Passage de I'Opera (Boul. des Italiens 10), Restaurant Colin, 
 dej. 1 fr. 15c., D. 2 fr. — Passage des Panoramas 25, Restaurant 
 du Commerce, dej. 1 fr. 60, D. 1 fr. 75 c. — Boulevard Polsson- 
 nlSre 24, Bruneaux, de'j. 3, D. 4 fr. — Boulevard St. Martin: 55, 
 Grand Restaurant de la Porte St. Martin, dej. 1 fr. 15 or 1 fr 
 60 c., D. 11/4-2 fr.; 47, Restaurant des Nations, dej. or D. I3/4- 
 23/4 fr.; 15, Gr. Rest, du Cercle (Boulon), dej. or D. 13/4-21/2 fr. — 
 Rue deBondy 48, Rest, des Deux Theatres, d^j. 21/2, I>. 3 fr., incl. 
 coffee. — Boulevard du Temple 29-31 , Bonvalet , dej. 2^/4, D. 
 31/2 fr., also h. la carte. — Boulevard Beaumarchais 1, adjoining the 
 Bastille, Grande Taverne Gruber , dej. 2^/4, D. 3 fr., incl. coffee. 
 
 Tables d'Hote. Excoffier, at the Diner Fran^ais (see above), 
 Boulevard des Italiens 27 5 Table d'Hote Bouillod, Passage des Pa- 
 noramas, Galerie Montmartre 6, de'j. 2, D. 3fr. ; Blond, Boulevard 
 Montmartre 2 (first floor), de'j. II/2, D. 2 fr. 
 
 Restaurants a Prix fixe near the Boulevards. 
 
 Near the Madeleine, Rue Royale 14, corner of the Rue St. Ho- 
 nore: Darras , dej. 3, D. 5 fr. — Rue de Richelieu 104, Rest. 
 Richelieu, with winter and summer gardens, dej. 21/9, D. 3 fr. — 
 Rue Yivienne: 47 (1st floor), Rest, de la Bourse, dej. or D. 1 1/2 or 
 2 fr. ; 45, Rest, des Finances. — Rue Montmartre 170 (1st floor), 
 near the boulevards. Grand Restaurant de Paris, dej. I3/4, D. 3 fr. 
 — Rue de la Bourse 3, Au Rosbif, de'j. II/2, D. 2 fr. 
 
 At the Gare St. Lazare: Cafe Scossa, Place de Rome, de'j. 21/.2, 
 D. 3 fr. ; Restaurant Moderne, Rue du Havre 11; Restaurant du 
 Havre, Rue St. Lazare 109 and Place du Havre, de'j. 13/4, D. 2 fr. ; 
 Au Regent, Rue St. Lazare 100, D. 1 fr. 60c. — Bouillon, Place 
 du Havre. 
 
 Other Restaurants a Prix fixe on the Right Bank. 
 
 Near the Tour St. Jacques, Rue St. Denis 4 and Boulevard de 
 Sebastopol 5, Chauveau, I3/4, 2, or 3 fr.; Rue St. Denis 6, Restau- 
 rant du Commerce, de'j. 1 fr. 15 c. 2 fr. 
 
 Bois de Boulogne. In the Bois itself, at the Porte Maillot, 
 Chalet du Touring Club, tariff exhibited. Avenue de Neuilly 93, 
 Dehouve, dej. 21/.2, D. 3 fr. (p. 13).
 
 16 3. RESTAURANTS. Preliminary 
 
 Bestaurants a Prix fixe on the Left Bank. 
 Place St. Michel 5, Taverne du Palais, d^j. 2V2i I>- 3 fr. ; Place 
 de rOdeon 1, opposite the theatre, Cafe-Restaurant Voltaire, d^j. 3, 
 D. 4 fr. — Boulevard St. Germain: 229, beside the Ministry of 
 War, *Cafi-Rest. des Ministeres, de'j. 3, D. 3-4 fr. ; 262, opposite, 
 Cafe - Restaurant de la Legion d'Honneur, dej. 2V2) ^- 3 fr. — 
 Square Ste. Clotilde, Restaurant Ste. Clotilde , d^j. 1 fr. 60, D. 
 
 I fr. 75 c. — Rue de Rennes 53, near the Boulevard St. Ger- 
 main, Cafe-Restaurant de I'Ocean, dej. 21/2 » ^' 3 fr. — Near the 
 Gare Montparnasse : opposite the station, Cafe-Restaurant de Ver- 
 sailles, dej. 21/2, D. 3 fr. ; Restaurant Leon, Rue de Rennes 161, 
 dej. 1 fr. 30 c, D. 3 fr. 
 
 Etablissements de Bouillon. 
 
 The Bouillons are restaurants ^ la carte of a cheaper kind, 
 managed in a peculiar way. As in the case of the 'diners k prix 
 fixe', the number of dishes to choose from is very limited. The food 
 is generally good, but the portions are rather small, and each dish, 
 bottle of wine , and even bread is reckoned separately. The 
 guests are waited on by women , soberly garbed , and not unlike 
 sisters of charity. These houses are very popular with the middle 
 and even upper classes, and may without hesitation be visited by 
 ladies. Each guest on entering is furnished with a card, on which 
 the account is afterwards written. 
 
 Usual charges: serviette 5, bread 10, carafon of wine 20, 
 1/2 bottle 50, 'demi-siphon' of aerated water 15, soup 25, meat, fish, 
 etc., 30-60, vegetables 25 c; the charge for an ordinary dinner 
 will, therefore, amount to 2-2V2 fr. or upwards. A fee of 15-20 c. 
 is left on the table for attendance ; the bill is then paid at the bar 
 and receipted, and is finally given up to the 'controleur' at the door. 
 
 The *Bouillons Duval, originally founded in 1855 by a butcher 
 named Duval, and now owned by a company, are the oldest of 
 these establishments. Prices vary a little according to the situation 
 and fittings of the branches. The largest of these houses is in the 
 Rue Montesquieu, No. 6, to the E. of the Palais-Royal. The follow- 
 ing, among many others, are some of the principal branch-establish- 
 ments: Rue de Rivoli 194 (Tuileries) and 47, Avenue de I'Opera 31, 
 Boulevard de la Madeleine 27, Boulevard des Capucines 39, Boule- 
 vard des Italiens 29, Boulevard Poissonniere 11, Boul. Montmartre 
 21, Place de la Republique 17, Place du Havre 12 & 14, Rue de 
 Turbigo 45 (corner of Rue St. Martin) and 3, Boulevard St. Denis 
 
 II (corner of Boul. de Se'bastopol) and 26, Boul. de Magenta 101 
 (near the Gare du Nord), Rue des Filles St. Thomas 7, Rue du 
 Quatre-Septembre 1 (near the Bourse), Boul. St. Michel 26 (at the 
 corner of Rue de TEcole de M^decine), Rue du Pont-Neuf 10 (cor- 
 ner of Rue de Rivoli), Rue St. Antoine 234. 
 
 Bouillons Boulant, Boulevard des Capucines 35 and Boulevard 
 St. Michel 34.
 
 Information. 4. CAFfiS. 17 
 
 Beer Houses. Wine Shops. 
 
 English, Bavarian, Strassburg, Vienna, and other beer may be 
 obtained at most of the cafes (see below) and also at the numerous 
 Brasseries, many of which are handsomely fitted up in the old French 
 or Flemish style, with stained-glass windows and quaint wain- 
 scoting and furniture. Most of the following are also restaurants. 
 A small glass of beer (un quart) costs 30-35 c, a large glass (un 
 demi) 50-60 c; brune, blonde^ dark and light beer. 
 
 On thb Boulevards : *Pousset, Boul. des Italiens 14, handsome 
 establishment (Munich beer) ; Cafe Riche, Boul. des Italiens 16, 
 elegantly fitted up (Munich beer) ; Taverne des Capucines, Boul. 
 des Capucines 43 ; *Zimmer. Ducastaing^ Boul. Montmartre 18 and 
 13, also handsomely fitted up; Taverne Montmartre, Rue du Fau- 
 bourg-Montmartre 61 (corner of Rue de Chateaudun) ; Taverne du 
 Coq-d'Or, Rue Montmartre 149, another handsome establishment. 
 — Taverne Brehant, Boul. Poissonniere 32; Qruber ^^ Cie., Boul. 
 Poissonniere 13 and Boul. St. Denis ib^ia (Strassburg beer); Mul- 
 ler, Boul. Bonne-Nouvelle 35; Ducastaing , Bonl. Bonne-Nouvelle 
 31; Dreher, same boul., 26; Taverne Flamande, Boul. de Sebasto- 
 pol 137, tastefully fitted up; Toumier, Boul. de Sebastopol 135; 
 Brasserie du Pont-Neuf, Rue du Pont-Neuf 17 & 19, near the Rue 
 de Rivoli, handsome rooms (Culmbach beer); Orande Brasserie 
 Dreher, Rue St. Denis 1, Place duChatelet. — Brasserie de VOpera, 
 Avenue de I'Opera 26; Brasserie Universelle, Avenue de I'Opera 31 
 (Munich beer); Mallard, Rue St. Lazare 115 & 117, opposite the 
 Terminus (Munich beer); Jacqueminot-Graffe, Rue St. Lazare 119, 
 a tasteful establishment in the Alsatian style. — Taverne Roy ale, Rue 
 Royale 25. — Oruher, Boulevard Beaumarchais 1 (restaurant, see 
 p. 15). — Grande Brasserie Rhenane, Boul. Richard-Lenoir 3, Place 
 de la Bastille, etc. 
 
 The Wine Shops (Dibits de Vins) , which are very numerons , are 
 frequented almost exclusively by the lower classes. The wine is usually 
 drunk at the counter ('zinc'). — The same remark applies to the Bars, 
 somewhat in the English style. 
 
 4. Cafes and Confectioners. 
 
 Caf^s form one of the specialties of Paris, and some of them 
 should be visited by the stranger who desires to see Parisian life in 
 all its phases. An hour or two may be pleasantly spent in sitting 
 at one of the small tables with which the pavements in front of the 
 caf^s on the Boulevards are covered on summer -evenings, and 
 watching the passing throng. Chairs placed in unpleasant proximity 
 to the gutter should, of course, be avoided. Most of the Parisian 
 men spend their evenings at the caf<?s, wherethey partake of coffee, 
 liqueurs, and ices, meet their friends, read the newspapers, or 
 play at cards or billiards. The cafes on the Grands Boulevards, how- 
 ever, with the exception of the Grand Cafe' in the Boul. des Capu- 
 cines , generally have no billiard-tables. Letters may also be con- 
 
 Bakdekbb. Paris. 12th Edit. 2
 
 18 4. CAFfiS. Preliminary 
 
 veniently written at a cafe, the waiter furnisliing writing-materials 
 on application. Most of the cafe's are open until 1 a.m., some 
 even longer. 
 
 Smoking is generally prohibited at the cafes nntil the evening, 
 unless there be chairs outside. The best cafe's may with propriety be 
 visited by ladies, but some of those on the N. side of the Boulevards 
 Montmartre and des Italiens should be avoided, as the society there 
 is far from select. — Cafes Concerts, see p. 33. 
 
 When coffee is ordered at a cafe during the forenoon the waiter 
 brings a large cup (une tasse, or une grande tasse, with bread 
 3/4-I1/2 fr- i waiter's fee 10 c). In the afternoon the same order 
 produces a glass of cafe noir, which costs 30-60 c. (waiter 10 c). 
 A petit verre of Cognac or Kirsch costs 30-40 c. A bottle of cog- 
 nac is usually brought with the coffee unordered, and a charge made 
 according to the quantity drunk, from 10 c. upwards. — Those who 
 wish to dilute their coffee ask for un mazagran, and are supplied 
 with coffee in a large glass and a bottle of water. — The prices of 
 the 'consommations" are generally marked on the saucers on which 
 they are served. 
 
 Tea is generally sold in portions only (the complet) , costing 
 1-1 1/2 fr. Dejeuner may be obtained at nearly all the cafes for 
 274-3 fr. , and cold meat for supper. 
 
 Beer may also be procured at most of the cafes, ^un, bock' costing 
 30-50 c, ^un double' or 'une canette' 50-80 c. 
 
 Liqueurs (40-75 c), diluted with water, largely consumed in 
 warm weather are: Absinthe, Vermouth, Menthe (white or green), 
 Cognac, Bitters or Amers, Anisette, Cura(;ao, Chartreuse, etc. Kirsch, 
 Kiimmel, Prunelle, Rhum, etc., are drunk undiluted. Sirops or 
 fruit-syrups, diluted with water, are to be had in various flavours; 
 e.g. Sirop deGroseLlle,de Framboise, de Grenadine, Orgeat (prepared 
 from almonds), etc. Sorbet (half-frozen syrup or punch) and ices 
 (half 75 c, whole 1 V4-IV2 fr.) are also frequently ordered. 
 
 Cafes in the Boulevards. 
 
 Place de la Madeleine '2, corner of the Rue Royale, Cafe Durand, 
 also a restaurant, like many others of the under-mentioned. 
 
 Boulevard des Capucines. N. side: No. 14, Grand Cafe, ele- 
 gantly fitted up ; 12, Cafede la Paix^ on the groundfloor of the Grand 
 Hotel; 4, Cafe Americain. — S. side: No. 3, Julien; 1, Glacier 
 Napolitain, noted for ices (see p. 19). 
 
 Avenue de TOpe'ra: 41, Cafe de Paris; 31, Cafe St. Roch. 
 
 Boulevard des Italiens. N. side: No. 16, CafeBiche. — S. side: 
 No. 1 & 3, Cardinal. 
 
 Boulevard Montmartre. N. side : No. 16, Cafe Mazarin (may be 
 visited by ladies) ; 8, de Madrid (good d^j. ; foreign newspapers). — 
 S. side: No. 9, des Varietes ; 5, de Suede; 1, de la Porte-Mont- 
 martre (foreign newspapers).
 
 Information. 4. CAFES. 19 
 
 Boulevard PoissonniSre, No. 14, Cafe du Pont-de-Fer. 
 
 Boulevard Bonne-Nouvelle. N. side: No. 30, *CafS de La Ter- 
 rasse (Chauvet), well supplied with newspapers, recommended for 
 dejeuner. — S. side: No. 39, Dejeuner de Richelieu, noted for 
 chocolate. 
 
 Boulevard St. Denis No. 9, and Boul. de Sebastobol 114, Cafe 
 de France; 12, corner of Boul. de Strasbourg, Cafe Fran^ais. 
 
 Place de la Republique, at the Hotel Modeme: Grand Cafe 
 Americain. Boulevard du Temple: No. 31, Cafe du Jardin-Turc 
 (BonvaletJ. 
 
 Cafes in and near the Palais-Royal. 
 
 Galerie d'Orleans (S. side): Cafe d' Orleans (see p. 12); in the 
 garden (N. side) : Cafe de la Rotonde. — Rue St. Honore, No. 161, 
 *Cafe de laRegence, opposite the Palais-Royal, a famous rendez- 
 vous of chess-players. 
 
 Cafes on the Left Bank of the Seine. 
 Cafe Voltaire, Place de I'Odeon 1. — The numerous caf^s in 
 the Boul. St. Michel are chiefly frequented by students and '^tudi- 
 antes' : 25, Soufflet, 27, Vachette, both at the corner of the Rue 
 des Ecoles; 20, du Musee de Cluny, at the corner of the Boul. St. 
 Germain; Cafe de la Source, Cafe d^Harcourt, Cafe Mahieu , 35, 
 47, and 65 Boul. St. Michel. 
 
 Ices. 
 
 Ices (glaces) are to be had at most of the cafes in summer. The 
 best places are the following: Imoda, No. 3, and Rouze, No. 25, Rue 
 Royale, opposite the Madeleine; Cafe-Glacier Napolitain, Boul. des 
 Capucines 1, fruit-ices (I74 fr.), etc. ; A la Dame Blanche, Boul. St. 
 Germain 196 (on the left bank). — Sorbet, see p. 18. 
 
 Confectioners. 
 
 There are two classes of confectioners at Paris , the Pdtissiera 
 (pastry-cooks) and the Confiseurs (sellers of sweetmeats ; see p. 39). 
 The best patissiers are : Julien Freres, Rue de la Bourse 3 ; Favart 
 (Julien Jeune) , Boulevard des Italiens 9; Julien Jeune (Jourlet), 
 Avenue de I'Opera 14; Frascati, Boul. Montmartre 21; Chibouat 
 (Priv^), Rue St. Honore' 163, Place du Theatre Fran^ais; Gage, 
 Avenue Victor Hugo 2, near the Etoile. The Boulangeries-Pdtisseriea 
 are less pretending: Laduree, Rue Royale 16; Wanner (Viennese), 
 Rue de la Chaussec-d'Antin 3, etc. 
 
 Mention may also be made of the Petites Patisseries, or stalls for the 
 sale of cakes, buns, etc.; e. g. Boulevard St. Denis 13. and at the beginning 
 of the Eue de la Lune, Boul. Bonue-Nouvelle. 
 
 Afteenoon Tea in the English style: 'Le Five o'Clock', Boule- 
 vard Haussmann 40; Neal's Tea Rooms, Rue de Rivoli 248; Co- 
 lumhin, Rue Cambon 4; Rue Royale 12; Champs-Elysees 26; Rue 
 St. Honors 248, etc. 
 
 2*
 
 20 5. CABS. Preliminary 
 
 5. Cabs. 
 
 The number of cabs in Paris (Voitures de Place or de Remise; 
 Fiacres) is about 13,000. The most numerous are the open cabs 
 (voitures decouvertes), or victorias, with seats for two (a deux places). 
 Closed cabs (voitures ferinees), including all those with four seats 
 (a quatre places; somewhat cramped), usually ply near the railway 
 stations. The vacant seat on the box, and the small folding front 
 seat (strapontin) with which most of the victorias are furnished, 
 can be occupied only with the consent of the driver. Landaus, 
 which may be opened at pleasure, have 4 seats ; their fares are higher 
 than that of ordinary cabs. Only vehicles with four inside seats are 
 provided with a railing on the top for luggage, but the drivers of the 
 others never refuse to carry a reasonable amount of luggage on the box. 
 The carriage-lamps are coloured differently according to the Depot 
 to which the cab belongs, and, as cabmen sometimes raise objections 
 when required to drive to a great distance from their depot late at 
 night, it may be convenient to note the following arrangements : 
 cabs belonging to the Popincourt-Belleville depot (N.E.) have blue 
 lamps ; Poissonniere-Montmartre (central), yellow; Passy-BatignoUes 
 (W.), red; Invalides-Observatoire (S.), green. 
 
 line Course is a single drive ; a I'heure, by time, in which case 
 the hirer shows his watch to the driver. The hirer should, before 
 starting, obtain the driver's number (votre numero!), which is 
 a ticket containing the tariff of fares and the number, and keep 
 it in case any dispute should take place , or any article be left 
 in the cab. Complaints may be made to the nearest policeman, 
 or at one of the offices which are to be found at every cab-stand. — 
 Tariff, see Appendix, p. 33. Only a few of the Voitures a Compteur 
 (with a dial inside showing time, distance, and fare of the drive) 
 have yet begun to ply for hire. 
 
 If a cab is sent for and kept waiting more than y^hi. , the driver 
 is entitled to charge by time; if it is sent back at once, half a course, 
 or if after 1/4 hr., a whole course must be paid for. 
 
 If the cab be hired for a course, the driver may select his own 
 route ; if d, I'heure, he must obey the directions of his employer. If 
 one of the passengers alights before the termination of the course, 
 no additional charge can be made, unless luggage placed outside the 
 vehicle be also removed, in which case one hour must be paid for. 
 
 If the cab is engaged before 12.30 at night the day-charges only 
 can be demanded, if before 6 (or 7) a.m. the night-charges must be 
 paid, although the drive be prolonged beyond these limits. 
 
 Drivers are not bound to convey passengers beyond the forti- 
 fications between midnight (or in winter 10 p.m.) and 6 a.m. 
 
 If the horses are used beyond the fortifications for 2 consecutive 
 hours, the driver may demand a rest of 20 min. at the expense of 
 the hirer. If a carriage is engaged beyond the fortifications to return 
 to the town, the town-charges by time can alone be exacted ; in the
 
 Information. 6. OMNIBUSES AND TRAMWAYS. 21 
 
 reverse case, the increased rate is paid from the time when the 
 fortifications are passed. 
 
 Drivers may refuse to convey dogs or other animals. 
 
 Oratuities cannot be demanded by the drivers, but it is usual to 
 give 25 c. per drive, or 25-30 c. per hour, in addition to the fare. 
 
 Cabs whose drivers wear lohile hats are usually the most comfortable 
 and tbe quickest. 
 
 Those who are desirous of exploring Paris expeditiously and com- 
 fortably are recommended to hire a Voituve de Grande Remise (without a 
 number) by the day (40 fr.), or by the week. Application should be made 
 at the offices of the Compagnie G^nerale des Voitures, Place du Theatre 
 Francais 1, Boul. Montmartre 17, Boul. des Capucines 22, or Rue du 
 Havre 9 ; or at the office of the Compatrnie Urbaine, Rue des Acacias 15. 
 Cabs of this description are also to be found on the stands near the Op^ra, 
 the Madeleine, etc.; bargaining necessary. 
 
 6. Omnibuses and Tramways. River Steamboats. 
 
 The Parisian omnibus, tramway, steamboat, and railway services 
 for city and suburban communication are admirably arranged, and, 
 if properly used, enable the visitor to save much time and money. 
 The plan of omnibus-lines in the appendix to the Handbook will 
 be found useful, but its perfect accuracy cannot be guaranteed, as 
 changes are constantly taking place. The traveller is, therefore, 
 advised to purchase the latest Itineraire des Omnibus et Tramways 
 dans Paris (1 fr.) at one of the omnibus-offices. 
 
 Omnibuses and Tramways. Omnibuses and tramways cross the 
 city in every direction from 7 or 7.30 a.m. till midnight, and at 
 many points a vehicle passes every five minutes. There are also 
 tramway-lines to Versailles, St. Cloud, and other places in the 
 suburbs (see Plan in the Appendix). 
 
 There are 39 different lines of Omnibuses^ distinguished by the 
 letters of the alphabet (from A to Z, and from AB to AO). With 
 the exception of a few running in connection with the railways, all 
 the omnibuses belong to the Compagnie Generale des Omnibus. 
 There are two different kinds of vehicle in use : the old omnibuses 
 with two horses and places for 26 persons (14 inside), and the new 
 omnibuses with two or three horses and commodation for 30 or 40 
 passengers. The new omnibuses are provided with a staircase similar 
 to those in the tramway-cars , rendering the outside accessible to 
 ladies. Passengers are also permitted to stand on the platform be- 
 hind the large omnibuses. The omnibuses of different shape, or 
 with coverings over the top, are special vehicles plying to the stations, 
 the race-courses, etc. 
 
 The Tramways are, with a few exceptions, divided at present 
 into the Tramways de la Compagnie des Omnibus, the Anciena 
 Tramways Nord , now called Tramicays de Paris et du Departement 
 de la Seine^ and the Tramways Sud or Tramways de la Compagnie 
 Oenerale Parisienne de Tramways. The lines are distinguished by
 
 22 6. OMNIBUSES AND TRAMWAYS. Preliminary 
 
 letters (preceded by T), or by the names of their termini. The 
 tramway-cars of the Compagnie des Omnibus are large and cumbrous 
 vehicles, with room for about 50 passengers. Those on the other 
 lines resemble the cars of most other towns , and most of them also 
 have imperiales or outside places. Nearly all the cars are drawn by 
 horses , but some are propelled by electricity, compressed air, or 
 (outside Paris) by steam. 
 
 The termini of the lines are placarded on the sides of both omni- 
 buses and tramway-cars, and another board is hung behind, showing 
 the destination towards which the vehicle is proceeding. The prin- 
 cipal places passed en route are also indicated, and the letter of the 
 line is marked on different parts of the vehicle. The carriages are 
 also distinguished by their own colour and that of their lamps. Comp. 
 the tables in the Appendix, pp. 25-31. 
 
 Passengers may either hail and stop the omnibus in the street 
 as in England, or wait for it at one of the numerous omnibus-offices. 
 In the latter case, if there are other intending passengers, it is usual 
 to ask for a numbered ticket (numero; no charge) for the line re- 
 quired. As soon as the omnibus appears, places are assigned to the 
 ticket-holders in order, the conductor calling out the numbers; 
 when the omnibus is ^complef it drives off, and the disappointed 
 ticket-holders have to wait for the next. 
 
 The fares on all the lines within Paris are the same, 30 c. inside 
 or on the platform, and 15 c. outside (imperiale). The fares for 
 places beyond the fortifications are from 10 to 50 c, higher (inside ; 
 outside 5 to 25 c), according to the distance. Some of the special 
 omnibuses have a prix unique of 20-30 c. for outside and inside. 
 
 One of the most admirable features in the arrangements of the 
 Parisian omnibus-lines is the system of Correspondances, or per- 
 mission to change from one line to another. Thus, if no omnibus 
 go in the direct route to the passenger's destination from the part of 
 Paris ia which he is, he may demand from the conductor a corre- 
 spondance for the line which will convey him thither. He will then 
 receive a ticket (no charge), and will be set down at the point where the 
 two lines cross. Here he proceeds to the omnibus-bureau, receives a 
 number, which, without additional payment, entitles him to a seat 
 in the first omnibus going in the desired direction, and finally gives 
 up his ticket to the conductor of the latter immediately on entering. 
 Outside-passengers are not entitled to correspondance, unless they 
 pay full fare (30 c.). The tables and map in the Appendix will show 
 what lines have correspondance with each other. It should be noted 
 that the 'correspondance' is valid only where there is a bureau, and 
 that the bureau de correspondance is not invariably the same as the 
 office at which the passenger alights, but is sometimes a little 
 way off. 
 
 Correspondances are also issued at a small additional charge 
 for places beyond the fortifications.
 
 Information. 6. RIVER STEAMBOATS. 23 
 
 Mail Coaches in the English style ply in summer as follows: to Ver- 
 sailles, 'Daily Messenger' coach at 10 a.m. from Rue St. Honore 166 (return 
 fare 15 fr., box-seat 6 fr. extra) \ Cook's coach from Place de TOpera 1 (same 
 time and fares); 'Magnet' Coach from Avenue de TOpera 49, daily at 10.45 
 a.m. {.«ame fares). 
 
 Waggonettes and Brakes or Chart-ci-banc ply through the boulevards and 
 other streets during the days of the races to convey passengers to the 
 race-course. 
 
 Eiver Steamboats. The Bateaux - Omnibus , or small screw 
 steamers, which ply on the Seine (subjet'.t to interruption by the state 
 of the river, fog, ice, etc.), are recommended to the notice of the 
 traveller in fine weather, as they afford a good view of the quays and 
 banks of the river; but being small, they are apt to be crowded. 
 
 There are three different services, belonging, however, to the same 
 company (Bateaux Par isiens) : (1) Fmm. Charenton to Auteuil, by 
 the left bank of the river within Paris ; (2) From the Pont d'Auster- 
 litz to Auteuil, by the right bank ; (3) From the Pont-Royal to 
 Suresnes, also by the right bank. Comp. the Appendix, p. 32. 
 
 The Charenton steamboats may be recognized by the benches 
 placed across the deck; those for Suresnes by their larger size. In 
 the latter boats the fares for the whole or any part of the distance are 
 the same. Tickets are taken on board. Fares (which are liable to 
 vary) : From Charenton to Pont d'Austerlitz 10 c, on Sun. and holi- 
 days 15 c. ; from Charenton to Auteuil 20 and 25 c. ; Pont d'Auster- 
 litz to Auteuil, 10 and 20 c. ; Pont Royal to Suresnes 20 and 40 c. 
 
 In the summer of 1896 a new service was begun, plying on Mon., 
 Thurs., Sun., and holidays from the Pont cT Austerlitz to Ahlon via Choisy- 
 le-Roi; see p. 361. — Another service downstream from Suresnes (p. 294) 
 to Epinay (p. 3i4), via St. Denis, was also contemplated. 
 
 7. Railway Stations. Chemin de Fer de Ceintnre. Railway O^ces 
 and Agents. 
 
 The six railways radiating from Paris start from eight different 
 stations. For remarks on the French railway system, see p. xiii. 
 
 The '■Indicateur des Chemins de Fer\ the Indicateur Paul Dupont. 
 and the Livrets Chaix(jp. xiv) give complete information regarding all 
 trains. — Hotels and Restaurants near the termini, see pp. 8, 14. 
 
 I. Chemin de Fer du Nord. Garb du Nokd, Place Roubaix 18 
 (PI. B, 24; comp. p. 203), for the Lignes de Banlieue to St. Denis, 
 Enghien, etc. ; and for the Lignes du Nord to England via Calais 
 or Boulogne, Belgium, Germany via Lihge, etc. The booking-offices 
 for the trains of the Banlieue, except for the stations beyond St. 
 Denis on the Chantilly line, are in front; for the other trains, in the 
 arcade to the left. — Buffet to the right in the first arcade. 
 
 II. Chemin de Fer de I'Est. Two Stations. 
 
 (1). Garb de l'Est, or de Strasbourg, Place de Strasbourg (PI.B, 
 24 ; p. 203), for the lines to Nancy, etc., to Germany and Switzerland 
 vid Metz, Strassburg, and Belfort, and to Italy vid the St. Gotthard 
 Tunnel, etc. The booking-office for the trains of the Banlieue is in 
 front, for the other trains to the left.
 
 24 7. RAILWAY STATIONS. Preliminary 
 
 (2). Gabe db Vincennes, Place de la Bastille (PI. R, 25; V), 
 for the line to Vincennes. 
 
 III. Chemin de Fer de I'Ouest. Three Stations. 
 
 (1). Gase St. Lazake (Buffet; comp. p. 199), between the 
 Rue St. Lazare, the Rue d' Amsterdam, and the Rue de Rome (PL B, 
 18), for the Ligne de Petite Ceinture (see below); the Lignes de Ban- 
 lieue, serving St. Cloudy Versailles (right bank), St. Germain^ Argen- 
 teuil, and Ermont; and the Lignes de Normandie (England via 
 Dieppe or Le Havre). — The railway-omnibuses (for railway-pas- 
 sengers only) start from the Place de la Republique, the Pointe St. 
 Eustache, the Bourse de Commerce (Halles), the Hotel de Ville, 
 and the Square du Bon-Marche (fares 20, 25 c). 
 
 (2). GareMontparnasse, Boulevard Montparnasse 44 (PL G, 16 ; 
 p. 290), for the Ligne de Banlieue to Sevres and Versailles (left bank), 
 the Lignes de Bretagne, and the Chemins de Fer de VEtat. The book- 
 ing-offices for the line to Versailles and for the suburban stations are 
 situated downstairs, to the left; those for the main lines are above, 
 reached by a staircase and by an outside inclined plane. 
 
 (3). The Gaee dc Champ-de-;Maks is at present closed, pending the pro- 
 longation of the line to the Gare des Invalides (p. 275), which is under con- 
 struction. 
 
 IV. Chemin de Fer d' Orleans. Two Stations. 
 
 (1). Gare ©'Orleans, Quai d'Austerlitz (PL G, 25), for the 
 lines to Orleans, Tours, Bordeaux, the Pyrenees, Spain, etc. A 
 railway-omnibus plies between this station and the office of the 
 railway, Rue de Londres (Trinite); fare 30 c, without luggage. 
 
 (2). Gare du Luxembourg, at the corner of the Boulevard St. 
 Michel and the Rue Gay-Lussac (PL R. 19 ; V), near the Jardin du 
 Luxembourg (p. 262), for the lines to Sceaux and Limours. Luggage 
 cannot be registered at this station but must be taken to the old 
 Ga/re de Sceaux (PL G, 20). 
 
 V. Chemin de Fer de Paris k Lyon et k la M^diterranee. 
 Gare de Ltox, Boulevard Diderot 20 (PL G, 25, 28). Trains 
 
 to Fontainebleau, Dijon, Chalon-sur-Saone, Macon, Lyons, Mar- 
 seilles, Switzerland via. Pontarlier, MaQon, and Lyons, Italy vid the 
 Mont Cenis Tunnel or vid Nice, the Mediterranean, etc. This sta- 
 tion (buffet) is to be rebuilt. 
 
 VI. Chemin de Fer de Petite Ceinture. — The 'Chemin de Fer 
 de Petite Ceinture' forms a complete circle round Paris, within the 
 line of the fortifications, and connects with the different railways in 
 the suburbs. The length of the line is 23 M., but owing to the fre- 
 quency of the stoppages the circuit is not performed in less than 
 172 hr. For details, see the table in the cover at the end of the 
 Handbook. Trains run in both directions every 10 minutes. The 
 chief station of arrival and departure is the Gare St. Lazare (see above), 
 but special trains also run from the Gare du Nord (p. 23). There 
 is no third class. The fares are 40 or 20 c. to the first or second
 
 Information. 7. RAILWAY OFFICES. 25 
 
 station from the point of departure (return 60 or 30 c), and 55 or 
 30 c. beyond that distance (return 90 or 50 c). 
 
 Travellers may avail themselves of this railway to visit points 
 of Interest in the suburbs, such as the Bois de Boulogne, Pere 
 Lachaise, and the Buttes-Chaumont, or to make the complete circuit 
 of the city. On every side of the town, however, except the S.W., 
 the line runs between walls or through deep cuttings and tunnels. 
 The seats on the outside ('imperiale') are very draughty, and are 
 not to be recommended except in hot weather. 
 
 The Ghemin de Fer de Grande Ceinture, which forms a wide circle 
 round Paris, connecting the Chemins de Fer de TEst. de Vincennes, de 
 Lyon, and d'Orldans. is of little interest for the tourist except for the trip 
 from Versailles to St. Germain (p. 334) and for the excursion to the val- 
 ley of the Bievre (p. 366). 
 
 Railway Offices. All the lines have sub-offices (Bureaux Succunales) 
 in various parts of the city, from which railway omnibuses may be ordered 
 (comp. p. i). Passengers may book their luggage, and in some cases even 
 take their tickets, at these sub-offices, which, however, they must generally 
 reach 1 hr. before the departure of the train. Parcels, see p. 27. The 
 offices are open from 7 a.m. to 8 p.m. on week-days, from 7 a.m. to noo non 
 Sun. and holidays. 
 
 Chemin de Fer du Nord: Rue du Bouloi 21 ^ Rue Paul-Lelong 7; Rue 
 Gaillon 5; Place de la Madeleine 7; Boul. de Se'baatopol 34 ; Rue St. Martin 
 326; Rue des Archives 63; Quai de Valmy 33; Rue du Faabourg-St-An- 
 toine 21; Place St. Sulpice 6. — Est: Rue Notre-Dame-des-Vietoires 28; 
 Eue du Bouloi 9; Boul. de Sebastopol 34; Place de la Bastille, at the Gare 
 de Vincennes; Place St. Sulpice 6; Rue de la Chaussee-d'Antin 7; Rue 
 Ste. Anne 6; Rue de TurbiiJO 55. — O^iest and Etat: Rue de lEchiquier 27; 
 Boul. and Impasse Bonne-Nouvelle ; Rue du Perche 9; Rue du Bouloi 17; 
 Rue du Quatre-Septembre 10; Rue de Palestro 7; Rue St. Andre'-des-Arts 9; 
 Place de la Bastille, at the Gare de Vincennes ; Rue Ste. Anne 6. — Orlians 
 and Etat: Rue de Londres 8; Rue P;-ul-Lelong 7; Rue Gaillon 3; Rue St. 
 Martin 326; Place St. Sulpice 6; Place de la Madeleine 7; Rue du Bouloi 21 ; 
 Rue de Paradis 21bis ; Boul. de Sebastopol 34; Rue des Archives 63; Quai 
 de Valmy 33; Rue du Faubourg- St. Antoine 21. — Lyon: Rue St. Lazare 88; 
 Rue des'Petites-Ecuries 11; Rue St. Martin 252; Rue du Louvre 44; Rue 
 de Rambuteau 6; Rue de Rennes 45; Place de la Republique 16; Rue Ste. 
 Anne 6; Rue Tiquetonne 64. 
 
 The office of the Compagnie Internationale des Wagons-Lits (sleeping 
 carriage.'^) is No 3. Place de TOpera. The South Eastern Railway and the 
 London, Chatham, and Dover Railway have also offices in Paris (Boulevard 
 des Italiens 4 and 30). 
 
 Steamboat Offices. The Paris offices of some of the principal steamship 
 companies are as follows : Allan Line, Rue Scribe 7. — Aniencan, Rue Scribe 
 9. — Anchor, Rue Scribe 5. — Compagnie Generate Transatlantique , Rue 
 Auber 6 and Boul. des Capucines 12. — Cunard, Avenue de I'Opera 38. — 
 Dominion, Rue des Mar; is 95. — Harrdturg- American Packet Co., Rue Scribe 3. 
 — North-German Lloyd, Rue Scribe 19. — White Star, Rue Scribe 1. 
 
 Railway Agents'. Cook, Place de TOpe'ra 1 ; Gaze, Rue Scribe 2; Voyages 
 Economiques , Rne du Faubonrg-Mnntmartre 17 and Rue Auber 10; Lubin, 
 Boulevard Haussmann 36; Clark, Rue Auber 1. 
 
 Goods Agents. Wheatley dt Co., Rue Auber 12; Pitt d- Scott, Rue Scribe 
 7 and Rue Clement Marot 12 (also storage of luggage, etc.); Thos. Mea- 
 dows d- Co., Rue Scribe 4. 
 
 8. Post and Telegraph Offices. 
 Post Office. The Poste Centrale, or General Post Office, is in 
 the Rue du Louvre (PI. R, 21 ; ///). The offices open to the public
 
 26 8. POST OFFICE. Preliminary 
 
 are entered from the colonnade on this side ; the poste restante and 
 enquiry offices from another colonnade to the right (comp. p. 170"). 
 There are also in the different quarters of the town about a hun- 
 dred hranch-offlces, distinguished at night by blue lamps, besides 
 auxiliary offices in shops, with blue placards. 
 
 The following are the Bureaux d'Abeondissement, or District Of- 
 fices. (Meaning of the asterisks, see below.) 
 
 1. Arrond. (Louvre): '"^Hotel des Postes (p. 170); **A venue del'Opera 
 2; *Rue des Capucines 13; 'R. Cambon 9; *R. St. Denis 90; 'R. des Halles 
 9. — 2. Arrond. (Bourse): **Place de la Bourse 4 and R. Feydeau 5; **R. 
 de Cl^ry 25; **E. Marsollier 2; *R. de Choiseul 18 & 20. — 3. Arrond. 
 (Temple) : -R. Reaumur 47; 'Boul. St. Martin 41 ; *R. des Haudriettes 4; etc. 
 
 — 4. Arrond. (Hotel de Ville) : ~H6tel de Ville ; ^Tribunal de Commerce; 
 *Rue de la Bastille 2; etc. — 5. Arrond. (Pantheon): *R. de Poissy 9 ; etc. 
 
 — 6. Arrond. (Luxembourg) : 'R. des Saints-Peres 22, and R. de FUniver- 
 sit^ 1; R. du Vieux-Colombier 21; Palais du Senat; etc. — 7. Arrond. 
 (Palais Bourbon) : *Boul. St. Germain 195 ; *R. de Bourgogne 2 (Chambre) ; 
 *R. de Grenelle 103; R. St. Dominique 86; etc. — 8. Arrond. (Elysee) : 'R. 
 d' Amsterdam 19; *Boul. Malesherbes 6; Avenue des Champs -Elysees 33; 
 etc. — 9. Arrond. (Opera): 'R. Taitbout 46; =R. Milton 1; -R. Lafayette 
 35; *R. Bleue 14; etc. — 10. Arrond. (St. Laurent): *R. d'Enghien21; R. 
 de Strasbourg S (Gare de TEst) ; *Gare du Nord: etc. — 11. Arrond. (Popin- 
 court): Place de la R^publique 10; 'Boul. Beaumarchais 68; etc. — 16. 
 Arrond. (Passy) : Avenue Marceau 29; Place Victor Hugo 3; Rue de la 
 Pompe 43 : etc." — il. Arrond. (Batignolles-Monceau) : Boul. de Courcelles 73; 
 Avenue de la Grande-Armee 50bis ; Avenue de Wagram 165; Rue des Batig- 
 nolles 42; etc. 
 
 The ordinary offices are open daily from 7 a.m. (8 a.m. in 
 winter) tiU 9 p.m. (4 p.m. on Sun. and holidays). Letters for the 
 evening-trains (except for the Havre line) must be posted at the 
 ordinary offices before 4.30 p.m. ; at the general post-office and the 
 offices marked with two asterisks before 4.45 p.m. ; at the railway 
 stations they may be posted till within 5-10 minutes of the starting 
 of the trains. Late letters are received at the offices marked with 
 one or two asterisks. 
 
 The Poste Restante Office is in the General Post Office and is 
 open till 9 p.m. (Sun. 8 p.m.). Travellers may also direct poste 
 restante letters to be addressed to any of the district-offices. In ap- 
 plying for letters, the written or printed name, and in the case of 
 registered letters , the passport of the addressee should always be 
 presented. It is, however, preferable to desire letters to be addressed 
 to the hotel or boarding-house where the visitor intends residing. 
 
 Letter-boxes (Boites aux Lettres) are also to be found at most 
 public buildings, at the railway-stations, in the tramway-cars serv- 
 ing the suburbs, and in all tobacconists' shops, where stamps (tim~ 
 bres'poste) may also be purchased. 
 
 Postage of Letters, etc. Ordinary Letters within France includ- 
 ing Corsica, Algeria, and Tunis, 15 c. per 15 grammes prepaid; for 
 countries of the Postal Union 25 c. (The silver franc and the bronze 
 sou each weigh 5 grammes). — Registered Letters (lettres recom- 
 mandees) 25 c. extra. — Poi^t Cards 10 c. each, with card for reply 
 attached, 20 c. — Letter-Cards, 15 c. ; for abroad 25 o.
 
 Information. 8. TELEGRAPH. 27 
 
 Post Office Orders (mandats de poste) are issued for most coun- 
 tries in the Postal Union at a cliarge of 25 c. for every 25 fr. or 
 fraction of 25 fr., the maximum "being 500 fr. ; for Great Britain, 
 20 c. per 10 fr., maximum 252 fr. 
 
 Printed Papers (imprimis sous bande) : 1 c. per 5 grammes up 
 to the weight of 20 gr.; 5 c. between 20 and 50 gr. ; above 50 gr. 
 5 ('. for each 50 gr. or fraction of 50 gr. ; to foreign countries 5 c. 
 per 50 gr. The wrapper must be easily removable, and must not 
 cover more than one-third of the packet. 
 
 Parcels, though known as 'Colis Posteaux% are not transmitted 
 by the French post-office, but by the railway and steamship com- 
 panies which are subsidized for the purpose or (in Paris) by a pri- 
 vate firm. 
 
 Within Paris (three deliveries daily) the charges are 25 c. per 
 parcel (up to lllbs.) prepaid, or 60 c. when postpaid. Parcels should 
 be handed in at one of the numerous depots (tobacconists' shops and 
 branch post-offices) a list of which may be obtained in the post 
 offices. The central depot is at Rue du Louvre 23. 
 
 Small parcels not exceeding lllbs. in weight may be forwarded 
 within France and to the French colonies at a charge of 60 c. for 
 parcels under 6^/4 lbs., 80 c. for heavier parcels, delivered at a 
 railway-station ; 85 c. or 1 fr. 5 c. delivered at a private address. 
 These parcels, which must not contain gold, silver, jewelry, explo- 
 sives or dangerous substances, or anything in the nature of a letter, 
 may be insured for 500 fr. on payment of double rates. 
 
 Parcels are not received at the post-offices, but should be handed 
 in at a railway-station or at a railway-office (see p. 22). 
 
 There is also a parcel-post between France and some of the 
 other countries of the Postal Union, parcels up to 11 lbs. being 
 conveyed at a uniform rate: viz. to Germany, Belgium, Switzerland. 
 1 fr. 10 c. ; Spain, Italy, 1 fr. 35 c. ; Great Britain, Austria, Nether- 
 lands, 1 fr. 60 c. ; etc. These parcels must be sealed. 
 
 Telegraph. The telegraph-offices at the district post-offices are 
 open to 9 p.m. The following amongst others are open till 11 p.m. : 
 Avenue des Champs-Elysees 33 ; Boul. St. Martin 41 ; Gares du Nord 
 and de Lyon ; the Luxembourg ; Place de la R^publique 10. The of- 
 fices at Avenue de TOpe'ra 4, Rue Boissy d'Anglas 3, Rue d'Amster- 
 dam 19 , and the Grand Hotel are open till midnight. Telegrams 
 may be sent at any hour of the day or night from the offices at the 
 Bourse (night entrance on the left) and Rue de Grenelle 103. 
 
 Telegrams within France are charged at the rate of 5 c. per word 
 (minimum charge 50 c.) ; to Great Britain, 2() c. per word ; to New York, 
 1 fr. '25, Chic go 1 fr. 55 c. per word. — Western Union Telegraph Co., Rue 
 Scribe 3. 
 
 The rates per word fur other countries are as follows: for Algeria and 
 Tunis 10 c. (minimum 1 fr.) ; Luxembourg, Switzerland, and P.elgium I2V2 t. ; 
 Germany 15 c. ; Netherlands 16 c. ; Austria-Hungary , Portugal , Italy , and 
 Spain 20 c.-, Denmark, Roumania, Servia, etc.,28V2 c. ; Sweden 32 c. ; Nor- 
 way and Russia in Europe 40 c. s Turkey 53 c. ; Greece &3Vs-57 c.
 
 28 9. THEATRES. Preliminary 
 
 Telegrams marked urgent, taking precedence of ordinary telegrams, 
 are charged thrice the ordinary rates. 
 
 Telegraphic Orders (mandats telegraphiques) for not more than 
 5000 fr. are issued between French offices, and for not more than 
 500 fr. "between France and a few foreign countries {e.g. Germany, 
 Austria, Belgium, Netherlands, Italy, Switzerland). 
 
 There is also a system of Pnbumatic Tubes (Telegraphie pneu- 
 matique) for the transmission of messages within Paris, at the rate 
 of 30 c. for open cards (cartes telegrammes ouvertes) , 50 c. for 
 closed cards (cartes telegrammes fermees), and 60 c. for letters not 
 weighing^more than 7 grammes. The cards may he obtained at the 
 telegraph-offices, to which special letter-boxes for the pneumatic 
 post are also attached. 
 
 Telephone. Most of the post and telegraph offices have tele- 
 phonic communication with all parts of Paris and district (fee 25 c. 
 per 5 min.) and with the provinces (fee 25 c. per 3 min. up to 25 
 kilometres; beyond that distance, 50 c. per 100 kilometres). Paris 
 also communicates with Brussels (3 fr.) and London (10 fr. per 
 3 min.) from central offices, of which the chief are at the Bourse; 
 Rue Etienne Marcel 25; and Rue La Fayette 42. Plans of the tele- 
 phonic system are hung up in the offices. 
 
 The telephone may also be used for the transmission of Messages 
 telephones (50 c. per 3 min.), which the receiving office delivers to 
 the addressee by messenger. 
 
 9. Theatres. Circuses. Music Halls. Balls. 
 
 Paris now possesses about 20 large theatres, in the proper 
 sense of the word, and the traveller doing the 'sights' of Paris 
 should not omit to visit some at least of the principal houses. Per- 
 formances generally begin between 7.30 and 8.30 p.m., and last till 
 nearly midnight; details are given in the newspapers and the wall 
 posters. Matinees are frequently given in winter on Sundays and 
 holidays, and sometimes also on Thursdays. Many of the principal 
 theatres are closed in summer. 
 
 An intimate acquaintance with colloquial French, such as can be ac- 
 quired only by prolonged residence in the country, is absolutely necessary 
 for the thorough appreciation of the acting ; visitors are therefore strongly 
 recommended to purchase the play (la 2niice; 1-2 fr.) to be performed, and 
 peru«e it beforehand. Dramatic compositions of every kind are sold at 
 the Librairie Tresse, Theatre Francais 8-11, by OUe77doi'jr','Ru.e de Richelieu 
 28bis. at the Librairie Thidtrale, Rue de Grammont 14, and at the Lihrairie 
 IfoureUe^ Boulevard des Italiens 15. The plays may also be procured in 
 most instances at the theatres themselves. Play-bills (le 2^^'ogramnie, le 
 programme dHailU)^ or theatrical newspapers with the programme of the 
 evening {TEntre-Acte^ VOrchestre, and others), are sold in the theatres. 
 
 The best seats are the fauteuils d'orchestre, or seats next to the 
 orchestra, behind which are the stalles d'orchestre. The fauteuils 
 d^ amphitheatre in the Opera House may also be recommended, but in 
 most other theatres the amphitheatre is indifferent both for seeing 
 and hearing. The fauteuils de balcon, or de la premiere galerie.
 
 Information. 9. THEATRES. 29 
 
 corresponding to the English dress-circle, are good seats, especially 
 for ladies. The centre seats in the two following galleries (loges des 
 premieres, des secondes de face) come next in point of comfort. The 
 avant-scenes or loges d'avant-scenes are the stage-boxes, which may 
 be du rez-de-chaussee (on a level with the stage), de balcon, etc. 
 Baignoires, or loges du rez-de-chaussee, are the other boxes on the 
 groundfloor of the theatre. At many of the theatres ladies are 
 not admitted to the orchestra stalls , the space between each row 
 of seats being so narrow, that even gentlemen have some difflcnlty 
 in passing in and out. When ladies are admitted to the orchestra 
 stalls, they are usually expected to remove their hats. The arrange- 
 ment and naming of the seats differ in the different theatres, but 
 in all of them the side-seats and the two upper galleries should be 
 avoided, especially at the Opera. As a rule the price of a seat is the 
 best criterion of its desirability. 
 
 It is a wise precaution, especially in the case of very popular 
 performances and when ladies are of the party, to secure a good 
 seat by purchasing a ticket beforehand (billet en location) at the 
 office of the theatre (bureau de location, generally open from 10 or 11 
 to 6), where a plan of the interior is shown. Seats booked in this 
 manner generally cost ^o-^ fr. more than au bureau, i.e. at the 
 door, but the purchaser has the satisfaction of knowing that his seat 
 is numbered and reserved. Box-places, however, cannot thus be ob- 
 tained in advance except by taking a whole box (4-6 seats). Places 
 may also be secured beforehand at one of the theatrical offices in the 
 Boulevards, but the booking-fee demanded there is often 5fr. and 
 upwards. Visitors are cautioned against purchasing their tickets 
 from vendors in the street. 
 
 The different charges for admission given below vary according 
 to the season and the popularity of the piece and of the actors. At 
 the so-called premieres (scil, representations'), or first performances 
 of pieces by favourite authors , the charges for boxes are often 
 extravagantly high. 
 
 The parterre or pit is always crowded , and the places are 
 not numbered, except at the Opera. Those who wish to secure a 
 tolerable seat in this part of the theatre should be at the door 
 at least an hour before the beginning of the performance , and fall 
 into the rank (faire queue) of other expectants. The doors are opened 
 half-an-hour before the curtain rises. Women are seldom seen in 
 the parterre, except in the smaller theatres. 
 
 Tickets taken at the door are not numbered, and do not give the 
 purchaser a right to any particular seat in the part of the house to which 
 they apply. The door-keeper will direct the visitor to one of the un- 
 engaged places; but if any unfair play be suspected, visitors may demand 
 la feuille de location, or list of seats booked for the night, and choose 
 any seats which do not appear on this list. 
 
 The Claque CRo>nains\ '■Chevaliers du Lustre^), or paid applauders, 
 form an annoying, although characteristic feature in most of the theatres. 
 They generally occupy the centre seats in the pit, under the chandelier
 
 30 9. THEATRES. PreUminary 
 
 or 'lustre", and are easily recognieed by the obtrusive and simultaneous 
 vigour of their exertions. There are even ^entrepreneurs de succis dra- 
 maiiques\ a class of mercantile adventurers who furnish theatres vs^ith 
 claques at stated terms. Strange as it may seem to the visitor, all attempts 
 to abolish this nuisance have hitherto failed. 
 
 Overcoats, cloaks, shawls, etc. may be left at the 'Vestiaire' or cloak 
 room (fee 25-50 c. each person). Gentlemen take their hats into the theatre, 
 and may wear them during the intervals of the performances. The attend- 
 ants of the vestiaire usually bring a footstool (petit banc) for ladies, for 
 which they expect a gratuity of 10-25 c. 
 
 A list of the most important Parisian theatres , in their usual 
 order, is here annexed, with the prices of the seats 'au hureau' (p. 29). 
 
 The Opera (Pl.B, R, 18 ; //}, see p. 76. The admirable perform- 
 ances of the Parisian opera take place on Mon., Wed., and Frid., in 
 winter on Sat. also. Mon. and Frid. are the fashionable evenings. 
 The ballet and the mise en scene are unsurpassed. Evening-dress 
 de rigueur in the best seats. 
 
 Avant-scenes and loges de face des premieres 17; fauteuils d'amphi- 
 theatre, baignoires, and premieres loges de cote 15; fauteuils d'orchestre, 
 loges de face des secondes, and baignoires de cote 14-, secondes loges de 
 cote 10 j loges de face des troisiemes 8; stalles de parterre 7; avant-scenes 
 des troisiemes 5; fauteuils d'amphithe'atre des quatriemes 4: loges de 
 face des quatriemes and l^ges de= cinquiemes 2 fr., etc. 
 
 The The&tre Francois (PI. R, 21 ; 11), or Comedie Fran^aise, 
 Place du Theatre - Fran^ais , near the Palais-Royal , occupies the 
 highest rank among the theatres of Paris. The acting is admirable, 
 and the plays are generally of a high class. The favourite evenings 
 are Tues. and Wed. Evening-dress as at the Op^ra. — For a de- 
 scription of the edifice itself, see p. 59. 
 
 Avant-scfenes des premieres loges 10; loges du rez-de-chausee, premieres 
 (first gallery), avant-scenes des deuxiemes, and baignoires de face 8: fau- 
 teuils de balcon 10-8 ; fauteuils d'orchestre 8 ; loges de face de deuxieme 
 rang 6; loges decouvertes de deuxieme rang 6; loges de face de troisieme 
 rang 81/2; loges decouvertes de troisieme rang 3; parterre 2'/2j troisieme 
 galerie et fauteuils de la quatrieme 2 fr. 
 
 The Opera Comique, Place Boieldieu, was destroyed on May 2oth, 
 1887, by a terrible fire accompanied by a great loss of life. It was 
 intended originally for the performance of the lesser operas, such 
 as La Dame Blanche, the Postilion de Longjumeau, Fra Diavolo, etc., 
 but has latterly been devoted to the more ambitious operas and to 
 lyrical dramas such as Mignon, Romeo and Juliet, Lakme, Carmen, 
 etc. At present the Opera Comique is installed in one of the theatres 
 in the Place du Chatelet (PI, R 23, 7; p. 62). Evening-dress as 
 at the Opera. 
 
 Avant-scenes du rez-de-chaussee and de balcon 10; loges de balcon, 
 baignoires, fauteuils d'orchestre, and faut. de balcon 8; avant-scenes and 
 loges de la premiere galerie 6; fauteuils de la deuxieme galerie 4 ; stalles 
 de parterre and avant-scenes de la deuxieme galerie 3 ; stalles de la deuxieme 
 galerie 21/2 fr. 
 
 The Odeon, Place de I'Ode'on (PI. R, 19; /F), near the Palais 
 du Luxembourg (p. 256), ranks next to the Theatre Fran^ais, and 
 is chiefly devoted to the performance of classical dramas. Ladies
 
 Information. 0. THEATRES. 31 
 
 are admitted to all seats except the parterre. Evening-dress usual 
 in the best seats. 
 
 Avant-scenes des prenaiferes and du rez-de-chausa^e 12; baignoires 
 d'avant-scene 10; premieres loges de face S; fauteuils d'orchestre 6; fau- 
 teails de la premiere galerie 6 and 5; stalles de la deuxieme galerie S'/a ; 
 deux, loges de face 3; parterre S'/a fr. 
 
 The Gymnase (PI. R, 24; ///), Boulevard Bonne-Nouvelle 38, 
 chiefly for comedies, is one of the best theatres in Paris. Scribe 
 wrote most of his plays for this theatre. Vict. Sardou, Alex. Dumas 
 the Younger, Emile Augier, and Octave Feuillet have also achieved 
 great successes here. 
 
 Avant-scenes du rez-de-chausse'e and des premieres 15; baignoires, 
 fauteuils dorcbestre, and fauteuils de balcon 10; fauteuils de foyer 7 
 and 6; loges de foyer 6 and 5; avant-scenes de foyer 5; loges de deuxieme 
 galerie 3 and 2V2; stalles de deuxieme galerie 3 fr., etc. 
 
 The VandeviUe (PI. R, 18, 21; J/), at the corner of the Rue 
 de la Chaussee-d'Antin and the Boulevard desCapucines, ahandsome 
 building, completed in 1869, is admirably fitted up. It is chiefly 
 destined for dramas and comedies. 
 
 Avant-scenes du rez-de-chausse'e and des premieres 15; premieres and 
 fauteuils de balcon, premier rang 12; deuxieme rang and fauteuils d'or- 
 chestre 10; fauteuils de foyer 7 and 6; loges de foyer 6; avant-scenes and 
 deuxiemes loges de foyer 5 ; troisiemes 4, 3, and 2 fr. 
 
 The Varietes (PI. R, 21; ///), Boulevard Montmartre, excel- 
 lent for vaudevilles, farces, operettas, and similar lively pieces of 
 essentially Parisian character. 
 
 Avant-scenes du rez-de-chaussee and fauteuils de balcon premier rang 
 12 ; baignoires, loges de la galerie, fauteuils de balcon deuxieme rang, and 
 fauteuils d'orchestre 10; fauteuils de foyer 7 and 6 : avant-scenes de foyer 
 and deuxiemes de cote 5; troisiemes loges and troisieme galerie, first and 
 second row, 4; troisieme galerie de face 31/2 fr., etc. 
 
 Th6&tre du Palais-Royal, at the N.W. corner of the Palais Royal, 
 74, 75 (PI. R, 21 ; //) , a small but very popular theatre, vrhere 
 vaudevilles and farces of broad character are performed. 
 
 Avant-scenea and fauteuils de balcon premier rang 8; premieres 
 loges, baignoires, fauteuils de balcon and d'orchestre 7; deuxiemes loges, 
 balcon des deuxiemes de face, and stalles d'orchestre 5; deuxiemes loges 
 and balcon de cote 4; stalles des troisiemes 2V2 fr. 
 
 The&tre de la Porte St. Martin (PI. R, 24; ///}, in the Boule- 
 vard St. Martin, burned down by the Communards in May, 1871, 
 but since rebuilt. Dramas and spectacular pieces. 
 
 Avant-scenes 10; baignoires and premieres loges 8; fauteuils de 
 premier balcon 8 and 5; fauteuils d'orchestre 7 and 5; deuxiemes loges 
 de face and fauteuils de deuxieme balcon 5; other seats in this balcon 4; 
 fanteuils des galeries 3 and 2 fr., etc. 
 
 Th6ft.tre de la Eenaissance (PI. R, 24; ///), next door to the 
 preceding. Modern comedies. 
 
 Avant-scenes du rez-de-chaussee and du premier balcon 15; loges de 
 balcon de face and fauteuils de balcon, premier rang 12; other rangs and 
 fauteuils d'orchestre 10; fauteuils and loges de premiere galerie 7, 6, and 
 5; deuxieme galerie 3 and 2 fr. 
 
 Th6fctre de la Galt6 (PI. R, 24; III), Square des Arts et M^-
 
 32 9. THEATRES. Preliminary 
 
 tiers. It has several times changed its name and its specialty; 
 at present pieces of nearly every kind are given. 
 
 Avant-scenes dn rez-de-chaussee and de premiere galerie and baig- 
 noires 10; fanteuils de premiere galerie 10 and 8; loges de premiere galerie 
 and fauteuils d'orcliestre 8; avant-scenes, loges, fauteuils, and stalles de 
 deuxieme galerie 5; stalles d'orchestre 4; stalles de troisieme galerie 2V2 
 and 2 fr. 
 
 The&tre du Ch&telet, Place dn Chatelet (PL R, 24; V), a very 
 roomy edifice, specially fitted np for fairy scenes and ballet, lighted 
 by a large reflector in the roof, which can be removed in summer 
 for ventilation. 
 
 Fauteuils de balcon 8 and 7; loges, fauteuils, and stalles d'orcheatre 7; 
 stalles de galerie 6 and 5; pourtour 4; premier ampMtlieatre 3; parterre 
 2V2; deuxieme amphitheatre 2 fr. 
 
 Bouffes Parisians (PL R, 21 ; //) , a small theatre in the Rne 
 Monsigny and the Passage Choiseul, the specialty of which is comic 
 operettas. It was established by Offenbach in 1855. 
 
 Avant-scenes du rez-de-chaussee 10; baignoires 10 and 8; loges de bal- 
 con 8; fauteuils d'orchestre and de balcon 7; loges and fauteuils de la pre- 
 miere galerie 4 and 3; avant-scenes de premiere galerie 3; deuxieme 
 galerie 2 fr. 
 
 Thel,tre des Nouveautes (Pl.R, 21), Boulevard desltaliens28. 
 Vaudevilles and operettas. 
 
 Avant-scenes du rez-de-chaussee and des premieres I2V2; baignoires and 
 premieres loges 8; fauteuils de balcon and d'orchestre 8 and 7 ; avant-scenes 
 des deuxiemes and deuxiemes loges 5; fauteuils de galerie 5 and 4 fr. 
 
 Ambigu-Comique (PL R, 24; III), Boulevard St. Martin 2; 
 dramas, melodramas, and 'patriotic' pieces. 
 
 Premieres avant-scenes 9; premieres loges 8; fauteuils d'orchestre 7, 
 6, and 5; fauteuils de foyer 4, 3, and 2V2 fr. 
 
 Folies Dramatiques (PL R, 27; ///), Boulevard St. Martin, 
 or rather Rue de Bondy 40, near the Place de la Repnblique. Operet- 
 tas, etc. Seats for 1600. 
 
 Avant-scenes du rez-de-chaussee 10; loges de balcon 10, 8, and 6 (side 
 boxes); fauteuils d'orchestre and de balcon 6 and 5; stalles d'orchestre 3 ; 
 avant-scenes des deuxiemes and stalles de premiere galerie 272 fr. 
 
 Among the best of the other theatres are the following : — 
 
 Theatre de Cluny, Boul. St. Germain 72, near the Musee de 
 Cluny, the 'Gymnase' of the left bank (seats 6 fr. to 1^2 fr.). — 
 Menus- Plaisirs^ Boulevard de Strasbourg 14 (1-8 fr.). — Dejazet, Boul 
 du Temple 47 (1-6 fr.). — Eldorado, in the former cafe-concert 
 of that name, Boul. de Strasbourg, near the Boul. St. Denis (1-5 fr.). 
 — Theatre de la Republique (formerly Chateau d'Eau) , Rue de 
 Malte 50, near the Place de la Republique (V2-6 fr.); ^^^- — "^^^ 
 Theatre des T ernes , Avenue des Ternes, is a small 'bourgeois' 
 house convenient for residents in the quarters near the Arc de 
 Triomphe (stalls 2^/4 fr.). 
 
 The Theatre Robert Houdin, Boulevard des Italiens 8, for con- 
 juring of all kinds, may also be mentioned here. Admission 2 to 5 fr. 
 
 EauESTRiAN Pbrformances , accompanied by acrobatic feats, 
 pantomime, etc. , are exhibited at the following circuses : —
 
 Information. 9. CAFfiS-CONCERTS. 33 
 
 Nouveau Cirque, Rue St. Honor^ 251 (PI. R, 18 ; //), with an 
 arena which may be flooded at a moment's notice for aquatic spec- 
 tacles. The floor is formed of perforated planks covered with mat- 
 ting; at a given signal the matting is rolled up, the planking 
 descends, and water gushes in on all sides. Performances from 1st 
 Oct. to 30th June. Adm. 5, 3, and (promenade only) 2 fr. 
 
 Cirque d'Et6 (PI. R, 15; //), near the Rond-Point desChamps- 
 Elys^es, to the right in ascending. Performances every evening 
 from April to October. Seats for 3500. Admission 4, 3, and 1 fr. 
 
 Cirque d'Hiver (PI. R, 27; III), Boulevard des Filles-du-Cal- 
 vaire. Performances from 1st Nov. to 30th April. Adm. ^/^-'^ fr- 
 
 Cirque Fernando (PI. B, 20), Boulevard Rochechouart 63. 
 Admission 75 c. to 3 fr. 
 
 Hippodrome in the Ohamp-de-Mars, see p. 286. 
 
 Music Halls. The Folies - Bergere, Rue Richer 32 (PI. B, 21 ; 
 ///) , is a very popular resort , half theatre , half caf^-concert. 
 Visitors either take seats or promenade in the gallery, while the 
 performances are going on on the stage. Smoking allowed. Adm 
 2-6 fr. — The Olympia (adm. 1-8 fr.), Boulevard des Capucines 28, 
 the Casino de Paris and the Nouveaa Theatre (2-7 fr.), Rue Blanche 
 15 and Rue de Clichy 16 (PI. B, 18), are establishments of the same 
 kind. Some of the Cafe's-Concerts, the Moulin Rouge (see below), 
 etc., provide similar entertainments. 
 
 Cafes-Concerts. The music and singing at these establish- 
 ments is never of a high class, while the audience is of a very 
 mixed character. The entertainments, however, are often amusing, 
 and sometimes consist of vaudevilles, operettas, and farces. Smok- 
 ing allowed. The alluring display of the words ^entree lihre' outside 
 the caf^s-chantants is a ruse to attract the public, as each visitor is 
 obliged to order refreshments (a ^consommation^')^ which are gen- 
 erally of inferior quality, at a price of 3/^-5 fr. , according to the 
 seat and the reputation of the place. — The following may be men- 
 tioned. In summer : Concert des Ambassadeurs (V2"5 ^r.), in the 
 Champs-Elyse'es, the first on the right; the Alcazar d'tte (V2-^ fr)i 
 the second on the right ; and the Concert de I'Horloge, on the left. 
 In winter (a few open also in summer) : the Scala, Boul. de S^basto- 
 pol, with a handsome saloon , unroofed in summer (adm. 1-6 fr.) ; 
 Bataclan, Boul. Voltaire 50 (adm. 3/4-4 fr.) ; Concert Parisien, Rue 
 de I'Echiquier, opposite the Rue Mazagran, and Rue Faubourg- 
 St-Denis 37; Parisiana, Boul. Poissonniere 27; the Alcazar d'Hiver^ 
 Rue du Faubourg -Poissonniere 10 (3/4-2 fr.); La Cigale, Boul. 
 Rochechouart 122, opposite the Cirque Fernando (3/4-3 fr.) ; Tria- 
 non Concert, formerly the Bal de I'Elysee (balls still held occasion- 
 ally); the GaUe Rochechouart, Boul. Rochechouart 40 and 15; Con- 
 cert de la Pepiniere, Rue de la Pepiniere 9, near the Gare St. La- 
 zare (1-1 V2 fr); etc. 
 
 Baedeker. Paris. 12th Edit. 3
 
 34 9. BALLS. Preliminary 
 
 Balls. The public masked balls given during the Carnival (see 
 announcements in newspapers and placards) are among the most 
 striking and extravagant of the peculiar institutions of Paris. These 
 *bals masques' begin at midnight and last till dawn. The most im- 
 portant are those in the Opera House, of which three take place 
 between January and Shrove Tuesday and one at 'Mi-Careme' or 
 Mid-Lent (admission for gentlemen 20 , ladies 10 fr. ; ladies in 
 masks , gentlemen in masks or evening costume). Visitors with 
 ladies had better take a box. During the Carnival masked balls axe 
 held in the Olympia (p. 33), the Casino de Paris (p. 33), etc. (adm., 
 see the placards). 
 
 Salles de Danse. The 'balls', which take place all the year 
 round at these public dancing-rooms, may be regarded as one of the 
 specialties of Paris. Many of these entertainments, however, have 
 for some years past been to a great extent 'got up' for the benefit of 
 strangers, numbers of the supposed visitors being hired as decoys by 
 the lessee of the saloon. It need hardly be said that ladies cannot 
 attend these balls. 
 
 The chief of these places of amusement on the right bank is 
 perhaps the Moulin Rouge, Place Blanche (PI. B, 17), opposite the 
 Rue Fontaine, which is also a kind of music-hall (adm. 2 or 3 fr. 
 according to the entertainment). — The Bal Bullier, in the Carre- 
 four de rObservatoire (PL G, 19 ; p. 288), in the Quartier Latin, is 
 noted as a resort of students (adm. 1 or 2 fr. according to the day). 
 — The dances of the Jardin de Paris^ behind the Palais de I'ln- 
 dustrie (in summer), the Tivoli, Rue de la Douane 12-16, near the 
 Place de la Republique, and the Salle Wagram, Avenue Wagram, 
 near the Arc de Triomphe, etc., are also popular. 
 
 Within tlie last few years it has become customary to celebrate Shrove 
 Tuesday and the Thursday of Mi-Careme (Mid-Lent) by throwing 'con- 
 fetti' and paper-streamers in the streets, along with much noise and rude 
 merriment. — The celebrated Proinenade du Boevf Qras on Shrove Tuesday 
 was revived with great success in 1896. 
 
 Skating Rinks. Two rinks with real ice are open from October 
 to the end of April: the Palais de Qlace (PI. R, 15; //; in the 
 Champs-Ely sees (adm. 9 a.m. to noon and 9 p.m. to midnight, 
 3 fr., 2-7 p. m. 5 fr.) and the P6le Nord, Rue de Clichy 18, beside 
 the Casino de Paris (adm. 2 fr.). — See also p. 36. 
 
 Panoramas, which a few years ago were fairly numerous, seem 
 to be losing their vogue once more. There still remain one in the 
 Jardin des Tuileries (p. 150), one in the Place Diderot or Mazas 
 (PI. R, 25 ; The Bastille) , and several at Montmartre (religious 
 subjects) near the church of the Sacre-Cceur (p. 208), Adm. V2-I fr. 
 
 The Musee Grevin, founded by the well-known draughtsman 
 of that name, Boul. Montmartre 10, adjoining the Passage Jouffroy, 
 c a collection of wax figures; adm. (1-11 p.m.) 2, Sun. 1 fr., 
 ishildren at half-price. Orchestra from 3 to 6 and 8 to 10.45.
 
 Information. 10. CONCERTS. 35 
 
 10. Concerts, Art Exhibitions, Sport, and Clubs. 
 
 Concerts. The concerts of the Conservatoire de Musique , Rne 
 du Faubourg-Poissonniere 15, which enjoy a European celebrity, 
 take place every Sunday from January to April (conductor , Taf- 
 faneV). The highest order of classical music is performed with ex- 
 quisite taste and precision. Strangers cannot easily obtain access 
 to them, as almost all the seats are occupied by regular subscribers. 
 Application may, however, be made at the office , Rue du Conser- 
 vatoire 2, open 1-3 p.m. Balcon and premieres loges 15 fr. ; stalles 
 d'orchestre 12; loges du rez-de-chauss^e 10; secondes loges 9 fr. ; 
 couloir 8 ; troisiemes loges and amphitheatre 5 and 4 fr. 
 
 The Concerts de VOpera^ given at 2p.m. on Sundays in winter, 
 are also of a high class. Adm. 2-12 fr. 
 
 The Concerts Lamoureux, for classical music, also take place on 
 Sundays in winter in the Cirque d'Ete (p. 33). Adm. 2-8 fr. 
 
 Similar to the last are the Concerts du Chdtelet or Colonne, which 
 are held in the Theatre du Chatelet (adm. iy^-^ fr.). 
 
 Besides the above regular concerts, others are given occasionally at 
 the concert-rooms of ^rarc?, Rue du Mail 13; Pleyel, Rue Rochechouart 22 ; 
 and other places. See bills and newspaper advertisements (adm. 5-20 fr.). 
 — Organ Recitals are given in the season at the Trocade'ro (p. 163), under 
 the direction of M. Alex. Guilmant. — Lent is the principal season for 
 concerts in Paris. 
 
 Open-air concerts in summer at the Jardin d' Acclimatation 
 (p. 158). Military Bands also play (4-5 or 5-6 p.m.) in the gardens 
 of the Tuileries (Sun., Tues., and Thurs.), the Palais-Royal (Sun., 
 Wed., and Frid.), the Luxembourg, and in several other parks and 
 squares (generally on Sun. and Thurs.); the favourite is that of the 
 Garde Republicaine (programmes in the daily papers). 
 
 The best Church Music is heard at St. Eustache (p. 171), the Madeleine 
 (p. 79), St. Roch (p. 84), La Triniti (p. 199), Notre-Dame (p. 226), and St. Sul- 
 pice (p. 255). 
 
 Art Exhibitions. A number of exhibitions of art take place 
 annually in Paris towards the end of winter and in spring, of which 
 particulars are advertised in the newspapers. The Salon, see p. 152 
 A similar exhibition takes place annually in the Palais des Beaux- 
 Arts in the Champ-de-Mars (p. 286). Exhibitions are also organized 
 by the Cercle Artistique et Litteraire (p. 36) and by the Union Artis- 
 tique (p. 36). Smaller exhibitions are held in the Oalerie Georges 
 Petit, Rue Godot- de-Mauroi 12 and Rue de SezeS; the Galerie 
 Durand-Ruel, Rue Laffltte 16 and Rue le Peletier 11 ; the Art Nou- 
 veau (Bing), Rue Chauchat 19 and Rue de Provence 22; etc. 
 
 Horse Baces (Courses) take place from February to Novem- 
 ber , at Auteuil (p. 157); Longchamp (p. 158), where the Grand 
 Prix, the chief French race, is decided, usually on the second Sun- 
 day after the English Derby ; Chantilly (p. 372) ; Vincennes(p. 307); 
 Neuilly-Levallois (PI. B, 4; trotting-matchesl ; La Marche (p. 331) ; 
 
 3*
 
 36 10. SPORT. Preliminary 
 
 EngMen (p. 344); Maisons-Laffltte (p. 348); St. Onen (p. 212), 
 St. Germain-Acheres (p. 348), etc. Full details in the newspapers. — 
 Members of the English Jockey Club are admitted to all the pri- 
 vileges of the French Jockey Club (see below). 
 
 Boating is a favourite summer-recreation, the chief starting- 
 points being Asnieres (p. 293), Argenteuil (p. 346), and Bougival 
 (p. 333) on the Seine, and Joinville-le-Pont (p. 307) and Nogent 
 (p. 308) on the Marne. Regattas are frequently held. 
 
 Cycling is the favourite amusement of the day, and is largely 
 patronized by ladies. An annual tax of 10 fr. is levied on each 
 machine, which must also be furnished with a plate bearing the 
 name of the owner, a good bell or horn, and a lamp. AVithin Paris 
 each bicyclist must obtain the permission of the prefect of police 
 by means of an application on stamped paper (60 c.) 
 
 The largest cycling clubs in France are the Union Vilocipidique de 
 France, 40 Rue St. Ferdinand (20,000 members), and the Touring Club de 
 France, 5 Rue Coq-He'ron (13,000 members). Comp. the 'Annuaire Ge'neral 
 de la Vt'locipedie', published annually in Paris. 
 
 Cycles mav be hired (IV2 fr. per hr. ; 7-iO fr. per day) at the Velodrome 
 de la Madeleine, Cite du Retiro 30; Petit, Avenue des Champs-Elys^es 23; 
 and at various shops in the Avenue de la Grande-Armee, etc. — Cycle-tracks : 
 Velodrome Buffalo, Avenue de la Rt'volte and Boul. de Villiers; V6lodro7ne 
 de la Seiiu, at Levallois (PI. B, 7) : VHodrome de Courbevoie, Boul. Bineau 20; 
 Piste Municipale, Bois de Vincennes (p. 307); Palais-Sport, Rue de Berri 5 
 9-12, 2-7, 9-12; adm. 1 fr.); Vilodvome d'Hiver, Champ-de-Mars. — Dealers, 
 ee p. 39. — Maps, see p. 41. 
 
 Skating is also much practised in Paris, the favourite resort 
 being the artificial ponds in the Bois de Boulogne. There is a Skat- 
 ing Club, for which one of the ponds is reserved (see p. 159 ). 
 
 Other amusements are Football, played especially in the Bois de Bou- 
 logne, near the lakes; Cross- Country Runs or Paper-Chases ('rallye-papers'), 
 in the woods in the direction of St. Cloud, Ville d'Avray, and Meudon; 
 Botch, with clubs in the last-mentioned localities and in the Bois de Vin- 
 cennes ; Polo, in the Bois de Boulogne, near the Pont de Suresnes, etc. ; 
 Cricket, Lav>n Tennis, etc. 
 
 Clubs. The following are the principal clubs of Paris, to most 
 of which strangers are admitted during their stay on the introduc- 
 tion of a member: Jockey Club, Rue Scribe, Ibis; Cercle Militaire 
 for 'Cercle National des Armees de terre et de mer'), Avenue and 
 Place de I'Ope'ra ; Cercle National, Avenue de I'Ope'ra 5 ; Union 
 Artistique (TEpatanf), Rue Boissy-d'Anglas 5 ; Cercle de la Rue 
 Royale, Place de la Concorde 4; Cercle de V Union, Boulevard de la 
 Madeleine 11 ; Cercle Artistique et Litteraire, Rue Volney 7; Yacht 
 Club, Place de I'Op^ra 6 and Boul. des Capucines 8; Automobile 
 Club, Place de I'Op^ra 4; Cercle des Deux Mondes, Rue de Gram- 
 mont 30 ; Cercle des Capucines , Boul. des Capucines 6 ; Sporting 
 Club, Rue Caumartin 2; Cercle des Chemins de Fer, Rue de la Micho- 
 difire 22; Cercle de VEscrime, Rue Taitbout 9; Grand Cercle, Boul. 
 Montmartre 16; CercZe Cgn^rai, Rue Yivienne 36; Cercle Agricole, 
 Boul. St. Germain 284 ; Cercle de la Librairie, Boul. St. Germain
 
 Information. 11. SHOPS. 37 
 
 117; Alpine Club, Rue du Bac 30. Gaming is practised extensively 
 in most of the clubs. 
 
 11. Shops and Bazaars. 
 
 Shops. With the exception of the houses in the aristocratic 
 Faubourg St. Germain, there are few buildings in central Paris which 
 have not shops on the groundfloor. The most attractive are those 
 in the Boulevards, especially towards the W. end, in the Palais- 
 Royal, the Rue de la Paix, Avenue de I'Op^ra, Passage Jouffroy, 
 Passage des Panoramas, Rue Vivienne, and Rue de Rivoli. 
 
 A few of the best and most respectable of the innumerable 
 and tempting 'magasins' of Paris are here enumerated. The prices 
 are generally somewhat high, and not always fixed, especially when 
 the purchaser is not thoroughly versed in French. Strangers should 
 avoid shops in which 'English spoken' is announced, as the Eng- 
 lish-speaking shopman is almost always 'temporarily absent', and 
 the use of English only invites an attempt to fleece the foreigner. 
 Those shops which announce a Vente Forcee or Liquidation should 
 also be avoided. Those are most satisfactory in which the price of 
 each article is marked on it in plain figures. 
 
 The Grands Magasins db Nouvbautes, large establishments 
 for the sale of all kinds of materials for ladies' dress, trimmings, 
 laces , etc. , form a very important feature of modern Paris , and 
 owing to the abundant choice of goods they offer are gradually 
 superseding the smaller shops. Perhaps the most important of these 
 establishments is the Bon Marche, Rue du Bac 135 and 137, and 
 Rue de Sevres 18-24 (PI. R, 16; IV), rather distant from the centre 
 of the town, with which may be mentioned the Grands Magasins 
 du Louvre, in the Place du Palais-Royal (PL R, 20 ; //; p. 57), 
 with reading and writing rooms , and a buffet where refreshments 
 are dispensed gratis. Of a similar character are: Le Printemps, 
 at the comer of the Boul. Haussmann and the Rue du Havre; the 
 Petit St. Thomas, Rue du Bac 27-35 ; the Oagne-Petit, Avenue de 
 I'Op^ra 21-23; the Ville de St. Denis, Rue du Faubourg-St-Denis 
 91-95; Pygmalion, corner of the Rues St. Denis and de Rivoli, 
 and Boul. de Se'bastopol 9-13; the Samaritaine, Rue du Pont-Neuf 
 and Rue de Rivoli ; the Place Clichy , in the place of that name ; 
 etc. The prices affixed to articles in the windows and at the doors 
 of these establishments are often no criterion of those charged 
 within. 
 
 Similar to these Grands Magasins de Nouveaut^s are the Ba- 
 zaars , at some of which all kinds of household requisites and 
 luxuries may be obtained, while others devote themselves to cheap 
 goods of every kind. Among the most attractive of the former are 
 La Menaglre, Boul. Bonne-Nouvelle 20, and the Bazar de VHotel- 
 de- Ville, Rue de Rivoli 50-54, beside the Hotel de Ville. Among 
 
 4G5741
 
 38 11. SHOPS. Preliminary 
 
 the others may be mentioned the Bazar de V Quest, Rue d' Amsterdam, 
 to the right of the Gare St. Lazare, and the Bazar du Chateau 
 d'Eau, Rue du Faubourg-du-Temple 2, Place de la Repuhlique. 
 
 Antiquities and Cukiositibs: Laurent, Rue Meyerbeer 2, first 
 floor ; Stettiner^ Rue St. Georges 7 ; Lowengard^ Boul. des Capu- 
 cines 1 ; A ia Croix de ma mere, Quai Malaquals 19, and several 
 other shops on this and the adjoining quay; Duveen, Rue de la 
 Paix 2 ; Jamarin, Rue de Clichy 35 ; Seligmann^ Rue St. Honore 372 •, 
 CaiUot , Rue Lafayette 17. Also at several other shops in the Rue 
 Lafayette and in the Rue Drouot, Rue Laffitte, and Rue le Peletier, 
 near the H6tel des Ventes (p. 198). — Chinese and Japanese Goods : 
 Dai-Nippon, Boul. des Capucines 3 & 5; Mon Ange, Boul. Poisson- 
 niere 13. 
 
 'Articles de Voyage' : Bazar du Voyage, Avenue de I'Opera 3 ; 
 Au Depart, same street 29 ; at several other establishments in the 
 same street, and at the Bazaars (see above). 
 
 Booksellers (reading-rooms, etc.), see p. 43. 
 
 Bootmakers ('feoff ier, cordonnier; boots and shoes, chaussures) : 
 Tucker, Avenue de I'Opera 14 ; Poivret, Rue des Petits-Champs 32 ; 
 Pinet^ Rue de Paradis 44; Roche, RueVivienne 16 ; Delail, Passage 
 Jouffroy 46 ; Bacquart, Passage Jouffroy 35 ; Clouet, Rue Caumartin 6. 
 
 — For Ladies: Ferry, Rue Scribe 11 and Rue Auber 2. — Ready- 
 made boots and shoes may be procured in almost every street ; Au 
 Prince Euglne, Rue de Turbigo 29 ; Fretin, Rue de Rennes 64, etc. 
 
 — Boots and shoes of a more expensive style at Nos. 18, 22, and 30 
 Boul. des Italiens. English boots and shoes at Boulevard Mont- 
 martre 3 and 21. 
 
 Bronzes (bronzes d'art) : *Barhedienne, Boul. Poissonniere 30; 
 *rftie6awf, Avenue del'Ope'ra 32; Siot-Decauville, Boul. des Italiens 
 24; Ardavani, Boul. des Italiens 27; Caisso §,^ Cie., Boul. de la 
 Madeleine 1 ; Colin, Boul. Montmartre 5 ; Susse Frlres, Place de la 
 Bourse 31 ; Chineau, Boul. Poissonniere 10 (terracottas). See also 
 Leather Wares. — Church bronzes and ornaments in the vicinity 
 of St. Sulpice (p. 255). 
 
 Carpets (made at Aubusson) : Sallandrouze , Boul. Poisson- 
 niere 23. 
 
 Chemists and Druggists: Pharmacie Normale, Rue Drouot 19 ; 
 Ferre, Rue de Richelieu 102 ; Homeopathique, Boul. Haussmann21; 
 Beral, Rue de la Paix 14; T. P. Hogg, Swann , Rue Castiglione 
 2 and 12 ; Roberts 4^ Co. (Shorthose), Rue de la Paix 5 ; W. D. Hogg, 
 Avenue des Champs- Elysees 62 (the last four are English). 
 
 China, see Glass. 
 
 Chocolate, Tea, etc.: Compagnie Coloniale, Aven. de I'Opera 19 ; 
 Compagnie Fran^aise (FeWetiex), Rue Ste. Anne 4 (Aven.de I'Opera); 
 F. Marquis, Passage des Panoramas 57-59, Rue Vivienne 44, and 
 Boul. des Capucines 39; L. Marquis (^Siraudin; see Conflseurs); 
 Lombart, Boul. des Italiens 11 and Boul. de S^astopol 16; Masson,
 
 Information. 11. SHOPS. 39 
 
 Boul. de la Madeleine 9, Rue de Rivoli 91, and Rue du Louvre 8 ; 
 Guerin-Boutron, Boul. Poissonnlere 29; Devinck, Rue St. Honors 
 175 and Rue Lafayette 76; Pihan, Rue du Faubourg-St-Honor^ 4; 
 Potin, see Delicacies. Suchard's, Menier's, Lombarfs^ and Ihled's 
 chocolates are sold at many other shops. See also Conflseurs. 
 
 Cigars. The manufacture and sale of tobacco ('caporal ordi- 
 naire' and 'sup^rieur') and cigars is a monopoly of government. 
 The shops, called debits de la regie, are distinguished by their red 
 lamps. The prices and quality are the same everywhere. English 
 and American tobacco may be obtained at various shops in the Rue 
 Rivoli, the Boulevards, and other streets frequented by strangers. 
 
 Good imported cigars (25 c. each, and upwards) may be purchased at 
 the principal depot, Quai d'Orsay 63, at the Place de la Bourse 15, at the 
 Grand-Hotel, or at 180 Rue de Rivoli. ,The home-made cigars usually 
 smoked are the Bordelais at 5 c. each, Etrangers at 10 c, Demi-Londres at 
 15 c, Medianitos at 20 c. Regalias and Camelias at 25 c, and Londres at 
 30 c. ; also Conchas sold at 1 fr. 60 c, and Londres extra at 2 fr. 10 c. per 
 packet of six. Cigarettes are sold in packets of twenty at 50-80 c. Oriental 
 cigarettes are to be had at Boul. des Capucines 12 and Place de la 
 Bourse 15. Passers-by may avail themselves of the light burning in every 
 tobacco-shop without making any purchase. 
 
 Clothing, see Tailors, Dressmakers, Milliners, etc. 
 
 CoNFBCTiONBES, See p. 19. 
 
 CoNFiSEUKS (comp. p. 19): Boissier, Boul. des Capucines 7; 
 Gouache, Boul. de la Madeleine 17; L. Marquis (Siraudin), Place 
 del'0pera3 and Boul. des Capucines 17; Rebattet, Faubourg St. 
 Honore 12; Bonnet, Rue VivienneSi, Place de la Bourse ; Jourdain, 
 Rue de la Michodiere 2 and Rue St. Augustin 28 ; Seugnot, Rue 
 du Bac 28 ; Au Chat Noir, Rue St. Denis 32 ; Fuller (American 
 confectionery), RueDaunou 4. — Preserved Fruits (fruits confits) are 
 sold in these shops and in most large groceries. Price about 5 fr. per 
 kilogramme (21/5 lbs.). — See also Chocolate. 
 
 Ctclbs. Humber, Rue du Quatre-Septembre 19 ; Rochet, same 
 street 29 ; Clement, same street 31 ; Rudge, Rue Hale'vy 16 ; Becau- 
 ville, Boul. Malesherbes 1 3 ; Gladiator, Boul. Montmartre 18 ; Peugeot, 
 Avenue de la Grande- Armee 22; Singer, same avenue 45. Many 
 other dealers, including some of the best English makers, also have 
 shops in the Avenue de la Grande- Arm^e. 
 
 Dblicacies (preserved meats, etc.; comestibles'): C/ierei, Palais- 
 Royal, Galerie de Chartres 12-15 (comp. p. 12); Corcelet, Avenue de 
 rOpera 18 ; Potel ^ Chabot, Boul. des Italiens 25 and Rue Vivienne 
 28; Lemasson, Rue Vivienne 22; F. Potin, Boul. de S^astopol 
 101-103 and Boul. Malesherbes 45-47 (also 'English -American 
 grocer'); Testot, Rue de la Chausse'e-d'Antin 15; Jacob, Rue du 
 Bac 30; Faguais, Avenue des Champs -Elysees 42, Winterborn, 
 same avenue 73 (these two 'English- American' grocers). — Salted 
 Provisions: Maison du Jambon d'York (Olida), Rue Drouot 11. 
 
 Drbssmakers, Milliners, etc. The endless variety of the re- 
 quirements of different travellers renders it practically impossible
 
 40 11. SHOPS. Preliminary 
 
 to give a satisfactory list under this head. Ladies will probably 
 have little difficulty in finding suitable shops for themselves, but 
 they should remember that it is generally possible to reduce the 
 prices by a little bargaining. The Orands Magasins (p. 37) have 
 fairly reasonable charges and employ skilful modistes ; while ready- 
 made clothing can also be obtained there, as well as in the shops 
 mentioned under Tailors. 
 
 Elbctro-Pla-te (ruolz, alfenide): *Christofle ^ Cie., Boul. des 
 Italiens 33 ; Alfenide, Boul. de S^astopol 40 ; Ala Menag ere jBoul. 
 Bonne-Nouvelle 20; and at the Grands Magasins (p. 37). — Silver 
 or plated goods sold 'en liquidation' are rarely satisfactory. 
 
 Engravings (estampes, grravwresj and Photographs : *Goupil 
 §- Cie., Boul. des Capucines 24 and Boul. Montmartre 19 ; *Braun, 
 Avenue de I'Opera 43 and Rue Louis-le-Grand 18 (photographs of 
 paintings ; comp. p. 107) ; ^- Jules Hautecceur (Ancienne Maison Mar- 
 tinet) , Rue de Rivoli 172 ; Albert Hautecceur, Boul. des Capucines 
 12 ; E. Hautecceur, Avenue de I'Opera 35 (views of Paris) ; A la 
 Bibliothequ^ Nationale , Rue Vivienne 8. 
 
 Fancy Articles, see 'Articles de Voyage', Toy-shops, Bronzes, 
 Leather; also Bazaars (p. 37). 
 
 Fans: Kees, Boul. des Capucines 9; Faucon, Avenue de I'Opera 
 38 ; A. Weyl, Avenue de I'Opera 24 and Passage des Panoramas 15; 
 Duvelleroy, Couvreux, Passage des Panoramas, Nos. 17,50. 
 
 Furriers : Revillon Freres , Rue de Rivoli 77-81 ; Compagnie 
 Russe, Rue de la Chaussee-d' Antin 26 ; Grunwaldt, Rue de la Paix 6 ; 
 Bougenaux - Lolley , Rue St. Honore 249; Valenciennes, Rue Vi- 
 vienne 17 ; the Grands Magasins de Nouveautes, etc. 
 
 Glass (porcelain, etc.): Boutigny , Passage des Princes (Boul. 
 des Italiens) and Peristyle Montpensier, to the W. of the Galerie 
 d'Orleans (Palais-Royal) ; A la Paix, Avenue de I'Opera 34 ; Ver- 
 mont, same avenue 12; Grand Depot, Rue Drouot21, Also several 
 shops in the Rue de Paradis (PI. B, 24 ; ni). — Art Pottery : Deck, 
 Rue Hale'vy 10. — Earthenware: Delaherche, Rue Halevy 1. 
 
 Glovers (glove, le gant; kid glove, gant de chevreau or de peau 
 de chevreau, or de peau) : A la Petite Jeannette, Boul. des Italiens 3 
 (English ties, hosiery, etc.); Au Camaval de Venise , Boul. de 
 la Madeleine 3 (English goods) ; Jourdain et Brown, Rue Halevy 16 ; 
 Perrin, Avenue de I'Opera 45; Sante-Charlier, Rue St. Honore 167; 
 Persin, Passage Jouffroy 24-26 ; Au Roi d' Yvetot, Pass. Jouffroy 31 ; 
 Grands Magasins. 
 
 Goldsmiths and Jewellers : very numerous and tempting, 
 especially in the Rue de la Paix and the Palais-Royal. All genuine 
 gold and silver articles bear the stamp of the Mint. — Imitation 
 Jewellery is best obtained in the shops of the Palais-Royal or in the 
 Passage des Panoramas. 
 
 Hairdressers in almost every street, frequently in the entresol. 
 — 'Taille de cheveux' 30-50 c, 'coup de fer' (curling) 25-50 c,
 
 Information. 11. SHOPS. 41 
 
 'pour faire la barbe' 20-30 c, 'friction' (washing the hair) 50 c. — 
 For gentlemen : Boul. Montmartre, 21, 19, 11,- Boul. des Italiens, 
 12, 23, 29 ; Rue du Helder 3, etc. ; Boul. des Capucines , at the 
 Grand Hotel, No. 39, etc. ; Boul. St. Germain 180; Boul. St. Michel 
 36. — Four good 'coiffeurs' for ladies are Auguite^ Rue de la Paix7 ; 
 Lecomte^ same street 13; Clementel , Rue de Castiglione 8; and 
 Oabriel, Rue St. Honore229. Many of the ordinary establishments 
 have ladies' rooms. 
 
 Hattbrs (chapeliers): Delion, Boulevard des Capucines 24 and 
 Passage Jouffroy 21-25; A. Berteil, Rue du Quatre-Septembre 10, 
 Rue de Richelieu 79, Boulevard St. Germain 134, and Place St. 
 Augustin; Gibus (inventor of the folding hat), Rue du Quatre-Sep- 
 tembre 11 ; Pinaud^- Amour ^ Rue de Richelieu 89 ; Leon, Rue Dau- 
 nou 21 ; Bravard, Boul. St. Michel 45 ; Ala Belle Jardiniere (see 
 Tailors); and others in the Rue de Richelieu and Rue Vivienne. 
 
 Hosiers and Shirtmakbrs. Grande Maison de Blanc, Boul. 
 des Capucines 6; Doiicet, Rue de la Paix 21 ; Chemiserie du Palais 
 Royal, Rue St. Honore 167 (shirt 8-131/2^^.); Chemiserie Speciale, 
 Boul. de Se'bastopol 102 (3V2-14V2 fr.); Maison des 100,000 Che- 
 mises, Rue Lafayette 69 ; A la Belle Jardiniere (see Tailors) ; the 
 Grands Magasins (p. 37), etc. See also Glovers. 
 
 Jewellers, see Goldsmiths. 
 
 Leather Wares (maroquinerie) : Maquet, Avenue de l'0peral9 ; 
 Brentano, same avenue 37; Boudet, Boul. des Capucines 43. See 
 also 'Articles de Voyage'. 
 
 Maps. Barrere (Andriveau-Goujon), Rue du Bac 4 ; Lame, 
 Rue de la Paix 8; Baudom (Dumaine), military bookseller, Rue 
 and Passage Dauphine 30 (Ist floor); Delorme, Rue St. Lazare 80; 
 Challamel, Rue Jacob 17 (charts). 
 
 Maps of the Environs of Paris. The Ann7j Ordnance Departuicnt has 
 published a coloured map on a scale uf 1:20,000 (36 sheets at 85c. each; 
 and another uncoloured, 1:40 000 (9 sheets at 40 c.). Barrirn has issued 
 maps of the W. and N.W. districts (1:5000) for 2 fr. (uncoloured), of the 
 department of the Seine (1 : 12,000) in 12 sheets at 2 fr., and of the en- 
 virons of Paris (1 : 50,000) in 4 or 9 sheets in olours at V-j^ or ^U fr. — 
 Cyclist maps : Neal, Rue de Rivoli 248 (Plan-Velo series). 
 
 Milliners, see Dressmakers. 
 
 Music: HeugelfAu Menestrel), Rue Vivienne 2 bis 5 Girod, Boul. 
 Montmartre 16 ; Quinzard, Rue des Capucines 24; Durand-Schoene ■ 
 werk, Place de la Madeleine 4; Hamelle, Boul. Malesherbes 22; 
 Grus, Place St. Augustin; Schott if Cie., Faubourg St. Honore 70; 
 Teller, Rue Auber 23. 
 
 Musical Instruments. Pianos: *Erard, Rue du Mail 13; *Pleyel- 
 Wolff, Rue Rochechouart 22 ; Herz, Rue St. Lazare 20 ; Gaveav, 
 Boul. Montmartre 8; Rue de la Chausse'e-d'Antin 6; Boul. St. Ger- 
 main 232, etc.; Bord, Boul. Poissonniere 14 bis, et«\ — Organs: 
 Cavaille-Coll, Avenue du Maine 5 ; Merklin, Rue Delambre 22. — 
 Harmoniums: Alexandre, Rue Lafayette 81. — Stringed Instru- 
 ments: Gand f Bernardel, Passage Saulnier 4 ; Collin, Faubourg
 
 42 11. SHOPS. Preliminary 
 
 Poissonniere 10 ; Tourmcr, Bonl. St. Martin 4; Thihouville, Bonl, 
 de Sebastopol 92 and Rue Reaumur 68-72. 
 
 Opticians (spectacles, des lunettes ; opera-glass, une lorgnette, 
 or des jumelles; eye-glasses, un lorgnon or hinocle^: Chevalier^ Ga- 
 lerie de Valois 158 (Palais-Royal); Lafontaine, Galerie Montpen- 
 sier 18; Fischer, Hazebroucq, Cam, all in the Rue de la Paix, Nos. 
 7, 23, 24; Armand, Valery, Ducatillon, all in the Boul. des Capu- 
 cines, Nos. 12, 25, 29; Jos. Godchaux, Boul. des Italiens 9 ; Rosso, 
 Rue Vivienne 26, moderate ; Derogy, Quai de I'Horloge 33; Iseli, 
 Boul. St. Germain 149. 
 
 Papbr-Hangings. Maigret etCie., Boul. de laMadeleine9 &11 ; 
 Barbedienne (Dumas), Rue Notre-Dame-des-Yictoires 24. 
 
 Pekfumery: Societe Hygienique, Rue de Rivoli 55; Boul. de la 
 Madeleine 19 ; Violet, Boul. des Italiens 29 ; Pinaud, Boul. des 
 Italiens 30 and Boul. de Strasbourg 37 ; Gelle Freres, Avenue de 
 I'Opera 6 ; Lubin, Rue Ste. Anne 55 ; Rimmel (English), Boul. des 
 Capucines 9; Ouerlain, Rue de la Paix 15; Agnel, Avenue de 
 rOp^ra 16; Boul. des Capucines 21 ; Boul. Malesherbes 31 and 83 ; 
 Rue Auber 9 ; Botot, Rue de la Paix 17, and Rue St. Honore 229 ; 
 Oriza (Legrand), Place de la Madeleine 11 ; Eoubigant, Rue du Fau- 
 bourg St. Honore 19; Dr, Pierre (dentifrices), Place de I'Opera 8; 
 Bully (vinaigre de toilette), Rue Montorgueil 67 ; Stephen ^- Lucca 
 (English), Avenue de I'Opera 14. 
 
 Photographers: Braun, Rue Louis-le-Grand 18 ; Nadar, Rue 
 d'Anjou 51 ; Liebert, Rue de Londres 6 (25-500 fr. per doz.) ; Walery, 
 same street, 9'bis; Pirou, Rue Royale 23 and Boul. St. Germain 5; 
 Benque, Rue Boissy-d'Anglas 33 ; Boyer (Van Bosch), Boul. des 
 Capucines 35; Morgan, Mulnier, Tourtin, Ladrey-Disderi, Boul. des 
 Italiens, Nos. 29, 25, 8, 6 ; Reutlinger, Ogereau, Courret. Boul. Mont- 
 martre, Nos. 21, 18, 10; Chalot ^' Cie., Rue Vivienne 18; Pierre- 
 Petit, Place Cadet 29. — For sellers of photographs, see Engravings. 
 
 Pictures and Sculptures. At the galleries of Durand Ruel and 
 Georges Petit (p. 35) ; at GoupiVs (see above, under Engravings) ; 
 and at the sellers of bronzes. — Ancient Pictures at Ch. Sedelmeyer's, 
 Rue de la Rouchefoucauld 6. 
 
 Porcelain, see Glass. 
 
 Preserved Meats, see Delicacies. 
 
 Tailors. The general remark under Dressmakers (p. 39) may 
 be repeated here. There are several good tailors in the Boulevard 
 des Italiens, Avenue de TOpe'ra, Palais-Royal, etc. — Readt-madb 
 Clothing : A la Belle Jardiniere , Rue du Pont-Neuf 2, a large 
 establishment where garments of all kinds may be obtained ; Coutard, 
 Boul. Montmartre4; Old England, Boul. des Capucines 12; Maison 
 de t Opera, Avenue de I'Opera 20; A la Grande Fabrique, Rue de 
 Turbigo 50; A St. Joseph, Rue Montmartre 115-119; etc. 
 
 Tobacco, see Cigars. 
 
 Tot Shops : Au Nain Bleu, Boul. des Capucines 27 ; Magasin
 
 Information. 12. BOOKSELLERS. 43 
 
 des Enfants , Passage de I'Op^raj Au Paradis des Enfants, Rue de 
 Rivoli 156 and Rne du Louvre 1 ; and, about the New Year, in the 
 Grands Magasins and Bazaars. 
 
 Travelling Requisites, see 'Articles de Voyage'. 
 
 Watchmakers: Leroy et Cie., Galerie Montpensier 13, Palais- 
 Royal (chronometers) ; Rodanet, Rue Vivienne 36 (chronometers) ; 
 Breguet, Fleury, Capt, Rue de la Paix, Nos. 12, 25, 22; Au Negre, 
 Boul. St. Denis 19 (also jewellery) ; Gamier, Rue Taitbout 6. — 
 Lepaute (clocks), Rue Lafayette 6 ; Detouche (clocks), Rue St. Mar- 
 tin 228-230 ; Planchon, Rue de la Chauss^e-d'Antin 5 and Rue 
 Meyerbeer 2. 
 
 Flower Markets. Quai aux Fleurs (PI. R, 23 ; F), on Wed. and Sat. 
 (a bird-market on Sun.); Place de la Ripuhlique (PL R, 27; ///), on Mon. 
 and Thurs. ; Place de la Madeleine (PI. R, 18; //), on Tnes. and Frid. ; 
 Place St. Sulpice (PI. R, 16-19; JV), on Mon. and Thurs.; etc. There are 
 heautifal flower-shops in the boulevards and elsev?here ; e.g. Vaillant, Lab- 
 rouse, Boul. des Capucines ^'os. 41, 12; Lachaume, Rue Royale 10. 
 
 Those who desire to transmit purchases direct to their destin- 
 ation should procure the services of a goods-agent. 
 
 12. Booksellers. Beading Booms. Libraries. Newspapers. 
 
 Booksellers. GalignanVs Library, Rue de Rivoli 224, with library 
 (see below) : Neal, Rue de Rivoli 248, with library and reading-room 
 (see below), Brentano, Avenue de I'Ope'ra 37 ; these three are English 
 and American booksellers. 
 
 Ollendorff, Rue de Richelieu 28 bis (general agent for Baedeker's 
 Handbooks) ; Truchy, Boulevard des Italieus 26 ; Nilsson, Rue de 
 Rivoli 212, English books. — Flammarion ^' Vaillant, Bonl. des 
 Italiens 40; Boul. St. Martin 3; Arnaud, Avenue de I'Opera 26 
 and at the Palais Royal, to the E. of the Galerie d'Orleans; Sevin^ 
 Boul. des Italiens 8 ; Dentu, Avenue de I'Opera 36bi3 and Boul. de 
 Sebastopol 73; Fontaine, Boul. Montmartre 19. — Haar ^- Steinert, 
 Rue Jacob 9, Le Soudier, Boul. St. Germain 174, and Vieweg, Rue 
 de Richelieu 67, for German books ; Boyveau, Rue de la Banque 22, 
 English and German books. — Rare books: Morgand, Passage des 
 Panoramas 55 ; Fontaine, see above; Rouquette, Passage Choiseul69. 
 For the addresses of other 'libraires-^diteurs', consult the Direc- 
 tory of Paris. — The famous house of Hachette ^ Cie. is at 79 Boul, 
 St. Germain. — The Second-Hand Book Stalls on the quays on both 
 banks, to the the E. of the Pont Royal, are interesting. The shops in 
 the Galeries de I'Odeon and the numerous book-shops near the Sor- 
 bonne may also be mentioned. 
 
 Beading Booms. Neal, Rue de Rivoli 248 (adm. 25 c, per week 
 1 fr.), well supplied with English newspapers and English and 
 American magazines. — Reading Room of the New York Herald, 
 Avenue de I'Ope'ra 49 (adm. gratis), well supplied with American, 
 English, and French newspapers. Both of these are frequented by 
 ladies. — Salon LittSraire, in the Passage de I'Opera (N. side of the
 
 44 12. NEWSPAPERS. Preliminary 
 
 Bonl. des Italiens), Galerie dn Barometre 11 and 13, French, Ger- 
 man, and English newspapers; adm. 30 c., per week 2 fr., fortnight 
 31/2 fr., month 6 fr. ; open 9 a.m. to 11 p.m. — Salons de Lecture 
 of the same kind at the Librairie de Paris, Boul. Montmartre 20. 
 
 These reading-rooms are convenient places for letter-writing. 
 Materials for the purpose may also he procured at any of the caf^s. 
 
 Circulating Lihraries. Neal, Rue de Rivoli 248, chiefly English 
 and French novels (from 1 fr. per month) ; Galignani, Rue de Ri- 
 voli 224, from 2 fr. per month ; La Lecture Universelle, Rue des 
 Moulins 5 (2 fr. per month, 10 fr. per annum); Bahl, Rue Chau- 
 veau-Lagarde 14 (2fr. per week, 5fr. per month) ; Delorme, Rue St. 
 Lazare80(li/2fT. per month, 10 fr. per annum) ; Bibliotheque Car- 
 dinal, Place St. Sulpice, to the right of the church. 
 
 Newspapers. The oldest Parisian newspaper is the 'Gazette de 
 France', which was founded in 1631 by Renaudot (p. 226). No fewer 
 than 150 new journals appeared in 1789, 140 in 1790, and 85 
 in 1791 , but most of these were suppressed at various times by 
 government, Napoleon finally leaving only thirteen in existence. 
 On the restoration of the monarchy about 150 newspapers and period- 
 icals were published, but only eight of these concerned themselves 
 with political matters. Since then the number has been constantly 
 on the increase , and now amounts to about 2400. The political 
 papers number over 150 , and are sold in the streets or at the 
 'kiosques' in the Boulevards (p. 72). The larger papers cost 10, 15, 
 or 20 c. , the smaller 5 c. 
 
 Morning Papers. Republican: Le Petit Journal (largest circulation); 
 Le Matin, La Libre Parole Cantisemitic) ; L" Intransigeant (Henri Rochefort) ; 
 Le Journal, L'Echo de Paris (these two more literary than political); Le 
 Steele; Le Gil Bias; Le Petit Parisien; La Lanterne; La Petite Ripubliqne ; etc. 
 — Conservative: LeGaulois; L^Antorit4 (Bonapartist); Le Soleil ; Le Petit 
 Moniteur. The Figaro, the most widely circulated of the larger papers 
 (80-100,000), may also be called conservative, but is rather a witty literary 
 sheet than a serious political journal. — Unclassified : L Eclair ; Le Jour- 
 nal Officiel. 
 
 Evening Papers. Republican: Le Journal des Dibats (20 c.; one of the 
 best Parisian papers); Le Temps (well edited and influential); Le National; 
 La R4publique Frangaise; Le Soir; Le Tiligraphe; La Libert^; etc. — Con- 
 serA'ative: La Gazette de France (royalist); UUnivers (clerical); Le Moni- 
 teur Universel. 
 
 Reviews and Periodicals: La Revue des Deux Mondes; Revue Bri- 
 tannique; Xouvelle Revue; Revue Moderne; Le Correspondant ; Revue lUustrie; 
 Revue d^Art Dramatique; Revue Contemporaine; Revve dis Revues; Revue Ginirale 
 des Sciences; Revue Scientiflque ; La Natxire; Revue Bleue; etc. 
 
 Illostrated Journals: L"" Illustration; L'Univers Illustri; Le Monde 
 Illustri; Le Journal Amusant : Le Journal pour Rire; Le Charivari; La 
 Vie Parisienne; Le Journal Illustri. Most of these are issued weekly. 
 
 English, German, and other foreign journals are sold in the 
 kiosques near the Grand-Hotel and in some others on the principal 
 boulevards. — The Daily Messenger (20 c), formerly 'Galignani's 
 Messenger, an English paper published in Paris (office, Rue 
 St. Honore' 167), has been in existence for over 80 years. It con- 
 tains an excellent summary of political and commercial news, the
 
 Information. 13. BATHS. 45 
 
 latest information from England, tlie United States, and the whole 
 of the Continent, and a list of the principal sights and amusements 
 of Paris. The English and American places of worship (p. 47) are 
 enumerated every Saturday. — The European edition of the New 
 York Herald (office, Avenue de lOpe'ra 49) is a daily paper of a 
 similar kind (price 15 c, Sun. 25 c). — The American Register 
 (office, Boul. Haussmann 39), with lists of American travellers in 
 Europe and general news, is published every Saturday (price 30 c). 
 
 Strangers desiring to learn French or other languages will find ample 
 facilities at the Inztitut Rudy^ Rue Royale 7, where a course of three les- 
 sons per week costs 10-15 fr. a month. Private lessons are also given. The 
 Institut Polyglotte^ Rue de la Grange-Bateliere 16 , is a similar estahlish- 
 ment. The addresses of private teachers may he obtained from Galignani 
 and the other booksellers. — The Franco-English Guilds Rue Gay-Lussac 41, 
 supplies information regarding the conditions of study at the Sorbonne, 
 the art-schools, and studios-, the examination held by the University of 
 Paris i special branches of study; etc. (subscription 6 fr. yearly). 
 
 13. Baths. Physicians. Maisons de Sante. 
 
 Baths. Warm Baths in the floating establishments on the Seine, 
 and in many others in different parts of the town. Charges: 'Bain 
 complet", 11/2-2 fr. ; 'bain ordinaire' lo-i^., towels extra. De la 
 Samaritaine, below the Pont-Neuf, right bank (PI. R, 20; ///); 
 des Tuileries^ near the Pont-Royal, same side; de Diane, Rue Vol- 
 ney 5 ; Vivienne, Rue Vivienne 15 ; Ste. Anne, Rue Ste. Anne 63 
 and Passage Choiseul 58 ; de la Madeleine, Rue du Faubourg-St-Ho- 
 nor^ 30, Cit^ du Retire (80 c.-3 fr.) ; de Jouvenee, Boul. Poissonniere 
 30 and Rue du Faubourg-Montmartre 4 ; dela Chaussee-d' Antin, Rue 
 de la Chaussee-d'Antin 46; Ventadour, Rue des Petits-Champs 48, 
 near the Avenue deVOp^ra; Chantereine, Rue de la Victoire 46 and 
 Rue de Chateaudun 39; de la Bourse, Rue St. Marc 16; Thermes 
 Romains, Rue Montmartre 163 (with swimming-bath, 1 fr., reserved 
 on Wed. for ladies) ; St. Denis, Rue du Faubourg-St-Denis 50 (with 
 swimming-bath); St. Oermain-des-Pres (T3iTa.nne), Boul. St. Ger- 
 main 180; Racine, Rue Racine 5. 
 
 Turkish, Vapour, and other baths: Le Hammam, Rue des 
 Mathurins 18, corner of the Rue Auber (entrance for ladies, Boul. 
 Haussmann 47), very handsomely fitted up (Turkish bath 5 fr.); 
 Le Balneum, Rue Cadet 16bi3, of the same category (2fr.); Ham- 
 mam Monge, Rue Cardinal-Lemoine63, on the left bank (bath IV2- 
 21/2 fr.), etc. — Piscine Rochechouart, Rue de Rorhechouart 65 
 (1 1/4 fr.; reserved for ladies on Frid.). — Bains Guerbois, Rue du Bourg- 
 I'Abb^ 7. — Bains de Fumigations, Rue de Dunkerque 56. — Com- 
 pressed Air Baths (Bains d'Air Comprimi), Rue des Pyramides 17. 
 
 Cold Baths in the Seine: Deligny , Quai d'Orsay, near the 
 Place de la Concorde (PI. R, 14, 15; ii), admirably fitted up, 
 more than 325 ft. long, with 350 separate baths ; du Pont-Royal 
 (entered from the Quai Voltaire); Henri IV (entrance near the
 
 46 13. PHYSICIANS. Preliminary 
 
 statue on the Pont-Neuf) ; Ouarnier, Qnai de B^thune (He St. Lonis ; 
 PI. R 22, V) , recommended to ladies also ; Bains des Fleurs , Qnai 
 du Louvre, to the right of the Pont-Neuf, for ladies also. 
 
 The usual charges at these cold baths are: admission 20-60, swim- 
 ming-drawers and towel 25, fee to the 'garcon'' 10 c. — It should be ob- 
 served that one-half of each bath is generally very shallow, being intended 
 for non-swimmers, while the other half is often not more than 6-9 ft. in 
 depth. Divers should therefore use great caution. 
 
 Physicians. Should the traveller require medical advice during 
 his stay in Paris, he should obtain from his landlord the name of 
 one of the most eminent practitioners in the neighbourhood of his 
 hotel or lodgings. Information may also be obtained at the English 
 and other chemists' shops (p. 38), or at GalignanVs (p. 44). As 
 changes of address are not infrequent, the 'Bottin', or Directory, 
 may also be consulted. Usual fee from 10 to 20 fr. per visit or con- 
 sultation. The following may be mentioned : — 
 
 Dr. Anderson, Rue du Bois -de -Boulogne 5; Br. Austin, Rue 
 Cambon 24; Dr. Barnard, Rue St. Honore 362; Dr. Boyland, Rue 
 Vernet 15 ; Dr. Brack and Dr. Magill, Rue de Clichy 54 ; Dr. Cham- 
 berlain (Amer.), Rue de Berri 8 ; Dr. Chapman, Avenue de I'Opera 
 25 ; Dr. Clarke (Amer.), Rue Cambaceres 2; Dr. Deering, Rue Go- 
 dot-de-Mauroi 3; Dr. Dunn (Amer.), Rue des Pyramides 15; Dr. 
 Dupuy, Avenue Montaigne 53 ; Dr. J. Faure-Miller , Rue Matignon 
 28 ; Dr. B. Faure-Miller, Rue Mirome'nil 8 ; Dr. Qood , Avenue du 
 Bois-de-Boulogne 23 ; Dr. Eein, Rue Tronchet 34 ; Dr. Herbert, 
 Rue Duphot 18; Dr. Hogg, Avenue des Champs-Elysees 61 ; Dr. 
 Jennings, Avenue Kleber 88 ; Dr. Loughnan, Rue de Berri 38 ; 
 Dr. Nachtel, Rue Scribe 3; Dr. Pellereau, Rue du Commandant- 
 Riviere 8; Dr. Pike, Rue Francois ler; Dr. Ponce, Rue Pierre 
 Charron 2 ; Dr. Prendergast, Rue d'Anjou 1 ; Dr. Webb, Avenue 
 de Neuilly 160. 
 
 Oculists : Dr. Loubrieu , Rue de Rivoli 50 ; Dr. Bull, Rue de 
 la Paix 4 ; Dr. Meyer, Boul. Haussmann 73 ; Dr. de Wecker, Av- 
 enue d'Antin 31. 
 
 Dentists: T. W. Evans, Rue de la Paix 15; /. B. S^ W. S. 
 Davenport, Avenue de I'Opera 30; Hy. Didsbury, Rue Meyerbeer 3, 
 Dugit, Rue du 29 Juillet 6 ; Duchesne fils , Rue Lafayette 45 ; J. 
 Evans, Avenue de I'Opera 19 ; Rossi-Hartwick, Rue St, Honore 185 ; 
 Ryan, Rue Scribe 19 ; Weber, Rue Duphot 25 ; Rykaert (Canadian), 
 Boul. Haussmann 33; Daboll, Avenue de I'Opera 14; Barrett, 
 Avenue de I'Opera 17. 
 
 Chemists and Druggists, see p. 38. 
 
 Hospitals. Maisons de Sante. In case of a serious or tedious 
 illness, the patient cannot do better than take up his quarters at one 
 of the regular sanitary establishments. There are many well-con- 
 ducted houses of the kind in Paris and the environs, where patients 
 are received at from 150 to 1000 fr. per month, including board 
 and lodging, medical attendance, baths, etc., and where drawing-
 
 Information. 14. DIVINE SERVICE. 47 
 
 rooms, billiard-tables, gardens, etc., as well as good tables d'hote, 
 are provided for convalescents. The following may be recommend- 
 ed : — Maison Municipale de Sante (Dubois), Rue du Faubourg- 
 St- Denis 200 (terms 5-12 fr. per day, everything included); 
 Maison des Hospitaliers de St. Jean-de-Dieu, Rue Oudinot 19 (10- 
 20 fr.) ; Maison des Dames Augustines de Meaux, Rue Oudinot 16 
 (300-500 fr. per month) ; Etablissement Hydr other apique d'Auteuil, 
 Rue Boileau 12 and Rue de Miromenil 63; Maison Rivet, at St. 
 Mand^, Grande Rue 106, for ladies. 
 
 The *Hertford British Hospital, or Hospice Wallace (PL B, 
 8), is a large Gothic edifice in the Rue de Villiers, at Levallois- 
 Perret , near Neuilly , built and endowed by the late Sir Richard 
 Wallace. It has accommodation for between thirty and forty patients, 
 and is surrounded by a large garden. — Mention may also be made 
 of the Protestant Hospice Suisse (for men ; apply at the Swiss Em- 
 bassy, Rue Marignan 15) and the Maison des Diaconesses Prot- 
 estantes (for ladies), Rue de Reuilly 95. 
 
 Public Hospitals, see p. 226. — The Institut Pasteur, for the 
 treatment of hydrophobia, is at Rue Dutot 25 (PI. G, 13). 
 
 14. Divine Service. 
 
 English Churches. For the latest information, visitors are 
 recommended to consult the Stranger^s Diary of the Saturday 
 number of The Daily Messenger (p. 44). At present the hours of 
 service are as follows : — 
 
 Episcopal Church: — English Church, Rue d'Aguessean 5, 
 Faubourg St. Honor^, near the British Embassy; services at 8.30, 
 11, 3.30, and 8. — Christ Church, Boul. Bineau 49, Neuilly; ser- 
 vices at 10.30 and 4. — St. George's (Victoria Jubilee Church), Rue 
 Auguste-Vachery (Avenue d'le'na); services at 8.30, 11, 3, and 8. 
 — Church of the Holy Trinity (Amer.), Avenue de I'Alma 19; ser- 
 vices at 8.30, 11, and 4. — St. Luke's Chapel (Amer.), Rue de la 
 Grande Chaumiere 5 ; services at 8.30, 9.30, and 8. 
 
 English Congregational Services, Rue Royale 23, at 11.15 
 a.m. and 7.30 p.m. 
 
 English Roman Catholic Church : Eglise St. Joseph , 50 
 Avenue Hoche, mass at 6, 7, 8, 9, 10, and 11.30, on Sundays ; ser- 
 mons at 10.30 and 3. Confessions heard daily, 6-9. 
 
 American Chapel, Rue de Berri 21 ; service at 11 a.m. 
 
 Church of Scotland , Rue Bayard 17, Champs-Elys^es ; ser- 
 vices at 11 and 3. 
 
 Wesleyan Methodist Church , Rue Roqu^pine 4 , adjoining 
 No. 41 Boulevard Malesherbes, near the Madeleine. Service on Sun- 
 days at 11 and 8, on Wednesdays 8 p.m. — Service also at 3.30 p.m. 
 on Sun. at Rue Demours 16, Asnieres. 
 
 Baptist Churches: Rue de Lille 48; French service at 2 p.m.;
 
 48 14. DIVINE SERVICE. Preliminary 
 
 English service at 4 p.m. — Rue St. Denis 133 ; service in French 
 at 2 and 8 p.m. 
 
 French Protestant Churches (Temples Protestants). Calvinist : 
 UOratoire, Rue St. Honore 145; service at 10.30. — Ste. Marie, 
 Rue St. Antoine 216, near the Bastille; service at 10.30, in vs^inter 
 at noon. — Temple de VEtoile, Avenue de la Grande-Armee 54; 
 services at 10 and 4. — Temple des Batignolles , Boul. des Batig- 
 nolles 46 (10.15 and 4). — Eglise de Pentemont^ Rue de Grenelle 106 
 (10.15 and 4}. — St. Esprit, Rue Roquepine 5 (10.15 and 1). — 
 Temple Milton, Rue Milton (10.15). — Temple de Passy, Rue Cor- 
 tamhert 19 (Trocadero ; 10.15). — Temple de Neuilly , Boulevard 
 d'Inkermann 8 (10.15), etc. 
 
 Lutheran (Confession d'Augsbourg) : Temple des Billettes,JiTie 
 des Archives 24, to the N. of the Hotel de Ville; service at 10.15 
 or 12.30 in French, at 2 in German. — Temple de la Redemption, 
 Rue Chauchat 16; service in German at 10.15, in French at 12. — 
 Swedish Church, Boulevard Ornano 19 (2.30). 
 
 Frbb (Libres): Eglise Taitbout, Rue de Provence 42; service at 
 10.15 a.m. — Eglise du Nord, Rue des Petits-Hotels 17 (10.15). 
 
 — Temple du Luxembourg, Rue Madame 58 (10.30 a.m. and 8 p.m.). 
 
 — Chapelle du Centre, Rue du Temple 115 (10.30). 
 Synagogues: Rue Notre -Dame -de -Nazareth 15; Rue de la 
 
 Victoire 44 (a handsome edifice); Rue des Tournelles 21biSj near 
 the Place des Vosges ; Rue Buffault 28 (Portuguese"). 
 
 Greek Churches : Russian Church (see p. 202) , services on 
 Sun. and Wed. at 11 a.m., on Sat. at 8 p.m. — Chapel of the Russian 
 Embassy, Rue de Grenelle 79. — Eglise Orthodoxe, Rue Bizet 5 (PI, 
 R, 11; i). — Greek Catholic Church (St. Julien-le-Pauvie) , see 
 p. 230. — Roumanian Chapel, Rue Jean-de-Beauvais 9t>is (PI, R, 
 19; 7), service at 10.30. 
 
 Missions. For those interested in home mission work the following 
 notes may be of service. The M<^All Mission has now between 30 and 
 40 stations, of which the most important are at Rue Eoyale 23, Bonl. 
 Bonne-Nouvelle 8, and Rue St. Autoiue 104:, meetings every week-day at 
 y p.m. Sunday meetings at 4.30 p.m. at Rue Royale 23 and at 8.15 p.m. 
 at Rue du Faubourg-St-Antoine 142 and Rue Rationale 157. The offices 
 of the mission are at Rue Godot-de-Mauroi 36 : chairman and director, Rev. 
 Chas. E. Oreig, D. D. — Anglo-American Young Meris Christian Association, 
 Rne Montmartre 160 (10 a.m. -10. 30 p.m.). — Miss de Broen^'s Mission, Rue 
 Bolivar 32, Belleville, and Rue Clavel 25 ; meetings every evening and on 
 ■"un. at 3.30 and 8.30 p.m. Dispensary on Mon.. Tues., Thurs., and Frid., 
 at 10 a.m. — The GirW Friendly Society, Rue de Provence 48, affords cheap 
 lodgings. — SociM Centrale de la Mission Intdrieure : agent, Pastor J. 
 Pfender, Rue Labruyere 46. 
 
 15. Embassies and Consulates. Ministerial Offices. Banks. 
 Embassies and Consulates. — Great Britain : Embassador, 
 Rt. Hon. Sir Edmund Monson, Rue du Faubourg- St-Honor^ 39. — 
 Consul, A. P. Inglis, Esq., Rue du Faubourg-St-Honore' 39 (11-3); 
 vice-consul, G. G. F, Alee, Esq.
 
 Information. 15. BANKS. 49 
 
 United Statbs : Ambassador, Eon. James B. Eustis, Rue Gali- 
 lee 69. — Consul General, 8. E. Morss, Esq., Avenue de I'Opera 36 
 (10-3); vice-consul general, Clyde Shropshire, Esq. 
 
 The following are the present addresses of the Jlinisters and Consuls 
 of other countries, but changes of residence sometimes take place. — The 
 offices are generally open from 1 to 3. 
 
 Atistria, Rue de Varenne 57. — Consulate : Rothschild's, Rue Laffitte 21 (11-1). 
 Belgium, Rue du Colise'e 38 (also consulate). 
 
 Denmark, Rue de Courcelles 29. — Consulate, Rue d'Hauteville 53. 
 Germany., Rue de Lille 78 (12-1 Vs", also consulate. 
 Greece, Rue Debrousse 3. 
 Italy, Rue de Grenelle 73 (also consulate). 
 Nelherlandi, Rue de Lubeck 29 (also consulate). 
 Rtissia, Rue de Grenelle 79 (also consulate). 
 
 Spain. Boul. de Courcelles 34. — Offices and consulate, Rue Bizet 6. 
 Sweden and Norway, Rue Bassano 12. — Consulate, Rue d'Athenes 14. 
 Stcitzerland, Rue Marignan 15. 
 
 Turkey, Rue de Presbourg 10. — Consulate, Place St. Ferdinand 31. 
 Vatican, Rue de Varenne 58 (Tues., Thurs., & Sat. 2-4). 
 
 Ministerial OMces. — Affaires Etrangeres, Quai d'Orsay 37 and 
 Rue de I'Universit^ 130. 
 Agriculture, Rue de Varenne 78. 
 Colonies, Pavilion de Flore, Tuileries. 
 Commerce, Industrie, Pastes et Telegraphes, Rue de Varenne 80 and 
 
 Rue de Grenelle 99-105. 
 Finances, at the Louvre, Rue de Rivoli (PI. R, 20; II). 
 Guerre, Boul. St. Germain 231 and Rue St. Dominique 10-14. 
 Instruction Publique, Beaux- Arts, et Cultes, Rue de Grenelle 110. 
 Interieur, Place Beauveau, Rue Cambaceres 7-13 and Rue des Saus- 
 
 saies 11 ; Rue de Grenelle 103 and Rue de I'Universit^ 176. 
 Justice, Place Vendome 11 and 13. 
 Marine, Rue Roy ale 2. 
 Travaux Publics, Rue de Grenelle 244-248. 
 
 Some of these offices are open to the public , but the hours of 
 admission are frequently changed. 
 
 Banks. Banque de France, Rue de la Vrilliere and Rue Croix 
 des Petits-Champs (PI. R,21; II) and Place Ventadour (annexe 
 for bonds) ; Caisse des Depots et Consignations, Rue de Lille 66 
 (PI. R, 17 ; //, IV); Caisse d'Epargne, Rue Coq-He'ron 9 (PI. R, 21 ; 
 ///); Credit Fonder, Rue des Capucines 17 and 19 (PL R, 18); 
 Credit Lyonnais , Boulevard des Italiens 16-21 , with 24 branch 
 offices ; Societe Oenerale , Rue de Provence 54 and 56 , with 32 
 branches; Comptoir National d'Escompte, Rue Bergere 17 (PI. B, 
 21; III), with 16 branches; Rothschild, Rue Laffitte 21-26. — 
 English and Amekican Banks. Munroe ^' Co., Rue Scribe 7; 
 Morgan, Harjes, cj- Co., Boul. Haussmann 31. 
 
 Monet Changers (changers) are found in almost every part of Paris, 
 particularly in the Palais-Royal, near the Exchange, the Boulevards, the 
 Rue Vivienne, and the other streets frequented by strangers. That at the 
 Cridit Lyonnait (see above) may be recommended. 
 
 Stamps. Receipts for sums above 10 fr., as well as various commer- 
 cial documents, miust be stamped. Receipt-stamps are sold at the post- 
 office and at many tobacconists (p. 39). 
 
 Babdekeb. Paris. 12th Edit. 4
 
 50 
 
 16. Preliminary Drive. 
 
 After a preliminary study of the general remarks on Paris at 
 p. xxui, the best way of obtaining a general idea of the appearance 
 of Paris is to take a drive on the top of an omnibus or tramway-oar, 
 or in an open cab, through the principal streets. If a cab is hired it 
 should be engaged b, Vheure^ and the driver desired to take the fol- 
 lowing route. 
 
 CabDkive. The Palais-Royal (p. 58) is chosen as a convenient 
 starting-point. Thence we drive to the E. through the Rue de Ri- 
 voli (p. 59), passing the Tour St. Jacques (p. 61) and the Hotel 
 de Ville (p. 63) ; then through the Rue St. Antoine, as far as the 
 Place de la Bastille (p. 68) and the Colonne de Juillet (p. 69), 
 and along the Grands Boulevards (jp. 71 et seq.) to the Madeleine 
 (p. 79), and so to the Place de la Concorde (p. 80). "We next ascend 
 the Champs-Elysees (p. 151) to the Arc de I'Etoile (p. 154). Then 
 we drive to the Pont de I'Alma (p. 161), and across it to the 
 Champ-de-Mars (p. 283) and Hotel des Invalides (p. 275); Rue de 
 Grenelle, Ste. Clotilde (p. 274), Boulevard St. Germain as far as 
 St. Germain-des-Pr^s(p.253), Rue Bonaparte to St. Sulpice[p.255), 
 and on to the Palais du Luxembourg (p. 256) ; the Rue de Me- 
 dicis, at the end of which is the Rue Soufflot leading to the Pan- 
 theon (p. 242). Thence down the Boulevard St. Michel [p. 230), passing 
 the Sorbonne (p. 240) and Hotel de Cluny (p. 231) on the right, 
 and the Fontaine St. Michel (p. 230) on the left; next traverse the 
 Boulevard du Palais and the 'Cite', where Notre-Dame (p. 226) is 
 observed on the right, at some distance, and the Palais de Justice 
 (p. 221) on the left, beyond which we regain the right bank of the 
 Seine at the Place du Chatelet (p. 61). Soon after we again react 
 the Rue de Rivoli, where we may dismiss the cab and descend 
 through the Boulevard de Sebastopol to the Grands Boulevards. 
 
 The drive vnll occupy about 3 hrs. and (according to the 
 vehicle) cost 7-10 fr., including 1 fr. gratuity. 
 
 Omnibus Drive. Gentlemen may explore the city by taking a 
 similar excursion on the outside of an omnibus or tramway-car, 
 which vnll occupy nearly double the time, but costs about 90 c. 
 only. The route appears a little complicated , but vnll be easily 
 traced with the aid of the map and list of omnibus lines (see Appx.). 
 Take an omnibus from the Madeleine (p. 79) to the Bastille, line 
 E, without 'correspondance' (15 c), as far as the office at the begin- 
 ning of the Boulevard Bourdon, at the Place de la Bastille (p. 68) ; 
 thence take a tramway-car (coming from Vincennes ; 15 c.) to the 
 Hotel de Ville (p. 63), and hence proceed by an omnibus of line C 
 (Hotel de Ville-Porte Maillot) as far as the Are de Triomphe de 
 I'Etoile (p. 154). Here alight , and return by the same line to the 
 Place de la Concorde (p. 80), without correspondance. Walk down 
 to the quay and take line AF to the Pantheon (p. 242), without
 
 17. DISTRIBUTION OF TIME. 51 
 
 correspondance. Walk thence by the Boulevard St. Michel to the 
 Jardin dn Lnxembonrg (p. 262) and the Odeon (p. 263). Here take 
 the Od^on and Batignolles-Clichy line H as far as the Palais-Royal 
 (p. 58); or, better still, walk (in about 10 min.) from the Ode'on 
 by the Rue Racine to the Boulevard St. Michel, and take there a 
 tramway of the Montrouge and Gare de I'Est line to the Rue de 
 Rivoli (p. 59) or on to the Grands Boulevards (p. 71). 
 
 Good walkers may, of course, perform parts of this route on foot 
 and so obtain a closer view of the objects of interest. They may, 
 e.g. , walk along the Grands Boulevards to the Place de la Re'pub- 
 lique (about 2 M. from the Op^ra) ; from the Hotel de Ville to the 
 Place de la Concorde (about 11/2^0; ^^0°^ t^^ Luxembourg to the 
 Rue de Rivoli (nearly 1 M.), or to the Boulevards (2/4 M. farther). 
 
 A good general view of the city may be obtained from the Towers 
 of Notre Dame (p. 229) , but for this purpose clear weather is 
 necessary, and that occurs seldomer than might be supposed. Even 
 when the sun is shining, the middle distance is frequently in- 
 distinct, a fact which may also be noticed from the ground in the 
 longer streets. The best views are obtained when the weather is 
 clearing just after a shower, and on dry windy days; but in the 
 latter case the wind is often disagreeable on the top of the towers. 
 A general survey from another point of view is afforded by a visit 
 to the Butte Montmarire (p. 207). The Eiffel Tower (p. 284) is too 
 far from the centre to afford an entirely satisfactory survey. 
 
 Having acquired a general idea of the external appearance and 
 topography of the city, the traveller may then proceed at his leisure 
 to explore it in detail. 
 
 17. Distribution of Time. 
 
 A stay of a fortnight or three weeks in Paris may suffice to con- 
 vey to the visitor a superficial idea of the innumerable attractions 
 which the city offers, but a residence of several months would be 
 requisite to enable him satisfactorily to explore its vast treasures of 
 art and industry. The following plan and diary will aid him in 
 regulating his movements and economising his time. The routes 
 in the Handbook are arranged as far as possible so as to avoid 
 loss of time and unnecessary detours, but they may easily be re- 
 solved into new combinations or made in a reverse direction , as 
 the convenience or pleasure of the sight-seer may dictate. Fine 
 days should be spent in the parks, gardens, and environs. Excur- 
 sions to the country around Paris, in particular, should not be post- 
 poned to the end of one's sojourn, as otherwise the setting in of 
 bad weather may preclude a visit to many beautiful spots in the 
 neighbourhood. Rainy days should be devoted to the galleries and 
 museums. 
 
 The table at p. 54 shows when the different collections and 
 objects of interest are open to visitors, but does not include buildings 
 
 4*
 
 52 
 
 17. DISTRIBUTION OF TIME. Preliminary 
 
 that are open gratis every day, which must be looked for in the 
 index. Parks, public gardens, cemeteries, and the like are also 
 omitted, as they are practically always open. The days and hours 
 enumerated, though correct at present, are liable to alteration ; and 
 the traveller is therefore referred to The Daily Messenger (p. 44), 
 to the principal French newspapers, and to the bills posted on the 
 advertising pillars in the boulevards. The museums and collections 
 are apt to be uncomfortably crowded on Sundays and holidays. 
 
 The numbers in the following tables refer to the Routes of the 
 Handbook. 
 
 Diary. 
 
 Days 
 
 Objects of interest 
 
 Every day ^ 
 
 21, 
 
 Palais Royal, Kue de 
 Rivoli, Bastille, and 
 Boulevards (p. 5Tj. 
 Champs Elysees and 
 BoiB de Boulogne 
 (p. 15i). 
 
 St. Cloud , Sevrea, 
 Meudon (p. 293). 
 Vincennes (p. 301). 
 St. Denis, Enghien, 
 Montmorency, Argen- 
 teuU (p. 338). 
 Vallev of the Oise 
 (p. 346). 
 
 Sceaux , Chevreuse, 
 Montlhe'ry , etc. 
 (p. 353). 
 Fontainebleau(p562). 
 
 Sunday 
 
 Monday 
 
 Tuesday 
 
 Every day 
 except 
 Monday 
 
 Sunday 
 
 1, 14, 15, 18 to 21, as 
 above. 
 
 2. Louvre and Tuileriea 
 (p. 85). 
 
 9. The Cite and Sor- 
 
 bonnequctrter(p.220). I 
 10. Quarters of St. Ger- , 
 
 main and the Luxem- '| Wednesday 
 
 bonrg fp. 246). | 
 
 16. Versailles (p. 309). i 
 
 but not the Gobelins 
 (p. 264). 
 
 12. Invalides and Champ 
 de Mars (p. 272). 
 
 17. St. Germain-en-Lave 
 (p. 330). 
 
 22. Chantilly and its En- 
 virons (p. 371). 
 
 [ 1, 14, 18-21, as above. 
 -j 7. La Yillette and Mont- 
 l martre (p. 202). 
 
 1, 2, 5, 9, 10, 11, 14-21, 
 as above. 
 
 6. Quartiers de la Bour- 
 se, de la Chauss^e- 
 d'Antin, and de TEu- 
 rope (p. 189). 
 13. Outlying quarters to 
 the S. 
 
 1, 2, 9, 10, 14-16, 18-21, ' 
 as above. i! 
 
 4. TrocaderOjPassv, and I 
 Auteuil(p. 161). 
 
 5. Halles Centrales, Arts 
 et Metiers , Pere-La- 
 chaise (p. 170). 
 
 8. Quartiers du Tem- | 
 pie and du Marais j 
 (p. 213). 
 11. Jardin des Plantes,.]; 
 
 Thursday | 
 
 Fridav 
 
 1, 2, 9, 10, 14-16, 18-21, 
 as above. 
 11. As above, except the 
 natural history gal- 
 leries (p. 266). 
 
 1, 2, 4, 6, 7, 8-22, as 
 above. 
 
 Saturday < 11 
 
 2, 6, 9, 10, 11, 14-16, 
 18-21, as above. 
 
 2, 6, 9, 10, 11, 13, 14- 
 16, 18-21, as above. 
 Jardin des Plantes 
 and the Gobelins (p. 
 264).
 
 Information. 17. DISTRIBUTION OF TIME. 
 Viait of Three Weeks. 
 
 53 
 
 Beginning 
 
 Beginning 
 on — 
 
 ^ 
 
 Sunday 
 
 Monday 
 
 Tuesday 
 
 Wednesday^ 
 
 13 12 
 8 15| 5 
 
 17 , 7 13 
 
 9 I 4 
 14 !12 
 
 21 122 
 
 t Last day at pleasure 
 
 _ 
 
 1 
 
 2 
 
 3 
 
 4 
 
 a 
 
 7 
 
 5 
 
 10 
 
 13 
 
 12 
 
 14 
 
 17 
 
 18 
 
 21 
 
 22 
 
 
 
 
 
 
 
 
 
 1 
 
 2 
 
 4 
 
 8 
 
 7 
 
 6 
 
 10 
 
 5 
 
 16 
 
 14 
 
 12 
 
 18 
 
 17 
 
 22 
 
 19 
 
 
 
 
 _ 
 
 _ 
 
 _ 
 
 1 
 
 2 
 
 4 
 
 7 
 
 5 
 
 10 
 
 12 
 
 11,16 
 17 
 20 
 
 9 
 11,15 
 l§t 
 
 13,15 
 
 ao 
 
 6 11,15 
 
 Wednesday/ 8 
 (continued) 1 22 
 
 Thursday 
 
 Friday 
 
 Saturday 
 
 1 22 
 
 I* 
 
 I 17 
 
 16 I 17 
 
 18 21 
 
 J 4 3 I 2 
 1 8 ! 7 ! 12 
 1 17 18 21 
 
 1 
 
 10 
 
 13 18 
 
 18 
 
 3 
 
 11,15 
 
 21 
 
 2 
 
 10 
 
 11,15 
 
 1 
 
 10 
 11,15 
 
 
 
 
 
 
 
 Visit of a 
 
 Fortnight. 
 
 
 
 
 
 
 
 
 Beginning 
 on — 
 
 a 
 % 
 
 
 CO 
 
 1 
 
 1 
 
 5- 
 1 
 
 
 
 1 
 
 
 
 fa 
 
 1 
 1 
 
 Beginning 
 on — 
 
 c3 
 
 -§ 
 
 
 
 ao 
 
 a 
 
 1 
 
 
 1 
 1 
 
 1 
 1 
 
 1 
 
 ei 
 
 rs 
 
 cS 
 CO 
 
 Sunday • . { g 
 
 3 
 
 2 
 
 9 
 
 4 
 
 6 
 
 10 
 
 Thursday I 4 
 I 8 
 
 _ 
 
 
 
 
 1 
 
 2 
 
 8 
 
 7 
 
 5 
 
 16 
 
 12 
 
 14 
 
 11,15 
 
 6 
 
 6 
 
 9 
 
 
 10 
 
 11,15 
 
 Monday. . I 8 
 I 14 
 
 1 
 
 2 
 
 8 
 
 4 
 
 6 
 
 9 
 
 14 
 
 12 
 
 16 
 
 
 
 
 7 
 
 5 
 
 10 
 
 12 
 
 16 
 
 11,15 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Friday . . i 4 
 18 
 
 
 
 
 
 
 — 
 
 1 
 
 2 
 
 ( — 
 
 
 
 1 
 
 2 
 
 4 
 
 3 
 
 9 
 
 3 
 
 5 
 
 9 
 
 7 
 
 6 
 
 11,15 
 
 Tuesday . I 5 
 I 8 
 
 Wednesday! 4 
 
 7 
 1/1 
 
 10 
 
 16 
 
 12 
 
 6 
 
 11,15 
 
 14 
 
 lU 
 
 16 
 
 12 
 
 
 
 
 _ 
 
 1 
 
 2 
 
 3 
 
 9 
 
 Saturday <! 4 
 
 _ 
 
 _ 
 
 
 
 
 
 
 
 1 
 
 7 
 
 5 
 
 10 
 
 12 
 
 6 
 
 11,15 
 
 3 
 
 2 
 
 9 
 
 5 
 
 10 
 
 11,10 
 
 
 I 8 
 
 15 
 
 16 
 
 
 
 
 
 1 
 
 8 
 
 7 
 
 6 
 
 16 
 
 12 
 
 14 
 
 
 Note. St. Denis (18) might be visited on the morning of the day spent 
 at St. Cloud (14). 8t. Germain-en- Laye (17) and Fontainebleau (21) each 
 require an additional day. 
 
 
 
 
 
 
 
 Visit of 
 
 a Week 
 
 
 
 
 
 
 
 
 Beginning 
 on — 
 
 •0 
 
 d 
 
 
 
 1 
 
 
 O 
 
 1 
 
 1 
 
 s 
 
 eS 
 
 1 
 
 
 .0 
 
 Eh 
 
 fa 
 
 1 
 
 
 >> 
 
 cS 
 •0 
 
 
 
 
 cn 
 
 1 
 § 
 
 1 
 
 1 
 1 
 
 1 
 
 •0 
 
 1 
 
 Sunday 1,12 
 
 7,6 
 
 2,4 
 
 9,3 
 
 5,8 
 
 16,14 
 
 10,11 
 
 Thurs- f — 
 day 15,8 
 
 Friday {g-g 
 
 _ 
 
 
 
 _ 
 
 1,4 
 
 2,3 
 
 9,11 
 
 Monday{j-^2 
 Tues- r — 
 day \10,12 
 
 1,3 
 
 A6 
 
 2,4 
 1,4 
 
 9,11 
 2,3 
 
 5,8 
 
 5,8 
 
 16,14 
 16,14 
 
 7,6 
 9,11 
 
 7,6 
 776 
 
 10,12 
 10,12 
 
 16,14 
 941 
 
 16,14 
 
 1 
 1,3 2,4 
 
 Wed- f - 
 
 
 
 
 1,3 
 
 5,8 
 
 2,4 
 
 9,11 
 
 Satur- i — 
 
 
 
 
 
 - - 
 
 - 1,3 
 
 nesday 1 
 
 10,12 
 
 7,6 
 
 16,14 
 
 
 
 
 
 day \ 
 
 ^,4 
 
 7,6 
 
 10,12 
 
 9,11 
 
 2,4 
 
 16,14 

 
 54 
 
 17. DISTRIBUTION OF TIME. Preliminary 
 
 Sun. and 
 
 holidays Monday 
 
 Archives Nationales (p. 213) 
 
 Arts d; Metiers, Conservatoire des 
 
 (p. 173) 
 
 Beaux- Arts, EcoU des (p. 249) . . . 
 Biblioih&que Nationale, Exhib. (p. 190) 
 
 Boiirse (p. 196) 
 
 Ghambre des Ddputisi^.llZ) . . . . 
 Fontainebleau, Palais (p. 365) .... 
 Gobelins, Manuf. des (p. 269) .... 
 Hdtel de Ville {saloons; p. 165) . . . 
 Imprimerie Rationale (p. 215) . . . 
 
 Invalides, Hotel des (p. 275) 
 
 Jardin des Plantes, Minagerie (p. 265) 
 
 . Conservatories (p. 269) . . . 
 
 . Nat. Hist. Collections (p. 266) 
 
 . Palaeont. Collections (p. 268) 
 
 Luxembourg, Palais du (p. 256) . . . 
 
 — , Gallery (p. 258) 
 
 Monnaie, Musee d- Studio (p. 248). . 
 Mus^e Carnavalet (p. 216) 
 
 — d" Artillerie (Invalides ; p. 276) . 
 
 — de Cluny (p. 231) 
 
 — des Colonies (p. 153) 
 
 — de Galliira (p. 162) 
 
 — de la Ville (p. 253) 
 
 — de Minir. et Giolog. (p. 287) . . 
 
 — des AiHs Dicoratifs (p. 152) . . . 
 
 — du Conserv. de Musique (p. 75). . 
 
 — d^Ethnographie{TTOcad.eTO: p.l67j 
 
 — du Garde- Meuble (p. 283) '. . . . 
 
 — du Louvre, Paintings & Antiquities 
 (p. 87) 
 
 , SalU des Boites (p. 146) . . . 
 
 , Other Collections (p. 144). . . 
 
 — Forestier (Vincennes ; p . 307) . . 
 
 — Guimet (p. 162) 
 
 — de Sculpture Compar^ei Tvoc&deTO I 
 p. 166) 
 
 — Social (p. 275) 
 
 Notre-Dame, Treasury (p. 229) . . . 
 
 Palais de Justice (p. 221) 
 
 PantMon (p. 242) 
 
 St. Denis, Tombs (p. 339) 
 
 St. Germain, Museum (p. 334) . . . 
 
 Ste. Chapelle (p. 222) 
 
 Salon, Exposition du (p. 152). . . . 
 
 SH^es, Workshops (p. 299) 
 
 — , Musde (p. 299) 
 
 Sorbonne, Amphitheatre (p. 240) . . 
 Tobacco Manufactory (p. 283). . . . 
 Tomb of Napoleon I. (p. 281). . . . 
 Trocadiro, Aquarium (p. 168). . . . 
 Versailles, Palais d: Trianon (p. 311) 
 — , Jeu-de-Paume (p. 329) 
 
 12-3 
 
 10-4 
 12-4 
 
 9-5, 6 
 10-5 
 
 12-4 
 11-4, 5 
 
 11-3 
 
 10-4 
 
 11-4 
 12-4 
 11-4 
 12-4, 5 
 12-4 
 12-4 
 
 10-4^ 5 
 
 12-4 
 10-4 
 
 10-4 
 
 ir4 
 
 10-4, 5 
 12-4, 5 
 
 11-4, 5 
 
 10-4 
 10-51/2 
 101/2-5 
 11-4, 5 
 
 8-fe 
 12-4, 5 
 12-4, 5 
 
 10-1 
 
 12-3, 4 
 
 9-11, 1-5 
 
 11-4, 5 
 
 12-4 
 
 — 
 
 _ 
 
 _ 
 
 10-4 
 
 10-4 
 
 10-4 
 
 
 10-4 
 
 12-3 
 
 12-3 
 
 9-5, 6 
 
 9-5, 6 
 
 10-5 
 
 10-5 
 
 2-3 
 
 2-3 
 
 12-4 
 
 12-4 
 
 11-4, 5 
 
 11-4, 5 
 
 
 
 1-4 
 
 — 
 
 11-3 
 
 
 
 1-4 
 
 9-5, 6 
 
 9,5, 6 
 
 9-5 
 
 9-5 
 
 
 12-3 
 
 _ 
 
 12 4 
 
 _ 
 
 11-4, 5 
 
 
 
 12-4, 5 
 
 — 
 
 12-4 
 
 _ 
 
 1-4 
 
 10-4, 5 
 
 10-4, 5 
 
 12-4 
 
 
 — 
 
 10-4 
 
 9-5 
 
 9-5 
 
 
 2-5 
 
 11-5 
 
 11-5 
 
 
 12-4, 5 
 
 — 
 
 12-4, 5 
 
 _ 
 
 11-4, 5 
 
 9-6 
 
 9-6 
 
 10-4 
 
 10-4 
 
 11-4 
 
 11-4 
 
 
 
 10-4 
 
 10-51/2 
 
 10-51/2 
 
 
 
 101/2-5 
 11-4. 5 
 
 
 
 12-6 
 
 8-6 
 
 12-4, 5 
 
 12-4, 5 
 
 12-4, 5 
 
 12-4, 5 
 
 12-^ 4 
 
 12-3, 4 
 
 9-11, 1-5 
 
 9-11, 1-5 
 11-4, 5 
 
 
 — 
 
 12-4
 
 Information. 17. DISTRIBUTION OF TIME. 
 
 55 
 
 Thursday 
 
 Friday 
 
 Saturday 
 
 Admission free except where 
 otherwise stated. 
 
 10-3 
 
 — 
 
 — 
 
 Director's permission required on Thursday. 
 
 10-4 
 
 
 
 
 
 On other days by special permission. 
 
 10-4 
 
 10-4 
 
 iO-3 
 
 Special permission required on week-days. 
 
 
 
 10-4 
 
 — 
 
 
 12-3 
 
 12-3 
 
 12-3 
 
 
 9-5, 6 
 
 9-5, 6 
 
 9-5, 6 
 
 During the vacation. Fee. 
 
 10-5 
 
 10-5 
 
 10-5 
 
 11-4 in winter (Oct. 1st- April 1st). 
 
 
 
 — 
 
 1-3 
 
 
 2-3 
 
 2-3 
 
 2-3 
 
 By ticket issued gratis. 
 
 2 
 
 — 
 
 — 
 
 By permission of the dii'cctor. 
 
 12-4 
 
 12-4 
 
 12-4 
 
 
 11-4, 5 
 
 11-4, 5 
 
 11-4, 5 
 
 Botanic Garden open all day. 
 
 
 
 1-4 
 
 1-4 
 
 By ticket obtained at the office. 
 
 11-3 
 
 11-3 
 
 11-3 
 
 On Tues., Frid., & Sat. by ticket obtained at 
 the office. 
 
 — 
 
 — 
 
 — 
 
 By special permission. 
 
 9-5, 6 
 
 9-5, 6 
 
 9-5, 6 
 
 During the vacation. Fee. 
 
 9-5 
 
 9-5 
 
 9-5 
 
 10-4 in winter (Oct.lst-April 1st). 
 
 — 
 
 12-3 
 
 — 
 
 By special permission. 
 
 11-4 
 
 — 
 
 — 
 
 
 12-4 
 
 — 
 
 _ 
 
 12-3 in winter (Nov. 1st- Jan. 31st). 
 
 11-4, 5 
 
 11-4, 5 
 
 11-4, 5 
 
 Closed on the chief holidays (p. 56). 
 
 12-4, 5 
 
 12-4 5 
 
 12-4, 5 
 
 
 12-4 
 
 12-4 
 
 12-4 
 
 
 12-4 
 
 — 
 
 — 
 
 
 1-4 
 
 — 
 
 1-4 
 
 
 10-4, 5 
 
 10-4, 5 
 
 10-4, 5 
 
 Adm. 1 fr.; on Sun. 1/2 fr • 
 
 12-4 
 
 — 
 
 
 
 12-4 
 
 — 
 
 — 
 
 On other days (except Mon.) on application; fee. 
 
 10-4 
 
 10-4 
 
 10-4 
 
 
 9-5 
 
 9-5 
 
 9-5 
 
 10-4 in winter (Oct. 1st- April 1st). 
 
 2-5 
 
 2-5 
 
 2-5 
 
 2-4 in winter (Oct. Ist-April 1st). 
 
 11-5 
 
 11-5 
 
 11-5 
 
 11-4 in winter (Oct. Ist-April 1st). 
 
 12-4, 5 
 
 — 
 
 — 
 
 
 12-4, 5 
 
 12-4, 5 
 
 12-4, 5 
 
 One-half closed on alternate days. 
 
 11-4, 5 
 
 11-4, 5 
 
 11-4, 5 
 
 
 9-6 
 
 9-6 
 
 9-6 
 
 
 10-4 
 
 10-4 
 
 10-4 
 
 Adm. 1/2 fr. 
 
 11-4 
 
 11-4 
 
 11-4 
 
 
 10-4 
 
 10-4 
 
 10-4 
 
 Dome and vaults by special permisson. 
 
 10-51/2 
 
 10-51/2 
 
 10-51/2 
 
 10 till dusk in winter. 
 
 101/2-5 
 11-4, 5 
 
 _ 
 
 
 101/2-4 in winter. 
 
 11-4, 5 
 
 11-4, 5 
 
 ;Fee. Closed on chief holidays. 
 
 8-6 
 
 8-6 
 
 8-6 
 
 From May Ist-Juue 30th only. 
 
 12-4, 5 
 
 12-4, 5 
 
 12-4, 5 
 
 Special permission required. 
 
 12-4, 5 
 
 12-4, 5 
 
 12-4, 5 
 
 
 11-2 
 
 
 
 
 
 
 10-12,2-4 
 
 — 
 
 — 
 
 
 12-3, 4 
 
 12-3, 4 
 
 — 
 
 
 9-11, 1-5 
 
 9-11, 1-5 
 U-i, 5 
 
 9-11, 1-5 
 11-4, 5 
 
 In winter till 4 p.m. 
 
 12-4, 5 
 
 
 12-4 
 
 12-4 
 
 12-4 

 
 66 17. DISTRIBUTION OF TIME. 
 
 Most of tlie public collections and mnseums are closed on Monday, 
 and also on the principal holidays, viz. Ascension Day, Jnly 14th, 
 Assumption (Aug. 15th) and All Saints (Nov. 1st), unless these 
 happen to fall on a Sunday. The Louvre, Luxembourg, and some; 
 others are closed also on Shrove Tuesday. 
 
 LiBRABiEs are open on week-days from 9 a.m. to 4,5, or 6 p.m. 
 some of them also in the evening and on Sunday. 
 
 Chuhches are usually open from morning till dusk, but the 
 afternoon is the best time for a visit, as no service is then held. 
 It should be noted that many churches are so dark that the 
 works of art cannot be properly seen except by gas-light. The 
 Madeleine (p. 79) is not open to visitors till 1 p.m., and sev- 
 eral other churches are closed at 5 p.m. Sundays and festivals 
 are not, of course, suitable days for inspecting the works of art 
 in the churches, but they frequently offer opportunities of hearing 
 excellent music and good preachers. See p. 35, and the notices 
 of the principal churches. The hours of service are announced on 
 boards in the interior of the buildings. High mass is usually at 
 10 a.m. The masses at midday and 1 p.m. are especially attended 
 by the fashionable world ; and the scene on the conclusion of ser- 
 vice at the Madeleine (p. 79) and other leading churches is both 
 interesting and characteristic. Chairs within the churches are let for 
 5 c. each; on festivals 10 c. 
 
 The traveller should always be provided with his passport, or at 
 least visiting-cards , which will often procure him admission to col- 
 lections on days when the public are excluded.
 
 RIGHT BANK OF THE SEINE. 
 
 The modern business and fashion of Paris are chiefly confined 
 to the quarters on the right bank of the Seine, which contain the 
 principal Boulevards, the handsomest streets, and the most attract- 
 ive shops, caf^s, and restaurants in the city. Here, too, are situ- 
 ated the most important Theatres, the Bourse, the Bank, the Palais- 
 Royal, the Hotel des Postes, and the Halles Centrales. The Hotel 
 de Ville, the headquarters of the municipal authorities, and the 
 Tuileries, once the seat of the court but now entirely demolished, are 
 the great centres around which the whole of modern French history 
 has been enacted ; and in the same region of the city is the Louvre, 
 containing the greatest art-collection in France. 
 
 The following routes or itineraries are arranged to suit travellers "whose 
 stay in Paris is moderately long, and it is taken for granted that they 
 devote the entire day to sight-seeing. Some of these daily itineraries are 
 necessarily somewhat long, but others (e.g. those on the left bank) are 
 comparatively short. Those who are pressed for time may omit the por- 
 tions described in small type. 
 
 1. The Palais-Royal, Rue de Rivoli, Bastille, and 
 Boulevards. 
 
 If the preliminary drive recommended at p. 50 has been taken, the 
 visitor need not return to the Bastille, but may proceed to the Place de 
 la Republique by a more direct route. Another opportunity of returning 
 from the Bastille will be found on p. 212. — Luncheon may be taken near 
 the Tour St. Jacques (pp. 13-15), near the Bastille (pp. 13-15), or in the 
 Boulevard St. Martin (pp. 18-15). 
 
 I. THE PALAIS-ROYAL AND THENCE TO THE HOTEL DE VILLE. 
 St. Germain-l'Auxerrois. Tour St. Jacques. Place du Chatelet. St. Merri. 
 
 The small Place du Palais-Royal (PI. R, 20 ; //I +, enclosed 
 by the Palais-Royal on the N. and the Louvre (p. 85) on the S., 
 occupies almost the centre of Paris, and is one of the best starting- 
 
 + With regard to the arrangement of our Plan of Paris , see note 
 preceding the list of streets. The three sections of the tripartite plan, 
 coloured respectively brown, red, and gray, are referred to in the text by 
 the corresponding letters B, R, and G. If the place sought for is also 
 to be found in one of the five special plans of the more important 
 quarters of the city, that plan is indicated by a Roman Italic numeral. 
 The above reference therefore indicates that the Place du Palaia-Boyal 
 is to be found in the Red Section, Square 20, and also in the Special 
 Plan, No. II.
 
 58 1. PALAIS-ROYAL. 
 
 points for exploring the city. The means of comniunlcation between 
 this point and other quarters are very numerous, and yisitors who 
 live near the Opera may reach it by a pleasant walk along the 
 handsome * Avenue de V Opera, which dates mainly from 1878. This 
 avenue has been left without trees, so as not to interfere with the 
 view of the opera-house (p. 76). 
 
 The Palais-Royal is formed of two quite distinct parts, — the 
 Palace properly so called, with its facade in the square, and the 
 Garden surrounded with Oalleries, the most interesting part, behind. 
 
 The Palace is at present occupied by the Conseil d'Etat^ and 
 is not open to the public. 
 
 This palace was erected by Cardinal Richelien in 1619-36, and named 
 the Palais-Cardinal. After his death it was occupied by Anne of Austria, 
 the widow of Louis XIII., with her two sons Louis XIV. and Philip of 
 Orleans, then in their minority, and since then the building has been 
 called the Palais-Royal. Louis XIV. presented the palace to his brother 
 Duke Philip of Orleans, whose son, Philip of Orleans (d. 1723), regent 
 during the minority of Louis XV., afterwards indulged here in those dis- 
 graceful orgies which are described by his contemporary the Due de 8t. 
 Simon. The Palais-Royal remained in possession of the Orleans family. 
 Philippe Egalitd, who was beheaded in 1793, grandson of the regent, led a 
 scarcely less riotous and extravagant life than his grandfather. In order 
 to replenish his exhausted coffers, he caused the garden to be surrounded 
 with houses, still existing in their original form, which he let for com- 
 mercial purposes, and thus materially improved his revenues. The caf^s 
 on the groundfloor soon became a favourite rendezvous of democrats 
 and malcontents. It was here that Camille Desmoulins called the populace 
 to arms on 12th July, 1789, and so well concerted were his plans that on 
 the following day he organised a 'Garde Rationale', led the way to the 
 Bastille (p. 69), and captured that fortress (14th July). The building was 
 now called the Palais-Egaliti, and subsequently, when Napoleon assembled 
 the Tribunate here in 1801-7, the Palais du Tribunal. 
 
 On the Restoration of the Bourbons in 1815 the Orleans family regain- 
 ed possession of the Palais-Royal, and it was occupied by Louis Philippe 
 down to the end of 1830. On 24th February, 1848, the mob made a com- 
 plete wreck of the royal apartments. After this the building was styled 
 the Palais-National ; but its original name was restored by Napoleon III., 
 who assigned the S. wing, opposite the Louvre, as a residence for his 
 uncle. Prince Jerome Napoleon, the former King of Westphalia (d. 1860). 
 After the death of the latter it was occupied by his son (d. 1891), who 
 bore the same name. On 22nd May, 1871, the Communards set the Palais- 
 Royal on fire, and the S. wing, together with the greater part of the 
 buildings of the Cour d'Honneur, became a prey to the flames. 
 
 The Palais-Royal, long a favourite rendezvous of visitors to Paris, is 
 now becoming gradually more and more deserted. Like the Place dea 
 Vosges (p. 218), which formerly acted the same part, it is being super- 
 seded by newer and more elegant quarters farther to the W. ; while 
 its unobtrusive entrances, accessible only to foot-passengers, are not cal- 
 culated to attract strangers. The site is admirably adapted for a central 
 railway station, still a desideratum in Paris. 
 
 The principal entrance to the *Galleb,ies and the Garden is to 
 the left of the facade, between the Palais and the Theatre Frangais 
 (see below). The first gallery to the left is the Oalerie de Chartres. 
 A court to the right contains the engines used to supply the electric 
 light for the Theatre Fran^ais, the Palais-Royal, etc. Then to the 
 right is the handsome Oalerie d' Orleans, dating only from 1830.
 
 1. THEATRE FRANgAIS. 59 
 
 The groundfloor of the arcaded block of buildings (180 arcades) 
 inclosing the garden is occupied almost exclusively by jewellers' and 
 similar shops, though the above-mentioned decline in the prosper- 
 ity of the Palais has left several shops 'to let'. Restaurants h. la carte 
 and k prix fixe, pp. 12, 14. — The E. side of the square is called 
 the Oalerie de Valois, the W. side the Galerie Montpensier (with 
 the Thedtre du Palais-Royal, p. 31), and the N. side the Oalerie 
 Beaujolais. 
 
 The Gakden, 250 yds. in length and 110 yds. in breadth, and 
 hardly deserving of the name , is scantily shaded by a quadruple 
 row of elms and limes. In the centre is a circular basin of water, 
 22 yds. in diameter, near which a military band generally plays in 
 summer on Sun. , "Wed., and Frid. from 4 to 5 or 5 to 6 p.m. (p. 35). 
 The garden is embellished with several sculptures, viz., from S. to 
 N. : Eurydice bitten by a serpent, by A^anfewii; Mercury, by Cugnot; 
 the Snake-charmer, by Thabard; Boy struggling with a goat, by 
 Lemoine; the Versailles Diana, after the antique, and a Youth 
 bathing, by Esparcieux (d. 1840). The chairs under the trees are 
 let at 10 c. each. 
 
 At the back of the Palais-Royal is the Biblioth^que Rationale (p. 190), 
 to the right of which is the Rue Vivienne (p. 195), and to the left the 
 Rue de Richelieu (p. 189). To the N. E. are the Banque de France, the 
 Place dea Victoires, etc., described at pp. 195, 196. 
 
 We return from the garden to the Place du Palais-Koyal. To 
 the W. of the palace is the small Place du Thidtre-FrauQais, at 
 the end of the Avenue de I'Op^ra (p. 68). It is embellished 
 with two handsome modern fountains by Davioud, with nymphs in 
 bronze by Carrier-Belleuse and Moreau. 
 
 The Th^&tre Fran9ais was built in 1782, but the facades are 
 modern. The Doric vestibule contains a statue of Talma, the trage- 
 dian (d. 1826), by David d' Angers, and figures of Tragedy and 
 Comedy, by Dwref, bearing respectively the features of the celebrated 
 actresses Mile. Rachel (d. 1858) and Mile. Mars (d. 1847). The 
 'foyer du public' is adorned with a statue of Voltaire (d. 1778), by 
 Houdon, with a chimney-piece, with a relief representing come- 
 dians crowning the figure of Moli^re, by Lequesne, with busts and 
 scenes from the writings of celebrated French dramatists, and with 
 a new ceiling-painting, by Duhufe the Younger^ of Truth enlighten- 
 ing the world. At the end of the corridor leading out of the foyer 
 is a statue of George Sand (d, 1876), by Clisinger. The ceiling of 
 the interior represents France distributing laurels to her three great 
 dramatists : Moliere, Corneille, and Racine. Performances, seep. 30. 
 
 Between the Place du Palais-Royal and the Louvre runs the 
 *Rue de Bivoli, one of the most important streets in Paris after the 
 Boulevards, constructed between 1802 and 1865 and named in 
 honour of Napoleon's victory over the Austrians at Rivoli in 1797.
 
 60 1. RUE DE RIVOLI. 
 
 Leaying the Place de la Concorde, it runs parallel with the Seine 
 for 13/4 M., and ends at the Rue St. Antoine, which forms a pro- 
 longation connecting it with the Place de la Bastille. It passes the 
 Garden of the Tnileries, the Louvre, and the Place du Palais-Royal, 
 this part of the street as far as the Rue du Louvre being flanked 
 by arcades on the N. side, upwards of 1/2 M- in length, where there 
 are many attractive shops and hotels of the highest class. We follow 
 it to the left, coming from the Palais-Royal, and leaving the Place 
 de la Concorde behind us. On the right rises the Palais du Louvre 
 (p. 85) ; on the left the Magasins du Louvre (p. 37). To the left, 
 farther on and partly concealed by the last arcades, is the Temple 
 de VOratoire, a church erected by the priests of the Oratoire in 
 1621-30, but now used as a Protestant place of worship (p. 47). 
 A statue of Admiral Coligny, one of the victims of the Night of 
 St. Bartholomew (p. 86), by Crauk, was erected here in 1889; it 
 represents the admiral between his Fatherland and Religion. 
 
 At this point the arcades terminate, and the Rue de Rivoli is 
 intersected by the Rue du Louvre, which was prolonged to the 
 Hotel des Postes (p. 170) in 1888. The first building to the right 
 in the Rue du Louvre is the Vieux Louvre , with the famous Co- 
 lonnade by Perrault (p. 86). Opposite rises the Mairie of the 1st 
 Arrondissement (Louvre), which skilfully secures harmony of effect 
 by giving , though in modified Renaissance, an 'echo of the Gothic 
 ideas' in the adjoining church of St. Germain-l'Auxerrois. The 
 'Salle des Mariages' in the Mairie is adorned with paintings by 
 Besnard. 
 
 The church of *St. Germain-l'Auxerrois (PI. R, 20 ; ///), founded 
 in the time of Charlemagne , dates in its present form from the 
 12- 16th centuries. The facade, which is pierced with a rose- win- 
 dow of rich Flamboyant tracery and flanked by two hexagonal turrets, 
 is preceded by a porch surmounted by a balustrade and adorned in 
 the interior with frescoes, now sadly defaced. When the gate is 
 closed, visitors are admitted by the right side-entrance. — The 
 signal for the massacre of St. Bartholomew (Aug. 24th and 25th, 
 1672) was given from the little bell-tower of this church, to the 
 right of the transept. 
 
 The Intebiob, to wMch the lowness of the roof gives a depressed char- 
 acter, consists of nave and double aisles, and is surrounded with chapels. 
 The pillars of the nave were converted into fluted columns in the 17th cent. , 
 and the handsome woodwork of the choir-stalls dates from the same period. 
 
 The walls are covered with modern frescoes , the finest of which is 
 a Descent from the Cross, in the S. transept, by Guichavd (1845). The 
 large chapel to the right of the entrance is closed by handsome wood- 
 work, and contains a Tree of Jesse, in stone, of the 14th cent., a Gothic 
 altar designed by M. Viollet-le-Duc^ several paintings, and stained glass 
 by Amaury- Duval. The marble *Basin for holy water in the S. transept, 
 designed by Mme. de Lamartine and executed by Jouffroy, is surmounted 
 by a finely-sculptured group of three angels around a cross. — The fourth 
 chapel of the choir beyond the Sacristy contains monuments in marble to 
 the chancellor Etienne d'Aligre (d. 1635) and his son (d. 1674). — The 
 chapel beyond that of the apse contains two statues from a mausoleum of
 
 1. TOUR ST. JACQUES. 61 
 
 the Rostaing faonily. The next chapel but one contains a monument to St. 
 Denis, who is said to have been interred at this spot after his martyrdom 
 (p. 202). The chapel adjoining the N. transept contains an altar-piece in 
 wood in the Flamboyant style , representing the history of Christ and 
 the Virgin. 
 
 Between the Mairie and the chnrch is a square tower with a 
 chime of bells, constructed by Ballu to fill up the gap. From the 
 end of the Rue du Lonvre we obtain a good view of the Pont- 
 Neuf with the statue of Henri IV (p. 225), and of the dome of 
 the Pantheon (p. 242) rising in the background. 
 
 Beyond the Rue dn Louvre the Rue de Rivoli intersects the 
 Rue dn Pont-Neuf , leading from the bridge of that name to the 
 Halles Centrales (p. 171). Farther on, to the left, diverges the 
 Rue des Halles. "We then cross the Boulevard de Sehasiopol (p. 73), 
 which is terminated at the S. end by the Place du Chatelet (p. 61). 
 
 In a small square to the right rises the *Tour St. Jacques (PI. 
 R, 23; ///, F), a handsome square Gothic tower, 175 ft. in height, 
 erected in 1508-22, a relic of the church of St. Jacques de la 
 Boucherie which was sold and taken down in 1789. The tower was 
 purchased by the city in 1836 and subjected to a process of restor- 
 ation. In the hall on the groundfloor is a statue (by Cavelier) of the 
 philosopher Pascal (1623-1662), who on the summit of this tower 
 repeated his experiments with regard to atmospheric pressure. The 
 *ViB"w from the summit of the Tour de St. Jacques is one of the 
 finest in Paris, as the tower occupies a very central position, but 
 the public are not allowed to ascend except with a permit obtained 
 gratis at the Hotel de Ville (Direction des Travaux) daily 11-5, 
 except Sun. and holidays, though sometimes an application to the 
 keeper of the square (fee) is sufficient. 
 
 The Squaree of Paris, like the great majority of the other promenades 
 of the city, are not only ornamental ; they discharge also the useful func- 
 tion of opening up and ventilating the crowded districts, and provide health- 
 ful playgrounds for the children of the people. Though they have been 
 constructed on the model of the London squares, the enjoyment of the 
 gardens with which they are laid out is by no means confined to a few 
 privileged individuals, but is free to all-comers. The formation of squares 
 of this sort has been a prominent feature of the modern street improve- 
 ments of Paris. Besides that at the Tour St. Jacques, the chief are the 
 squares des Arts et Metiers (p. 173), du Temple (p. 213), Montholon (p. 198) 
 de la Trinity (p. 199), and des Batignolles (PI. B, 14). 
 
 The Square de la Tour St. Jacques is embellished with bronze 
 sculptures of the Bread-bearer, 'Ducks and Drakes' ('Le Ricochet'), 
 and Cyparissa, by Contan, Vital Cornu, and H. Pie. 
 
 The modern Avenue Victoria^ which skirts the S. side of the Square 
 de la Tour de St. Jacques, leads hence to the Hotel de Ville (p. 63). 
 
 The Place du Ch&telet (PI. R, 20, 23 ; F), the site of which 
 was occupied till 1802 by the notorious prison of that name, lies at 
 the S. end of the Boulevard de Se'bastopol , on the bank of the 
 Seine. The Fontaine de la Victoire, designed by Bosio, and erected 
 here in 1807, commemorates the first victories gained by Napoleon I.
 
 62 1. SEWERS. 
 
 It is adorned with four figures representing Fidelity, Vigilance, 
 Justice, and Power, and surmounted by the 'Colonne du Palmier', 
 on which are inscribed the names of 15 battles. On the summit is 
 a gilded statue of Victory. The monument originally stood farther 
 from the Seine, but was removed entire on the construction of the 
 Boulevard de Sebastopol in 1855, and re-erected here on a pedestal 
 adorned with four sphinxes. On this side of the fountain is the 
 mansion of the Chambre des Notaires , with a plan of the Ohatelet 
 on the facade. On the right and left of the Place du Chatelet are 
 situated the Thedtre du Chatelet (p. 32) and the temporary Theatre 
 de V Opera Comique respectively (see p. 30). 
 
 In the Place du Chatelet is one of the usual entrances to the vast 
 network of Sewers (Egouts) by which Paris is undermined and which, 
 form one of the most interesting sights of the city. They are generally 
 shown to the public on the second and fourth Wednesday of each month 
 in summer. Intending visitors make written application to the Pi'dfet de la 
 Seine on a stamped paper costing 60 c, and receive a card determining 
 the time and place of starting. The visit, in which ladies need have no 
 hesitation in taking part, lasts about 1 hr., and ends at the Place de la 
 Madeleine. 
 
 The system of drainage in Paris is very complete and has had a most 
 beneficial effect on the health of the population. The contents are ulti- 
 mately conducted to the Seine by a long tunnel joining the river below 
 the bridge of Asnieres. The total length of the network of sewers of Paris 
 is now about 765 M., most of them having been constructed under the 
 direction of M. Belgrand since 1862. Not less than 160 M. remain still to be 
 made. The aggregate length of the sewers when finished will thus be greater 
 than the distance from Paris to Madrid (900 M.), about 21hrs. journey by 
 railway. In 1867 there were only 40 M. of sewers and in 1856 only 100 M. 
 The average cost of these huge works is 100 fr. per metre (nearly 4Z. 
 per yd.). The basin in which the city lies is divided into four parts by 
 two large sewers at right angles with the Seine, and running under the 
 Boul.de Sebastopol and Boul. St. Michel respectively. These, which flow, 
 not into the river, but into 8 channels parallel with it (known as Egouts 
 Collecteurs), are augmented by 12 or 15 tributaries, which in their turn 
 receive the contents of numerous smaller drains. 
 
 The 'collecteurs' of the right bank empty themselves into the Collecteur 
 G^niral d^AsnUres, below the Place de la Concorde, which conducts 
 the water far below Paris, to be there used for irrigation (p. 293). This 
 main drain carries off about 340,000 cubic feet of water per hour, but is 
 capable of passing twice that quantity. In consequence, however, of the 
 popular abuse of the convenience of the drains, it was found necessary 
 to construct a second main drain, the Collecteur Qiniral de CUchy, which, 
 also begins at the Place de la Concorde. In order to connect the 'collec- 
 teurs' of the left bank with the rest of the system, a siphon consisting of 
 two iron pipes (170 yds. long and 3 ft. in diameter), was constructed 
 below the Seine above the Pont de TAlma, and the collecteurs are con- 
 tinued on the right bank, at a depth of about 100 ft., to join the Collec- 
 teur d' Asnieres. A similar siphon, 6 ft. in diameter, was constructed in 1895- 
 96 under the Seine above the Pont de la Concorde. The sewers of the Cite 
 and St. Louis islands are connected in the same way with the 'collecteurs 
 generaux\ The smallest of these channels are about 7 ft. high and 4 ft. 
 wide, the largest 16 ft. high by 18 ft, wide. All the drains are constructed 
 of solid masonry, and lined with hydraulic cement. The 'collecteurs'' are 
 flanked with pavements or ledges, between which the water runs, and 
 above one or both of which is a conduit for pure water. All these channels 
 communicate with the streets by numerous iron ladders, and each is fur- 
 nished with its distinctive mark and the name of the street above.' 
 
 The cleaning of the larger sewers, in which there is a channel flanked
 
 1. ST. MERRI. 63 
 
 with ledges, is eflfected by a very ingenious flystem. In the 'grand collec- 
 tenr' there are boats of the same width as the channel, each provided with 
 a vertical gate or slide, which when let down exactly fits the channel. 
 When the slide is adjusted the boat is propelled downwards by the force 
 of the stream, scraping clean the bottom and sides of the sewer as it ad- 
 vances. In the smaller sewers, where the current is not strong enough to 
 be available in this way, the boats are replaced by small waggons running 
 on rails at the bottom of the channel, and propelled by the workmen. 
 
 The Pont au Change leads from the Place du Chatelet to the 
 Cite' (p. 220). The bridge, which is one of the most ancient and 
 renowned in Paris, was entirely rebuilt in 1858-59. Its name is 
 derived from the shops of the money-changers and goldsmiths with 
 which the old bridge was flanked. 
 
 The bridge commands a fine view. Opposite lies the Cite, with the 
 Palais de Justice and the Tribunal de Commerce: higher up the river are 
 the Hotel Dieu and Notre Dame ; to the left the Hotel de Ville and the 
 Tour de St. Gervais; down the river appear the Pont Neuf, the Louvre, etc. 
 
 In the Rue St. Martin, a little to the N. E. of the Tour St. 
 Jacques, rises the church of St. Merri (PI. R, 23 ; Ilf), formerly 
 St. Mederic, in the best Gothic style, although dating from 1520- 
 1612. It possesses a beautiful though unfinished portal in the Flam- 
 boyant style. The exterior is partly concealed by houses. 
 
 The Interior was disfigured in a i seudo-classical style by Boffrand 
 (ITth cent.)- who was also the architect of the large chapel on the right. 
 Among the most noteworthy contents are a large marble crucifix, by 
 DuDots, at the high-altar; two good pictures by C. Vanloo (d. 1765), at the 
 entrance to the choir (to the left, St. Carlo Borromeo); and a painting 
 (Reparation for sacrilege) by Belle (d. 1806), in the left transept. The chapels 
 of the ambulatory are adorned with fine frescoes by Cornu, Lehmann^ 
 Amaury- Duval, Chaairiau, Lipaulle, Matout, Glaize, Lafon, etc., which, 
 however, are very badly lighted. — The stained-glass *Windows of the choir 
 date from the 16th century. 
 
 We now return to the Rue de Rivoli , and soon reach the Hotel 
 de Ville , in a small Place (p. 67) to the right, between that street 
 and the Seine. 
 
 The ♦H6tel de Ville (PI. R, 23; V), or town-hall of Paris, in 
 many respects one of the finest buildings in the city, was re-ereoted 
 in its old form under the superintendence of Ballu and Deperthes 
 after having been burned by the Communards in 1871. 
 
 The construction of the old Hotel de Ville was begun in 1633 by the 
 Italian architect Domenico Boccadoro da Cortona , but was not completed 
 till the beginning of the following cent., in the reign of Henri IV. A.« it 
 atTorded too little accommodation for the residence and offices of tho 
 chief municipal functionary of Paris, who was called '■PfivSt des Mar- 
 chandt^ down to 1789, and afterwards '■Prifei de la Seine", it was gradually 
 enlarged; and when the additions were completed in 1841, the edifice was 
 four times the size of the Hotel de Ville of Henri IV. 
 
 The Hotel de Ville has played a conspicuous part in the different re- 
 volutions, having been the usual rallying-place of the democratic party. 
 On 14th July, 1789, the captors of the Bastille were conducted in triumph 
 into the great hall. Three days later, Louis XVI. came in procession 
 from Versailles to the Hotel de Ville under the protection of Bailly and 
 other popular deputies, thus publicly testifying his submission to the will 
 of the National Assembly. The king was accompanied by a dense mob, 
 to whom he showed himself at the window of the Hotel de Ville wearing
 
 64 1. HOTEL DE VILLE. 
 
 the tri-coloured cockade, which Lafayette had just chosen as the cogni- 
 sance of the new national guard. On 27th July, 1794 (9th Thermidor), 
 when the Commune, the tool employed by Robespierre against the Con- 
 vention, was holding one of its meetings here, Barras with five battalions 
 forced his entrance in the name of the Convention, and Robespierre, to 
 escape arrest, attempted to shoot himself, but only succeeded in shatter- 
 ing his jaw. Here was also celebrated the union of the July Monarchy 
 with the bourgeoisie, when Louis Philippe presented himself at one of the 
 windows, in August, 1830, and in view of the populace embraced Lafay- 
 ette. From the steps of the Hotel de Ville , on 24th Feb., 1848, Louis 
 Blanc proclaimed the institution of the republic. From 4th Sept., 1870, 
 to 28th Feb., 1871, the Hotel de Ville was the seat of the 'gouvernement 
 de la defense nationale", and from 19th March to 22nd 3Iay, IffTl, that of the 
 Communards and their 'comity du salut public'. 
 
 The Hotel de Ville having been doomed to destruction by the leaders 
 of the Commune, heaps of combustibles, steeped in petroleum, and barrels 
 of gunpowder were placed in various parts of the building. At the same 
 time every approach to the building was strongly barricaded. On the morn- 
 ing of 24th May a fearful struggle began in the Place de THotel-de-Ville, 
 and it was protracted without intermission until the following morning. As 
 the insurgents were gradually driven back, they gave vent to their rage 
 and despair by setting on fire many of the surrounding buildings and finally 
 ignited the combustibles in the Hotel de ViUe, although about 600 of their 
 party were still within its precincts. The troops , now masters of the 
 whole neighbourhood and granting no quarter, directed an incessant fire 
 against the unhappy occupants, all of whom perished. It was, however, 
 impossible to save the devoted building, which was destroyed even more 
 completely than the Tuileries. 
 
 The new Hotel de Ville may be described as an enlarged re- 
 production of the original building, with richer ornamentation and 
 more convenient arrangements. It is a rectangular structure in the 
 French Renaissance style, with dome-covered pavilions at the angles 
 (recalling the mediaeval towers), mansard windows, and lofty decor- 
 ated chimneys. The building is entirely detached and is surrounded 
 by an area with a railing, affording light to the sunk floor. The ground- 
 floor is adorned with pilasters, and the first floor with engaged pillars 
 of the composite order. ALbove the first floor is a kind of entresol, 
 while the pavilions have an extra story. 
 
 The *Main Facade is divided into three approximately equal 
 parts. That in the centre, projecting beyond the others, has three 
 entrances, two of which are carriage-archways with pavilions. In 
 front of the third are bronze statues of Science, by Blanchard, and 
 Art, by Marqueste. In the niches of the principal stories (and also 
 on all the pavilions) are statues of celebrated men of all ages, while 
 on the cornices are allegorical groups and figures representing the 
 chief towns of France. The facade is farther adorned with a hand- 
 some clock surrounded with seven statues, a graceful ^Campanile, 
 and (on the roof) ten gilded figures of heralds (the taste of which, 
 however, has been criticised). Including a few statues in the courts, 
 there are about 200 Statues and Groups on the exterior of the Hotel. 
 Most of these are explained by inscriptions. 
 
 The other facades, which differ from each other, are also worthy 
 of inspection. The small garden on the side next the Seine con- 
 tains a bronze Equestrian Statue ofEtienne Marcel (p. xxii), by Idrac
 
 1. HOTEL DE VILLE. 65 
 
 and Marqueste. The eutrauces on the rear side are guarded by bronze 
 lions, by Cain and Jacquemart . 
 
 Visitors may at all times walk through the Hotel de Ville and 
 inspect two of the handsome courts. 
 
 In the *Interior are various Offices , open for business only ; 
 the Salle du Conseil Municipal, in the middle of the first floor next 
 the Place, to which the public are admitted during the council 
 meetings, on Mon., Wed., and Frid. at 3 p.m. (tickets from the 
 concierges^ ; the Apartments of the Prefect of the Seine; and the Re- 
 ception Saloons, which are open to the public daily, except on holi- 
 days and days immediately preceding or following a public reception 
 
 Tickets to view the interior are obtained gratis between 2 and 3 p.m. 
 in the secretary's office, in the N. court (to the left as we approach from 
 the Place), staircase T> (to the left), first floor above the entresol. Visitors 
 then proceed to the vestibule on the main facade, where they are met by 
 an official who escorts them over the building (1/2 hr. ; fee). 
 
 We first enter a gallery containing two o^oups in marble : the 
 'Dernieres Funerailles', by Barrias, and 'Paradise Lost', by Gauthe- 
 rin. In the central court, at a higher level than these, is another 
 group, 'Gloria Victis', by Mercie. We skirt this court to the right to 
 reach the staircases to the first floor. 
 
 On the groundfloor, at the back, is the large Salle St. Jean (un- 
 finished and not shown), for large meetings, above which are the 
 Salles des Fetes, approached by two magnificent marble staircases. 
 
 The galleries and rooms on the first floor are richly decorated, 
 and the ceilings and walls are adorned with paintings by modern 
 artists. — The Vestibules and Corridors at the top of the staircases 
 are painted with landscapes and views of Paris and its environs. 
 Between the corridors is the Salon des Cariatides, with paintings by 
 Carolus-Duran and a large vase of red and green jasper from the 
 Ural Mts., presented by the Czar of Russia in memory of the recep- 
 tion of Russian naval officers and seamen at Paris in 1893. — 
 The Salon d'Arrivee Nord has a fine cassetted ceiling, like all the 
 other rooms that have not ceiling-paintings. The Salon d' Introduction 
 Nord and the Portique Nord have ceiling-paintings by Bonis and 
 F. Barrias. — Then follows the main hall , or *Grande -Salle des 
 Fetes, 164 ft. long, 42 ft. wide, and 42 ft. high. On the side of this 
 hall next the Place Lobau is a gallery , above which is another 
 smaller gallery, continued also on the remaining three sides. 
 
 Ceiling Paintings: Progress of Music, by Oervex; Perfume, by O.Fer- 
 rier; Paris inviting the world to her fetes, by Benj. Constant; Flowers, 
 by O. Ferrier; the Progress of Da icing, by A. Moroi. Above the doors are 
 representations of the old provinces of France (names inscribed), by Weerts, 
 F. Htimhert, Ehrmann, and P. Milliet. — The sculptures , especially the 
 caryatides and the groups in high relief, by various artists, should be noted. 
 Thepmels of the side-gallery are or will be painted with scenes fr^m the 
 history of Paris, fetes, etc., by Clairin, Cazin, Bevteaux, BandoUin^ Delahaye, 
 and Blanchon. In the small cupolas are frescoes by Picard and Risler. 
 
 At the other end of the Salle are the Portique Sud, decorated by 
 H. Levy (Hours of the Night and Day), and the SaJon d' Introduction 
 Baedeker. Paris. 12th Edit. 5
 
 66 1. HOTEL DE VILLE. 
 
 Sud^ decorated by H. Martin (Apollo and tlie Muses). — We now 
 enter tlie '* Salle h Manger de Reception^ whicli has three ceiling 
 paintings by Georges- Bertrand (Agriculture, Harvest, Vintage), and 
 six marble statues: Hunting, by E. Barrias; the Toast, by Idrac; 
 Fishing, by Falguiere; Wine, by A. Crauk; Song, by Dalou; and 
 Harvest, by Chapu. — At the angle of the side next the Seine is 
 the *Salon Lobau^ with paintings by J. P. Laurens (^only the four 
 first in position): Louis VI. granting the first charter of Paris; 
 Etienne Marcel protecting the Dauphin; Repression of the revolt of 
 the Maillotins ; Henry IL and Anne Dubourg ; Arrest of Broussel 
 (1648); Pache, maire of Paris in 1793; Turgot; Louis XVI. at the 
 Hotel de Ville. 
 
 In the S. wing, next the Seine, are three othe^'" large rooms, 
 known as the Salon des Sciences, Salon des Arts, and Salon des Let- 
 tres ; four small Salons de Passage, two at each end; and the Galerie 
 de la Cour duSud, which communicates with the Escalier d'Honneur. 
 
 ler Salon de Passage (the only one shown) : Louis XI. entering Paris, 
 by Tattegrain. — ^Saxon des Sciences. Paintings. On the ceiling: Apotheosis 
 of the Sciences, Meteorology, and Electricity, by Bernard; two friezes by Le- 
 rolle, Science enlightens. Science glorifies-, twelve corner-pieces by Carri tre, 
 symbolizing the sciences; above the doors, Physics, Botany, by Duez ; eight 
 panels on which are the Elements, by Jeanniot. Rirens, Buland, and A. 
 Berlon, and Views of Pari."?, by F. Vauihier, L. Loir, Lupine, and E. Barau. 
 Sculptures, notably the chimney-piece, by J. P. Cavelier. — *Saxon des 
 Arts. Paintings. On the ceiling: Glorification of Art, Truth, Poetry, by 
 Bonnat; friezes, Music and Dancing, by L. Glaize; corner-pieces by Char- 
 tran ; four medallions by Eivey ; on the panels, Painting by Dagnan-Bou- 
 veret, Music by Ranvier, Sculpture by Layrand, Architecture by T. Robert- 
 Fleury (in progress), and Views of Pari?, by Frangais, Bellel, G. Collin^ and 
 Lapostolet. — Salon des Lettkes. Paintings. On the ceiling: the Muses of 
 Paris, Jleditation, Inspiration, by/. Lefebvre; History of Writing, two friezes 
 by Cormon; twelve corner-pieces by Mai'gnan, representing the Great "Works 
 of Literature ; four medallions by Mile. Forget; above the doors. Philosophy 
 freeing Thought, History gathering the lessons of the Past, by U. Bourgeois; 
 on the panel':. Eloquence, by ff. Leroux, Poetry, by R. Collin, History, by 
 F. Thirion, Philosophy, by Callot, and Views of Paris and the environs, 
 by Berthelon, Guillemet, H. Saintin, and Lansyer. Sculptures by G. J. Thomas, 
 notably the chimney-piece. — Galerie de la Goce dd Sdd. Fifteen small 
 cupolas with paintings of Trades (inscriptions), by Galland. — Grand Stair- 
 case, see below. 
 
 The Salon d'Arrivee Sud, through which we pass to the great 
 S. staircase and the exit, contains paintings of Summer, Winter, etc., 
 by Puvis de Chavannes. 
 
 The *Escaliee d'Honneue, or Grand Staircase, is not shown to ordinary 
 visitors, but may be seen by those present at fetes or having business in 
 the Cabinet du Pr^fet, in the angle of the facade next the Seine. Sculptures: 
 on the groundfloor, Mounted herald, bronze'liy Frimiet ; Monument of Ballu, 
 the architect (bronze), by E. Barrias and Conlan; Justice and Security, by 
 Mercii and Delaplancfie; on the first floor. Art and Commerce, by the same, 
 Literature and Education, by Schoenewerk, Sciences and Public Benevolence, 
 by M. Moreau, etc. Paintings by Puvis de Chavannes. 
 
 In the Salle de la Commission du Budget, to the left of the council 
 hall (p. 65) is an older painting, the Conquerors of the Bastille, by P. 
 Delaroche. In the same room, the Puddlers, by Riarens. 
 
 The Place de I'Hotel-de- Ville, formerly named Place de Orive
 
 1. ST. GERVAIS. 67 
 
 ('bank of the river'), has also witnessed many a tragedy. Thus in 
 1572, after the massacre of St. Bartholomew, Catherine de Medicis 
 doomed the Huguenot chiefs Briquemont and Cavagnes to perish 
 ignominiously by the gallows in this Place; and in 1574 she ordered 
 the Comte Montgomery, captain of the Scottish guard, to be exe- 
 cuted here for having accidentally caused the death of her husband 
 Henri H at a tournament (p. 218). From that period down to 
 1789, the Place de Greve witnessed the execution of the numerous 
 victims of a despotic government, as well as criminals ; and in the 
 July of that year, after the capture of the Bastille by the insurgents, 
 Foulon, general comptroller of finance, and his son-in-law Bertier, 
 the first victims of the Revolution , were hanged by the mob on 
 the lamp-posts of this Place. Among the famous criminals who have 
 here paid the penalty of their misdeeds are Ravaillac, the assassin 
 of Henri lY (1610), the Marquise de Brinvilliers and 'La Voisin', 
 the poisoners (1676 and 1680), Cartouche, the highwayman (1721), 
 and Damiens, who attempted to assassinate Louis XV. (1757). 
 
 The Place de rH6tel-de-Ville is connected with the Cite' by a bridge, 
 affording a view of the Hotel-Dieu and Notre-Dame. 
 
 To the N. of the Hotel de Ville begins the Rue du Temple, an old and 
 busy street, which passes the Temple and joins the Rue de Turbigo near 
 the Place de la R^publique (p. 72). 
 
 II. FROM THE HOTEL DE VILLE TO THE BASTILLE. 
 St. Gervais. St. Paul et St. Louis. Colonne de Juillet. 
 
 At the back of the Hotel de Ville are the Caserne Napoleon^ 
 which can accommodate 2500 men, to the left, and the former Ca- 
 serne Lobau, to the right, now used as an annexe of the Hotel de Ville. 
 
 The church of St. Gervais (PI. R, 23; V), or St. Gervais et St. 
 Protais, which stands at the end of the Place between the two 
 barracks, was begnn in 1212, but was completely remodelled in the 
 14th cent. ; it now presents a combination of the Flamboyant and 
 Renaissance styles. The portal was added by Debrosse in 1616, 
 and, though inharmonious with the rest, is not without interest ; it 
 illustrates the Doric, Ionic, and Corinthian orders, one above the 
 other, together with triangular and semicircular pediments. The 
 church, which does not stand detached, has no side-portals, but there 
 is a second door behind the choir, to the left, in the Rue des Barres. 
 
 The Interior is remarkable for its height. St. Gervais is rich in 
 paintings and other works of art, most of which are, however, as is usual 
 in the churches of Paris , very badly lighted. The names of the various 
 chapels are sufficiently e.xplanatory of the subjects of their mural paintings. 
 Chapels on the right side: 3rd, Frescoes by Johhi-Dural: 4th, by Gendron; 
 5th, Painting by Couder (St. Ambrose and Theodosius); 6th & 7th (am- 
 bulatory), stained glass of the IGth cent.; 8th, Frescoes by Glaize; 9th, 
 Mausoleum of Michel le Tellier (d. 1685), minister of state under Louis XIV., 
 by MazeUne and Hurtrelle, frescoes by Al. Hesse (SS. Gervais aud Protaist, 
 and (on the altar) a Virgin of the 14th century. The Lady Chapel has 
 stained-glass windows by Pinaigrier or /. Covsin (16th cent.), paintings>by 
 Belorme^ ;ind a Madonna by Oudini. The vault and pendentives should be 
 noticed. Chapels to the left as we return : 1st and 2nd, Pieta^by Xantcuil 
 and Cortot, paintings by Xorbliii and Giiichard; 3rd, beyond' the clock- 
 
 5*
 
 08 1. ST. PAUL ET ST. LOUIS 
 
 tower, Martyrdom of Ste. Juliette, a painting by Ueim, above it a Passion 
 painted on wood, attributed to Diirer; 4tb, Reredos of the 16th cent.; 
 5th, Reredos and bas-relief of the 16th cent. ; Tth, Reredos reproducing the 
 facade of the church. — The candelabra and a bronze crucifix on the high- 
 altar are good works of the iSth cent, and were brought from the abbey 
 of Ste. Genevieve. The choir-stalls (16th cent.) have fine misericordise. 
 Organ of the 17th cent., with organ-loft in stone. 
 
 To the N. of St. Gervais, behind the Caserne Napoleon, is the 
 small Place Baudoyer, with the Mairie of the 4th Arrondissement 
 (H6tel-de-Yille), an edifice in the style prevalent at the end of the 
 16th century. The Salle des Mariages and Salle des Fetes are 
 embellished with paintings by Cormon and Comerre. 
 
 We here regain the Rue de Rivoli, which is succeeded a little 
 farther on by the Rue St. Antoine. In the latter, on the right, is 
 the former Jesuit church of St. Paul et St. Louis (PL R, 25, 26 ; V), 
 erected in 1627-41 , by Pere Derrand. The handsome Renaissance 
 portal was added by Pere Marcel Ange. The dome of this church 
 was one of the earliest in Paris. The architecture of the church is 
 obviously inspired by Italian works of the 16th cent. , and retains 
 the distinguishing characteristics of most Jesuit churches. The 
 general effect is imposing, but the style is somewhat florid and the 
 decoration overdone. The portal is inferior to that of St. Gervais. 
 The nave is lofty and the aisles have galleries. The best of the nu- 
 merous paintings in the interior is a Christ in the Garden, an early 
 work of Eug. Delacroix, in the left transept. — The building to the 
 right, formerly a Jesuit college, is now the Lycee Charlemagne. 
 
 A short distance from this church, to the X., is the Rue du Roi-de- 
 Sicile (PI. R, 23-, F), once containing the famous Prison de la Force, in 
 which the 'Septembriseurs' committed their assassinations in 1792. 
 
 In the Rue Sevigne, which begins opposite the church of St. Paul, is 
 the Muse'e Carnavalet (p. 216). 
 
 On the left in the Rue St. Antoine, No. 142, is the old Hotel 
 de Bethune, built in the 16th cent, by Maximilien de Bethune, 
 better known as the Due de Sully and minister of Henri lY. The 
 facades in the court are adorned with elaborate sculptures, including 
 large bas-reliefs of the seasons , etc. — There are numerous other 
 mediaeval buildings in this part of Paris, such as those in the Place 
 des Vosges (p. 218; reached by the Rue de Birague, a little farther 
 on, to the left), the Hotel d'Ormesson, Rue St. Antoine 212, and 
 those mentioned below ; but most of them are hidden from view by 
 modem edifices. 
 
 Farther on in the Rue St. Antoine, to the right, is the Calvinist 
 Eglise de la Visitation or Temple Ste. Marie, constructed in the 17th 
 cent, by Fr. Mansart for a convent of Visitandine nuns. — The Rue 
 St. Antoine terminates in the Place de la BastiUe. 
 
 The Place de la Bastille (PI. R, 25; 7), or simply La Bastille, 
 as it is usually called, was formerly the site of the Bastille St. Antoine, 
 a castle which was left standing when the boulevards were levelled 
 in 1670 (p. 71). This stronghold, which was erected in 1371-83
 
 1. PLACE DE LA BASTILLE. 69 
 
 by Kings Charles V. and Yl., was afterwards used as a state-prison, 
 chiefly for the confinement of persons of rank who had fallen victims 
 to the intrigues of the court or the caprice of the government, and 
 attained a world-wide celebrity in consequence of its destruction 
 on 14th July, 1789, at the beginning of the French Revolution. 
 — A line drawn on the ground in 1880 between the Boulevard 
 Henri IV. and the Rue St, Antoine, indicates the exact site of the 
 fortress so far as it is not now built over. 
 
 'With its massive walls, 10 ft. in thickness, and its eight heavy, 
 sombre towers, it rose just at the entrance of the city; and the cannon 
 on its battlements commanded the adjoining suburb of St. Antoine, the 
 quarter occupied by the artizan classes. It formed the standing cogni- 
 sance of despotic power under the old monarchy, and presented a formi- 
 dable barrier to the advancing tide of the Revolution. Ere long, there- 
 fore, the popular desire for independence, coinciding with the designs of 
 the demagogues, raised the cry. which speedily resounded throughout the 
 whole of Paris, — Down with the Bastille! Notwithstanding the moats, 
 the walls, and the guns with which the castle was defended, the exe- 
 cution of the scheme presented no great difficulty. The garrison con- 
 sisted of 138 men, one-third of whom were Invalides ; their provisions 
 consisted of a couple of sacks of flour; they were unable to prevent the 
 stoppage of their supply of water; and all hope of aid from without wrs 
 cut off. From the suburbs an interminable multitude of armed men 
 converged towards the entrance ; and from the city came several com- 
 panies of the regiments which had gone over to the Revolution , headed 
 by the French guards. De Launay, the commandant , however , refused 
 to capitulate , and the struggle began. A number of the citizens , with 
 reckless bravery, succeeded in cutting the chains of the drawbridge, and 
 the first court of the castle was speedily taken; but to the excessive 
 exasperation of the assailants their attack on the second court was 
 repulsed with great loss. The courage of the garrison was now exhausted. 
 The Invalides desired to capitulate , and De Launay , who had been pre- 
 vented by his officers from blowing up the castle and its inmates , let 
 down the second bridge on being promised a free retreat. The victorious 
 crowd immediately poured into the ancient building , some of them 
 enthusiastic in the cause of Liberty, others bent on murder and destruc- 
 tion. The lives of the garrison were now in great jeopardy. The French 
 guards succeeded with difficulty in saving the common soldiers ; but De 
 Launay and his officers , in spite of the long and heroic attempts of the 
 leaders of the populace to protect them, were slain . and their heads cut 
 off as trophies'. — H. v. Sybel, Period of the Revolution. 
 
 Some of the stones of the Bastille were afterwards employed in the 
 construction of the Pont de la Concorde. The Place is also a noted spot 
 in the annals of two subsequent revolutions. In June, 18i8, the insur- 
 gents erected their strongest barricade at the entrance to the Rue du Fau- 
 bourg St. Antoine, to the E. of the Place, and it was only with the aid 
 of heavy artillery that this barrier was demolished. On 2oth June, the 
 third day of the contest, Archbishop Affre (p. 22S), while e.xhorting the 
 people to peace, was killed by an insurgent's ball. In May, 1871, the 
 site of the Bastille was one of the last strongholds of the Communista, by 
 whom every egress of the Place had been formidably barricaded , but it 
 was captured after a desperate struggle by the Versailles troops on the 
 25th of the month. 
 
 The Colonne de Jnillet, which now adorns the Place, by Alavoine 
 and Due, was erected in 1831-40 in honour of the heroes who fell 
 in the Revolution of July, 1830. The total height of the monument 
 is 154 ft. , and it rests on a massive round substructure of white 
 marble , originally intended for a colossal fountain in the form of
 
 70 1. COLONNE DE JUILLET. 
 
 an elephant contemplated by Napoleon I. for this site. On this rises 
 a square basement, on each side of which are six bronze medallions 
 symbolical of Justice, the Constitution, Strength, and Freedom, and 
 on the basement is placed the pedestal of the column. On the W. 
 side of the pedestal is represented a bronze lion in relief (the astro- 
 nomical symbol of July), by Bar ye (d. 1875), under which is the 
 inscription; on the E. side are the armorial bearings of the city 
 and the dates of the decrees sanctioning the erection of the column; 
 on the N. and S. sides are the dates of the conflicts in -which the 
 'July heroes' fell. At each of the four corners is seen the Gallic cock 
 holding garlands. The column itself is of bronze , 13 ft. in thick- 
 ness, and fluted. It is divided by four bands into five sections , on 
 which the names of the fallen (615) are emblazoned in gilded let- 
 ters. The capital is surmounted by a kind of lantern, crowned with 
 the Genius of Liberty standing on a globe, by J. Dumont (d. 1884). 
 
 The Inteeioe (adm. gratis), which receives light and air through the 
 open lions' jaws in the bands above naentioned, contains an excellent 
 staircase of 238 steps leading to the top, where a line view is enjoyed, 
 particularly of the neighbouring cemetery of Pere Lachaise (p. 179). 
 
 The Vaults (fee), to which a visit may also be paid, consist of two 
 chambers , each containing a sarcophagus , 45 ft. in length and 7 ft. in 
 width, with the remains of the fallen. In the same receptacles were 
 afterwards placed the victims of the Revolution of February , 1848. In 
 May, 1871, during the Communist reign of terror, these vaults were filled 
 with gunpowder and combustibles by the insurgents for the purpose of 
 blowing up the column and converting the whole neighbourhood into a 
 heap of ruins. The powder, however, was afterwards withdrawn for use 
 in the defence of the Place (see above), so that no serious damage was done. 
 
 To the N. of the Place de la Bastille is the wide Boulevard Richard 
 Lenoir, running above the Canal St. Martin, which is vaulted over 
 for a distance of nearly II/4 M., and is lighted by means of shafts 
 among the shrubberies in the boulevard. To the left of this boule- 
 vard are the Boulevard Beaumarchais , which we follow, and the 
 Rue St. Antoine, leading to the Rue de Rivoli (p. 59). To the S.W., 
 at the end of the Boulevard Henri IV, in the distance, rises the fine 
 dome of the Pantheon (p. 242). Farther to the left is a basin of the 
 Canal St. Martin , which here joins the Seine opposite the Jardin 
 des Plantes (p. 264); then the Gare de Vincennes (p. 24), and the 
 Rue du Faubourg-St- Antoine (p. 302). — Omnibuses and tram- 
 ways, comp. Plans in the Appx. Restaurants, see p. 12. 
 
 III. THE BOULEVARDS FROM THE BASTILLE TO THE MADELEINE. 
 Place de la Republique. Fortes St. Martin and St. Denis. The Opera. 
 
 The omnibus may, in case of fatigue, be taken from the Bastille as 
 far as the Place de la Republique, or the whole way. Best view from the 
 top, on the right side. 
 
 The Boulevards of Paris are divided into four classes : the Old 
 or Inner Boulevards, the External Boulevards, the New Boulevards, 
 and the Boulevards d'Enceinte or Lines. 
 
 (1) The Old or Inner Boulevards derived their name from having
 
 1. BOULEVARDS. 71 
 
 been constructed in the reign of Louis XIV. on the site of the ancient 
 boulevards ('bulwarks') or fortifications, which formerly surrounded 
 the city. They are divided by the Seine into a northern and a southern 
 half. The northern half, the 'Boulevards Interieurs du Nord', or 
 'Great Boulevards', commonly known par excellence as ^The Boule- 
 vards', extend in a semicircle from the Bastille (PL R, 25 ; F) to the 
 Madeleine (PI. R, 18; //}, a distance of 21/2 M., and are never less 
 than 33 yds. in width. These Boulevards consist of the following 
 11 subdivisions: Boulevard Beaumarchais, B. desFilles-du-Calvaire, 
 B. du Temple, B. St. Martin, B. St. Denis, B. Bonne-Nouvelle, B. 
 Poissonniere, B. Montmartre, B. des Italiens, B. des Capucines, B. 
 de la Madeleine. These imposing streets are nowhere surpassed in 
 the handsomeness of their architecture, the briskness of their traffic, 
 and the attractiveness of their shops. The Great Boulevards are 
 continued on the left bank by the Boulevard St. Germain. — The 
 'Boulevards Interieurs du Sud', forming the southern half, extend 
 in another semicircle (41/2 M. long) on the left bank of the Seine, 
 from the Pont d'Austerlitz to the Pont des Invalides , but are now 
 scarcely distinguished from the following. 
 
 (2) The Outer Boulevards ('B. Exte'rieurs'), originally skirting 
 the octroi wall of Louis XVI., still retain their name, though it has 
 been less appropriate since 1860, when the suburban districts (ban- 
 lieue) were annexed to Paris. The northern line of these, beginning 
 at the Pont de Bercy, is 9^/4 M. long, while the southern half, also 
 beginning at the Pont de Bercy, but uniting at places with the old 
 Boulevards Interieurs, is 51/2 M. in length. 
 
 (3) The New Boulevards ('Nouveaux B.') have been laid out 
 since 1852. Of these the most important are the following: — B. 
 de Strasbourg, B. de S^bastopol, B. St. Michel, B. de Magenta, B. 
 Voltaire, B. St. Germain, and B. Haussmann. With this class of 
 Boulevards , which have no connection with 'bulwarks' or forti- 
 fications either ancient or modern, may be ranked numerous Avenues, 
 such as the Avenusedel'Opera, des Champs-Elyse'es, de Friedland, 
 Hoche, Wagram, de la Grande-Armee, du Bois de Boulogne, Mala- 
 koff, Victor Hugo, Kl^er, d'l^na , Marceau , du Trocadero , Henri 
 Martin, de I'Alma, Montaigne, d'Antin, de SuflCren, de la Bourdon- 
 nais, Rapp, Bosquet, delaMotte-Picquet, Victoria, delaRepubliqne, 
 des Gobelins, and Daumesnil. 
 
 (4) The Boulevards (T Enceinte^ skirting the inside of the present wall of 
 Paris, take the place of the former military road which was divided into 
 19 sections. 
 
 Many of the boulevards, as well as some of the avenues and prin- 
 cipal streets, are paved with wood. The side-walks for foot-passengers 
 are of asphalt. The trees with which the boulevards and many 
 of the most important thoroughfares are flanked are a source of con- 
 stant trouble to the municipal authorities , being frequently killed 
 by the gas. When dead they are replaced by full-grown substitutes, 
 transplanted at great expense from a more healthy atmosphere.
 
 72 1. BOULEVARDS. 
 
 A Walk along the Great Boulevards , from the Place de la 
 Bastille, or at least from' the Place de la Republlque, to the Made- 
 leine will be found both interesting and instructive by the visitor 
 to Paris. The streets are least crowded between 9 a.m. and midday, 
 but the brilliantly lighted shops and cafes add another feature of inter- 
 est in the evening. In the afternoun the top of an omnibus (taking 
 ^2 In*- to traverse the boulevards) is a good point of observation. 
 The traffic is immense , especially at the ends of the Boulevard 
 Montmartre , the Place de I'Opera , and other points where the 
 streets intersect (comp. p. 76). At several of the crossings 'refuges' 
 have been erected for pedestrians. 
 
 The principal Cafes and Brasseries (p. 17) place chairs outside 
 their doors in summer, whence customers may survey the busy 
 passing throng at their leisure. — Restaurants, p. 12; Theatres, 
 pp. 30-32; Shops, p. 37. 
 
 The small glass stalls where newspapers and flowers are sold, and 
 which are also covered with advertisements, are called ''Kiofques\ Besides 
 these there are offices for the regulation of the cabs, pillars covered with 
 theatrical announcements, etc. Chairs are placed for hire {chaise 10c.) in 
 the broadest parts of the boulevards ; there are also numerous benches for 
 the free use of the public. 
 
 The Boulevard Beaumarcliais [PI. R, 26 ; III, F), called after 
 the author of that name (d. 1799), who owned a considerable part of 
 the E. side of the street, is the longest of the Great Boulevards, being 
 820 yds. in length. To the left diverges the Rue des Yosges, lead- 
 ing to the Place of that name (p. 218). 
 
 The Rue St. Claude, also diverging from the Boulevard to the left, 
 leads to the church of St. Benis du Saint-Sacrement, in the Rue de Turenne. 
 The church, au unimportant edifice in the neo-classic style dating from 
 1823-35, contains a Descent from the Cross, by Eug. Delacroix (in the chapel 
 to the right of the entrance), a fine statue of Ste. Genevieve by Perraud 
 (1868), and paintings in the choir by A. de Pujol. 
 
 The Boulevard des Filles-du-Calvaire (PI. R, 26; III), which 
 adjoins the Boulevard Beaumarchais, is 230 yds. long and derives 
 its name from a nunnery suppressed in 1790. At its N. end, to the 
 right, is the Cirque d'Hiver (p. 33). 
 
 The Boulevard du Temple [PI. R. 27 ; J/7), 440yds. in length, 
 is named from its proximity to the old Temple quarter (p. 213). 
 It was at one time the fashionable promenade of the citizens, when 
 the centre of Paris lay more to the E. than at present, and contained 
 numerous theatres. 
 
 Ifo. 42, situated at a bend of the street, occupies the site of the house 
 from which Fieschi on 28th July, 1835, discharged his infernal machine 
 at Louis Philippe. The king escaped unhurt, but Marshal Mortier and 
 fourteen other persons were killed. 
 
 The Boulevard du Temple terminates in the *Place de la Re- 
 publique, formerly called the Place du Chateau-d' Eau (PI. R, 27; II1\ 
 one of the finest squares in Paris (310 yds. long). The centre is 
 embellished with a bronze Statue of the Republic, by the brothers 
 Morice, erected in 1883, which is 32 ft. high to the top of the olive- 
 branch. The stone pedestal, 50 ft. in height, is surrounded with
 
 1. BOULEVARDS. 73 
 
 seated tronze figures of Liberty, Equality, and Fraternity, and adorn- 
 ed with 12 bas-reliefs in bronze, by Dalou : Capture of the Bastille; 
 Taking the oath in the Jeu de Paume; Renunciation of privileges; 
 Festival of the Federation ; Meeting of the Constituent Assembly ; 
 Volunteers enrolling ; Battle of Valmy ; Combat of the 'Vengeur'; 
 Resumption of the tricolor in 1830 ; Provisional Government of 
 1848; September 4th, 1870; National Fete, July 14th, 1880. In 
 front is a bronze lion with the urn of 'suffrage universel'. 
 
 Streets diverge from the Place de la Republique in every direction. 
 To the S.E. is the. Boulevard Voltaire (p. 179); to the E, runs ih& Avenue 
 de la Bipullique^ leading to the Pere-Lachaise (p. 179); to the N.E. the 
 Rue du Fuubourg du Tan-pie leads to Belleville (p. 205), and is traversed 
 by a cable-tramway (10 c.)- To the N.W. diverges the Boulevard de Ma- 
 genta, which leads past the Gare de TEst and the Gare du Nord (p. 23) 
 to Montmartre. To the S.W. are the old Rue du Temple., leading to the 
 Hotel de Ville, snd the wide Rue de Turhigo, more to the right, descend- 
 ing to the Halles Centrales (p. 171). 
 
 Between the Boal. Magenta (to the left) and the Boul. St. Martin is 
 the Bourse du Travail, erected in 1S89-90 by the city of Paris, and placed 
 at the disposal of the trade conncils ("syndicats professionnels), with a 
 view to superseding the private 'registry' offices. In July, 1893, the Bourse 
 was closed by government, partly to put an end to the agitations among 
 workmen and partly because most of the councils had not conformed to 
 the law. In 1896, however, it was reopened. 
 
 Beyond the Place de la Republique we next reach the Boulevard 
 St. Martin (PI. R, 27, 24 ; III), 490 yds. long, the houses of which 
 stand on a slight eminence. The carriage-way was levelled in 1845, 
 to facilitate traffic , while the foot-pavements retain their original 
 height. Several theatres (see p. 31) are situated on the right side 
 of this boulevard, viz. the Folies Dramatiques , Ambigu-Comique, 
 Theatre de la Porte St. Martin, and Theatre de la Renaissance. 
 
 The Porte St. Martin, a triumphal arch, with three openings, 
 57 ft. in height, designed by Pierre Bullet, was erected by the city 
 in honour of Louis XIV. in 1674. The reliefs, on the S. side by 
 Le Uongre and Legros the Elder and on the N. side by M. Dujardins 
 and 0. Marsy, represent the Capture of Besanijon and the Dissolu- 
 tion of the Triple Alliance, the Capture of Limburg, and the defeat 
 of the Germans. On 31st March, 1814, the German and Russian 
 armies entered Paris by the Barriere de Pantin and the Rue du Fau- 
 bourg-St-Martin, and passed through the Porte St. Martin and the 
 Boulevards to the Place de la Concorde (p. 80). 
 
 The *Mairie of the 10th Arrondissement with its conspicuous tower, in 
 the Rue du Faubourg-St-Martin, about 300 yds. from the Porte, is a taste- 
 ful structure of 1893-95, designed by E. Bouper in a Renaissance style not 
 unlike that of the Hotel de Ville. In the interior, the staircase and the 
 gallery in three stories may be mentioned. The Salle des Fetes, on the lirst 
 floor, to the back, contains a large alto-relief by Dalou, representing the 
 brotherhood of nations. 
 
 Beyond the Porte St. Martin begins the short Boulevard St. De- 
 nis (PI. R, 24; III), 230 yds. in length. 
 
 The handsome streets which diverge here to the right and left 
 are the Boulevards de Strasbourg and de Sebastopol, which, con- 
 tinued on the S. by the Boul. du Palais (p. 221) and Boul. St. Michel
 
 74 1. BOULEVARDS. 
 
 (p. 230), intersect Paris from the Gare de I'Est (p. 203) on the N. to 
 the Observatoire (p. 288) on the S. , a distance of 2^/2 M. At the 
 end of the Boulevard de Strashonrg, to the right, is the Gare de 
 I'Est. To the left, at the end of the Boulevard de Sebastopol, rises 
 the dome of the Tribunal de Commerce (p. 224). About 200 yds. to 
 the left of this boulevard is the Square des Arts et Metiers, in front 
 of the Conservatoire of that name (p. 173). 
 
 We now reach the Porte St. Denis, another triumphal arch, de- 
 signed by Blondel , with sculptures by the brothers Anguier from 
 the designs of Girardon, and erected two years before the Porte St. 
 Martin, to commemorate the victories of Louis XIV. in Holland and 
 the district of the Lower Rhine. It is 81 ft. high and has a single 
 archway. The piers are adorned with two obelisks in relief covered 
 with military trophies. At the bases of the obelisks are represented, 
 on the left, vanquished Batavia (Holland) with a dead lion, and on 
 the right the river-god of the Rhine. The relief above the arch on 
 the same side represents the Passage of the Rhine in 1672j the 
 relief on the other side, the Capture of Maestricht. Nearly all the 
 sculptures were restored in 1886-87. 
 
 Both these triumphal arches were the scene of sanguinary con- 
 flicts in July, 1830, June, 1848, and May, 1871. 
 
 The Porte St. Denis stands between the Rue St. Denis and the 
 Rue du Faubourg -St- Denis, together forming one of the most an- 
 cient, and still one of the most important lines of streets in Paris. 
 As we proceed westwards the traffic becomes brisker, and the shops 
 more handsomely built and richly stocked. 
 
 The continuation of the Boulevard St. Denis is the Boulevard 
 Bonne-Nouvelle (PI. R, 24; ///), which is 380 yds. in length. On 
 the right, No. 20, is the 'Menagere Bazaar' (p. 37), and farther on, 
 also to the right, are the Rue d^ Hauteville, at the end of which the 
 church of St. Vincent-de-Paul (p. 206) is seen in the distance, and 
 the Theatre du Gymnase fp. 31). 
 
 The ancient streets to the left of the boulevard lead in a few minutes 
 to Notre-Dam-e-de-Bonne-Nourelle, a church of the 17th and 19th cent., of 
 little interest in itself, but containing a handsome large marble group in 
 high relief by Ch. Desvergnes, representing the Memory of the Dead (1895; 
 in the first chapel on the right). The large chapel of the Virgin, to the 
 left of the nave, is painted in fresco by Aug. Hess. 
 
 At the point where the Rue du Faubourg-Poissonnilre diverges 
 to the right, and the Rue Poissonniere to the left, begins the Boule- 
 vard Poissonniere (PI. R, 21 ; ///), which is also 380 yds. long. 
 
 In the Rue du Faubourg-Poissonniere, No. 15, is the Conserva- 
 toire de Musique et de Declamation (PI. B, 21, 24; III), founded 
 in 1784 for the purpose of training singers and actors for the na- 
 tional stage. The staff of teachers numbers over 70, and there are 
 about 600 enrolled pupils, besides 200 'hearers'. Pupils are ad- 
 mitted by competition and receive their training gratuitously. Win- 
 ners of the Grand Prix are awarded an annual allowance of 3000 fr.
 
 1. BOULEVARDS. 75 
 
 for four years, during whicli they visit Italy and Germany for the 
 purpose of perfecting themselves in their art. The Conservatoire 
 possesses a valuahle Collection of Musical Instruments and an exten- 
 sive Musical Library. Concerts, see p. 35. 
 
 The Collection of Musical Instruments, in the second court, next 
 the Rue du Conservatoire, from which it may be entered, is open to vis- 
 itors on Mon. and Thurs., 12-4. It contains numerous instruments remark- 
 able for their antiquity, rarity, excellence, artistic beauty, or historical 
 associations. The collection of lutes on each side of the door of the 
 second room is said to be one', of the most valuable in existence. The 
 glass-cases in the centre contain the finest instruments. Catalogue. 
 
 A little farther on, at the corner of the short Rue Ste. C^cile and the 
 Rue du Conservatoire, is the church of St. Eugene, a Gothic edifice, built 
 in 1854-55 from the designs of L. A. Boileau. The interior is supported 
 by cast-iron columns and is embellished with paintings and stained glass 
 in the style of the 13th century. 
 
 Farther on, to the right of the Boulevard, diverges the small Rue 
 de Rougemont, at the end of which is seen the Comptoir National 
 d'Escompte, rebuilt in 1882-83. Its facade, surmounted hy a dome 
 with a small spire, has a fine doorway in the form of a triumphal 
 arch, decorated with symbolic statues by A. Millet. 
 
 On the right of the Boulevard Poissonniere, No. 30, is the at- 
 tractive shop of Barbedienne cj' Co., dealers in bronzes (p. 38). 
 
 At the point where the Rue Montmartre diverges to the left, 
 and the Rue du Faubourg- Montmartre to the right, we reach the 
 Boulevard Montmartre {Y\. R, 21 ; III), which is 235 yds. in 
 length. The point where these three streets intersect, called the 
 Carrefour Montmartre, is perhaps the busiest in Paris. On 24th 
 Feb., 1848, and in May, 1871, the end of the Rue du Faubourg- 
 Montmartre next to the Boulevards was closed by a strong barricade. 
 Not far off, to the right of the Rue Montmartre, is the Rue Notre-Damc- 
 des-Victoires, which passes behind the Exchange (p- 1^6). The Rue Mont- 
 martre ends at the Halles Centrales (p. 171). 
 
 The cafes become more numerous, and the shops more attractive. 
 On the left stands the Theatre des Varietes (p. 31). On the same 
 side is the Passage des Panoramas, and opposite to it the Passage 
 Jouffroy. 
 
 The Paxsaget of Paris are nearly all of ancient origin, but none of 
 them are such important structures as the modern arcades of Blilan, Brus- 
 sels, or Berlin. Several of them are gradually being deserted, and one, the 
 Passage Delorme between the Rue de Rivoli and the Rue St. Honore, has 
 just disappeared. The Passage des Panoramas owes its name to the panora- 
 jnas that existed there in 18(X). 
 
 On the left, farther on, the Rue Vivienne diverges to the (3 min.) 
 Bourse (^p. 196) and the Palais-Royal (p. 58). — The Boul. Mont- 
 martre ends at the Rue de Richelieu (p. 189) and the Rue Drouot 
 (p. 198). 
 
 The *Bonlevard des Italians [PI. R, 21 ; III, II\ 465 yds. in 
 length, which we next enter, is the most frequented and fashion- 
 able of the boulevards. It derives its name from the old The'atre 
 des Italiens. — Near the beginning, on the right (^N.), is the double
 
 76 1. OPERA HOUSE. 
 
 Passage de V Opera (now almost deserted), so named from the old 
 opera-house, burned down in October, 1873, which stood at the N. 
 end. To the left of the Boulevard is the Passage des Princes, lead- 
 ing to the Rue de Richelieu. Farther on are the Rue Favart and the 
 Rue Marivaux , between which was the Opera Comique (p. 30), 
 burned in May, 1887. The theatre is being rebuilt, with its fagade 
 towards the little Place Boieldieu, as before. On the right of the 
 Boulevard, farther on, is the Rue Le Peletier, where Orsini attempt- 
 ed to assassinate Napoleon III. on 14th Jan., 1858. At the corner 
 is the Cafe Riche , now a gorgeously decorated cafe-brasserie. The 
 following streets, the Rue Laffitte, the Rue Taitbout, and the Rue 
 de la Chaussee-d'Antin, are chiefly inhabited by representatives of 
 the 'haute finance'. At the corner of the Rue Laffitte is the Maison 
 Doree Restaurant^ with interesting sculptures ; at the end of this 
 street is the church of Notre -Dame -de- Lorette (p. 198), beyond 
 which a glimpse is obtained of the Butte Montmartre (p. 207), 
 with the Church of the Sacre-Coeur, and the reservoir (p. 208). 
 Nearly opposite, on the left, is the imposing building of the Credit 
 Lyonnais. No. 28, on the right, is the Theatre des Nouveautes 
 (p. 32), behind which, in the Rue Taitbout, begins the Boul. Hauss- 
 mann (p. 200). On the S. side of the boulevard we next observe 
 the Pavilion de Hanovre, No. 33, built by Marshal de Richelieu in 
 1760 (partially rebuilt in 1888), now containing the principal depot 
 of the 'Orfevrerie Christofle' (p. 40). 
 
 Beyond the Rue de la Chausse'e-d'Antin (on the right), at the 
 end of which rises the church of La Trinite (p. 199), begins the 
 handsome *Eoulevard des Capucines (PL R, 18 ; //), 450 yds. in 
 length. On the right are the Theatre du Vaudeville (p. 31), the Cafe 
 Americain, and several handsome shops. 
 
 We next reach the *Place db l" Opera (PL R, 18 ; II), which is 
 intersected by the Boulevard des Capucines, and where five other 
 broad streets converge. To the S. run the Rue de la Paix, with 
 its tempting shops and the Vendome Column in the background 
 (p. 83), the handsome *Avenue de I'Opera, leading to the Place du 
 Theatre-Frangais (p. 59), and the Rue du Quatre-Septembre, lead- 
 ing to the Bourse (p. 196) and to be continued thence to the Temple 
 (p. 213) by the extension of the Rue Re'aumur (p. 178). To the N., 
 on the left and right of the Opera, are the Rue Halevy and the Rue 
 Auber, the latter leading to the Gare St. Lazare (p. 199). Con- 
 tinuation of the Boulevard, p. 79. 
 
 The *Opera House, a sumptuous edifice bearing the inscription 
 ^Academie Nationale de Musique\ designed by Chas. Gamier, was 
 begun in 1861, and completed in 1874. It is now the largest theatre 
 in the world, covering an area of 13,596 sq. yds. (nearly three 
 acres); but it contains seats for 2156 persons only, being less than 
 the number accommodated by the opera-house at Vienna or the vast
 
 1. OPERA HOUSE. 77 
 
 theatres of La Soala at Milan and San Carlo at Naples. No adequate 
 idea of its vast dimensions can be obtained without walking round 
 the exterior, or viewing it from some elevated position. 
 
 The site alone cost 420,000/. and the cost of building amounted to 
 1,4G0,000Z. The site had to be excavated to a depth of . ':0 ft. below the 
 level of the lirst surface-water, and a copious stream was struck which 
 necessitated the employment of eight steam-pumps night and day for seven 
 months. Very little wood has been employed in the construction of the 
 building, but there is hardly a variety of marble or costly stone that has 
 not been used. Sweden and Scotland have yielded a supply of green and 
 red granite, from Italy have been brought the yellow and white marbl-.-s, 
 from Finland red porphyry, from Spain 'brocatello", and from different 
 parts of France other marbles of various colours. 
 
 The *Peincipal Fa9adb , which , notwithstanding the richness 
 of its ornamentation, has a somewhat heavy and depressed appear- 
 ance, is approached by a broad flight of steps, and consists of three 
 stories. On the groundfloor is the Portico with its seven arches, 
 the piers of which are embellished with four large groups of statu- 
 ary and four statues, viz., from left to right : Lyric Poetry by Jouff- 
 roy^ Music by Guillaume, Idyllic Poetry by Aizelin, Declamation 
 by Chapu , Song by Dubois and Vatrinelle , Drama by Falyuiere, 
 Dance by Carpeaux (d. 1875), and Lyric Drama by Perraud. The 
 group by Carpeaux, though admirably executed, has been severely 
 and justly criticised for the sensuality of its style. Above the stat- 
 ues are medallions of Bach, Pergolese, Haydn, and Cimarosa. Above 
 the portico is the Loggia, with thirty Corinthian monolithic columns, 
 sixteen of which, 33 ft. in height, are of stone, while the fourteen 
 smaller columns are of red marble, with gilded bronze capitals, and 
 form a kind of frame to the windows with balconies of green Swe- 
 dish marble. In the intervening spaces are medallion busts, in 
 gilded bronze, of the great musical composers. Above the loggia the 
 facade terminates in a richly sculptured attic, embellished with gilded 
 theatrical masks, and with colossal gilded groups by Gumery, one on 
 each side, representing Music and Poetry attended by the Muses and 
 Goddesses of Fame. In the centre of the building rises a low dome 
 (visible from a distance only), and behind it a huge triangular ped- 
 iment, above the stage , crowned with an Apollo with a golden lyre 
 in the middle, by Millet, and flanked with two Pegasi by Lequesne. 
 — There is also a pavilion in the centre of each of the Lateral Fa- 
 cades, that on the left side of the grand facade having a double car- 
 riage-approach ('pavilion d'honneur'). The pavilion on the other 
 side , in the Rue Halevy , is the entrance for regular siibscribers. 
 The lateral facades are adorned like the principal one with busts of 
 composers and allegorical ttgures. — Performances, see p. 30. 
 
 **Intkrio]i. Passing through the gilded gates, we first enter 
 the Vestibulk. containing the ticket - offices , and adorned with 
 statues of Lully, Rameau, Gluck, and Handel. Opposite to us is 
 the ** Grand Staircase (^Escalier d^Honneur), the chef-d'oeuvre of 
 Garnier. Visitors who take their tickets at the door have to ascend
 
 78 1. OPERA HOUSE. 
 
 to their places hy side-staircases, but may inspect the Grand Stair- 
 case in the 'entr'actes'. As far as the first landing, where the en- 
 trance to the amphitheatre and orchestra is situated, the staircase 
 is single, heing about 32 ft. in width , but beyond that it divides 
 into two flights of steps. The steps are of white marble, and the 
 balustrades oi rosso antico, with a hand-rail formed of Algerian onyx. 
 Each landing of this magnificent staircase is furnished with boxes 
 or balconies from which the visitor may conveniently survey the 
 interesting scene presented by the passing throng. Thirty coloured 
 monolithic marble columns rise to the height of the third floor. The 
 ceiling-frescoes by Pils (d. 1875), beginning on the right, represent 
 the Gods of Olympus, Apollo in his Chariot, the Instructiveness of 
 the Opera , and the Triumph of Harmony. The handsome door on 
 the first landing, flanked by bronze caryatide figures of Tragedy and 
 Comedy with drapery of coloured marble, and the bronze groups 
 supporting the lamps should also be noticed. 
 
 Below the grand staircase, in a room reached from the subscribers'' 
 entrance (p. 77), are the Bassin de la Pythie^ a fountain with a priestess 
 of Apollo in bronze, seated on a tripod, bj- Marcello (a pseudonym of the 
 Duchess of Colonna di Castiglionej , and 'a marble statue of Music , by 
 Delaplanche. — Pablic 'FoTer'j^see below. ^ 
 
 The *Sallb , or theatre itself , fitted up in the most elaborate 
 style, is rather overladen with decoration, which, however, has al- 
 ready begun to fade. The boxes, of which there are four tiers , are 
 decorated in red, while gilding prevails nearly everywhere else. 
 The gallery forms a fifth story. The spring of the arches, the 'avant- 
 scenes', etc., on the fourth tier are adorned with fine figures and 
 heads. Above is a handsome frieze, and numerous small windows 
 in the shape of lyres. The magnificent and curiously shaped lustre 
 contains 340 burners, and seen from below presents the appearance 
 of a crown of pearls. The ceiling-paintings, by Lenepveu, repre- 
 sent the different hours of the day and night, allegorised. 
 
 The Stage is 196 ft. in height, 178 ft. in width, and 74 ft. 
 in depth. Communicating with it is the Foyer de la Danse, or ball- 
 room, the end of which is formed by a mirror 23 ft. broad and'33 ft. 
 high. This foyer has portraits of celebrated 'danseuses' and other 
 paintings by Boulanger (not open to the public). 
 
 The * Foyer du Public, one of the most striking feature of the 
 Opera House , is entered by the 'Avant-Foyer', the vaulting of 
 which is adorned with mosaics designed by Curzon, and executed 
 by Salviati, representing Diana and Endymion, Orpheus and Eury- 
 dice, Aurora and Cephalus, and Psyche and Mercury. The Foyer itself 
 is 175 ft. long, 42 ft. wide, and 59 ft. in height. Five windows and 
 two doors lead from the Foyer to the Loggia (view). Opposite the 
 windows are huge mirrors, 23 ft. high, separated by twenty columns 
 bearing statues emblematical of the qualities required by an artist. 
 At the ends are also two monumental chimney-pieces with Carya- 
 tides of coloured marble. The *Paintings are by Bavdry. On the
 
 1. MADELEINE. 79 
 
 ceiling are Melody and Harmony in the oentre , with Tragedy and 
 Comedy at the sides. Over the chimney-pieces are Mount Parnassus 
 and the Poets of Antiquity. The other paintings represent the 
 Muses, with the exception of Polyhymnia (Philosophy), the Music 
 of different nations, and Dancing, 
 
 To the left, as we quit the hall, is a baffet, decorated with tapestry 
 designed by MazeroUe^ representing Wine, Ices, Pastry, etc. 
 
 In the Pavilion d'Honneur (p. 77), Rue Auber, are a Library belong- 
 ing to the Opera and the small Musie de VOpiva. The latter, open on 
 week-days 11-4, contains models of scenery, busts and portraits of stage 
 celebrities, MSS. of well-known composers, Spontini's pianoforte, old play- 
 bills (1658,1660, etc.), and the like. 
 
 In the Boulevard des Capucines we next observe on the right 
 (N.) the Grand Hotel (p. 3} , with the Cafe de la Paix ,• beyond 
 which is the Rue Scribe^ containing the offices of several Atlantic 
 steamship companies (p. 25) and goods agents. 
 
 We now reach the Boulevard de la Madeleine (PI. R, 18 ; IT), 
 which is 285 yds. in length, and leads hence to the church of that 
 name, where the Great Boulevards on the right bank come to an end. 
 
 The *Madeleiiie, or Church of St. Mary Magdalen (Pl.R, 18; //), 
 is built in the style of a late-Roman adaptation of a Greek temple. 
 The construction lasted from 1764 till 1842, the chief architects of 
 the building being Couture, P. Vignon, and Euve. Napoleon I. 
 wished to convert it into a 'Temple of Glory', while Louis XVIII. 
 desired to make it an expiatory church with monuments to Louis XVI., 
 Marie Antoinette, etc. The church is 354 ft. in length, 141 ft. in 
 breadth, and 100 ft. in height. It stands on a basement about 23 ft. 
 in height, and is surrounded by an imposing colonnade of massive 
 Corinthian columns. The building, which is destitute of windows, is 
 constructed exclusively of stone. The niches in the colonnade contain 
 thirty-four modern statues of saints. The relief in the tympanum of 
 the principal facade (S.), by Lemaire (d. 1880), represents the Last 
 Judgment. The bronze *i)oors, 341/2 ft. in height and 16 ft. in breadth, 
 are adorned with illustrations of the Ten Commandments by Triqueti. 
 
 The *Interior (open to visitors from 1 to 6 p.m. ; when the front- 
 gate is closed, entrance by the side-gates and thence round the church 
 to the main portal) forms a single spacious hall, with sid-echapels, behind 
 which are colonnades bearing galleries. The light, entering by the ceiling, 
 which consists of three cupolas and a hemicycle,' is usually too faint to 
 show to advantage the mural paintings on the upper part of the chapels 
 and choir and the other rich decorations of the edifice. On the pendentives 
 are figures of the Apostles, by Pradier, Rude, and Foyatier. — Sculptures 
 and paintings in the chapels : to the right, Marriage of the Virgin, by Pra- 
 dier ; to the left, Baptism of Christ, by Rude; right, Ste. Amelie, by Bra, 
 and Conversion of Mary Magdalen, by Sclmetz ; left, 8t. Augustine, by £'te.r, 
 and Death of Mary Magdalen, hj Signol; right,' The Saviour, by i)wrc'<,' and 
 Mary Magdalen at the foot of the Cross, by Bouchot; left. The Virgin, by 
 iSeiirre, and Angel announcing the Resurrection to Mary Magdalen, by Cog- 
 niet; right, Ste. Clotilde, by Barpe., and Mary Magdalen in the wilderness 
 praying with angels, by Abel de Pujol; left, St. Vincent-de-Paul, by Raggi, 
 Christ in the house of Simon the Pharisee, and Mary Magdalen washing
 
 80 1. PLACE DE LA CONCORDE. 
 
 the feet of Christ, by Couder. — On the High Altar is a fine group in 
 marble by Marochetti, representing Mary Magdalen being borne into Para- 
 dise by two angels. — At the back of the altar, in the apse, a mosaic by 
 Gilbert-Martin representing Jesus Christ and personages from the New 
 Testament. Above is a large fresco by Ziegler, representing the History of 
 Christianity in numerous groups. In the centre is Christ, with Mary Mag- 
 dalen kneeling before him. On the right is an illustration of the spread 
 of Christianity in the East in the early centuries of the Christian era, 
 during the Crusades, and in modern times (Expedition to the Morea. 1829). 
 Among Other figures may be mentioned St. Louis (next the Magdalen), 
 Godfrey de Bouillon with the oriflamme. Richard Coeur-de-Lion. and the 
 Doge Dandolo. To the left is exhibited the progress of Christianity in the 
 West. Among the chief characters are the Martyrs, the Wandering Jew, 
 Charlemagne, Pope Alexander III. laying the first stone of Notre-Dame 
 (1163), the Maid of Orle^-ns. Raphael, Michael Angelo, and Dante. In the 
 centre is Henri IV, entering the pale of the Roman Catholic church •, then 
 Louis XIII., Richelieu, and lastly Napoleon I. crowned by Pope Pius VII. 
 The Madeleine is famed for its sacred music and orchestral perform- 
 ances on great festivals and during Passion Week. The Organ, with five 
 manuals, i3 one of the best in Paris. 
 
 For a description of the Bonlevards Malesherbes, St. Angustin, 
 etc., to tlie N.W. of the Madeleine, see p. 200. 
 
 IV. FROM THE MADELEINE TO THE PALAIS-KOYAL BY THE PLACE 
 
 DE LA CONCORDE. 
 
 Colonne Vendome. St. Roch. 
 
 The broad Rue Royale leads from the Madeleine to the Place 
 de la Concorde, beyond which, on the opposite bank of the Seine, 
 rises the Chambre des Deputes (p. 273). 
 
 The Rue Royale was the scene of some of the most violent outrages 
 of the Communards in May, 1871. Six houses here were deliberately set on 
 iire, together with several neighbouring houses in the Rue du Faubourg- 
 St-Honore, and 27 persons perished in the flames. Some firemen, bribed 
 by the Commune, even went so far as to replace the water in their pumps 
 by petroleum. — Palais de TElys^e, in the Rue du Faubourg-St-Honor^, 
 see p. 151; Rue St. Honore, see p. 84. 
 
 The **Place de la Concorde (PI. R, 15, 18; II), the most beantifol 
 and extensive place in Paris , and one of the finest in the world, 
 covers an area 390 yds. in length, by 235 yds. in width, bounded on 
 the S. by the Seine, on the W. by the Champs-Elyse'es, on the N. by 
 the Ministere de la Marine and the Hotel Crillon-CoisUn (p. 82), 
 and on the E. by the garden of the Tnileries, It received its pre- 
 sent form in 1854 , from designs by Eittorff (d. 1876). From the 
 centre of the square a view is obtained of the Madeleine (p. 79), 
 the Palais de la Chambre des Deputes, the Louvre, and the Arc de 
 Triomphe de TEtoile. 
 
 In the middle of the 18th cent, the site was still a desert. Louis XV. 
 'gratified' the municipal authorities of Paris by permission to erect a 
 statue to him, and Gabriel, the architect, constructed the present pavilions 
 and balustrades, behind which ditches were dug, which remained unfilled 
 until 1852. The statue, which was not erected until 1763. was an equest- 
 rian figure of the king by Bouchardon Tmodel, see p. 105) , surroanded 
 by figures emblematical of Strength, Wisdom, Justice, and Peace, by 
 Pigalle. Soon after the erection of the statue the following pasquinade 
 appeared on the pedestal: —
 
 1. PLACE DE LA CONCORDE. 81 
 
 '0 la belle statue! 6 le beau piidestal! 
 Les vertut sonl ii pied, le vice est d, cheval.* 
 A few days later was added the sarcasm : — 
 
 '/i est id eomme d. Versailles, 
 
 II est sans coeur et sans entrailles.^ 
 A third scribbler called the monument a •statua staiuae''. 
 
 On 11th August, 1792, the day after the capture of the Tuileries, the 
 statue of the king was removed by order of the Legislative Assembly, 
 melted down, and converted into pieces of two sous. A terracotta figure 
 of the 'Goddess of Liberty' was then placed on the pedestal, and deris- 
 ively styled 'Z« Libert^ de Boue\ while the Place was named Place de la 
 Revolution. In 1795 the name was changed to Flace de la Concorde, and 
 after the restoration of the Bourbons, when it was proposed to erect an 
 expiatory monument here, it was known successively as Flac6 Louis XV., 
 and Flace Louis XVI. After 1830 the name Place de la Concorde was 
 revived. 
 
 In 1792 the guillotine began its bloody work here and Louis XVI. was 
 executed in the Place on Jan. 21st, 1793. On 17th July Charlotte Corday 
 was beheaded; on Qnd October Brissot, chief of the Gironde, with twenty- 
 one of his adherents ; on 16th Oct. the ill-fated queen Marie Antoinette ; 
 on 14th Nov. Philippe Egalite, Duke of Orle'ans, father of King Louis Phi- 
 lippe; on 12th May, 1794, Madame Elisabeth, sister of Louis XVI, On 
 14th March, through the influence of Danton and Robespierre, Hebert, 
 the most determined opponent of all social rule, together with his parti- 
 zans, also terminated his career on the scafifold here. The next victims 
 were the adherents of Marat and the Orleanists ; then on 8th April Dan- 
 ton himself and his party, among whom was Camille Desmoulins; and 
 on 16th April the atheists Chaumette and Anacharsis Cloots , and the 
 wives of Camille Desmoulins , Hubert , and others. On 28th July, 1794, 
 Robespierre and his associates, his brother , Dumas , St. Just, and other 
 members of the '■camiti du salut public^ met a retributive end here; a few 
 days later the same fate overtook 82 members of the Commune , whom 
 Robespierre had employed as his tools. Lasource, one of the Girondists, said 
 to his judges; 'Je meurs dans un moment oil le peuple a perdu sa raison; vous, 
 vous mourrez le Jour ou il la reirouvera\ Between 21st Jan., 1793, and 
 3rd May, 1796, upwards of 2800 persons perished here by the guillotine. 
 In March, 1371, the Place de la Concorde and the Champs-Elyse'es were 
 occupied by the German army. In 3Iay of the same year the Place was the 
 scene of fierce conflicts between the Versailles troops and the Communards, 
 who had erected a barricade at the end of the Rue Royale commanding 
 the Place. 
 
 The *Obelisk, which rises in tlie centre of the Place, was 
 presented to Louis Philippe by Mohammed Ali, Viceroy of Egypt. 
 This is a monolith, or single block, of reddish granite or syenite, 
 from the quarries of Syene (the modern Assuan) in Upper Egypt. 
 It is 76 ft. in height, and weighs 240 tons. The pedestal of Breton 
 granite is 13 ft. high, and also consists of a single block, while the 
 steps by which it is approached raise the whole 37-2 ft. above the 
 ground. The representations on the pedestal refer to the embarka- 
 tion of the obelisk in Egypt in 1831 and to its erection in 1836 at 
 Paris, under the superintendence of the engineer J. B. Lebas. — 
 Cleopatra's Needle in London is only 70 ft. in height, but the 
 Obelisk in the Piazza di S. Giovanni in Laterano at Rome is 
 104 ft. high. 
 
 Ramses II., King of Egypt, better known by his Greek title of Sesostris 
 the Great, who reigned in the i4th cent, before Christ, erected a huge 
 'pylon' gate and a colonnade before a temple which his great ancestor 
 Ametihotep III. (Amenopfiis or Memnon of the Greeks) had built in the E. 
 
 B.^KUKKKK. Paris. 12th Edit. 6
 
 82 1. PONT DE LA CONCORDE. 
 
 suburb of Thebes, the site now occupied by the poor village of Luxor. In 
 front of this gate stood two beautiful obelisks, and it is one of these that 
 now embellishes the Place de la Concorde. Each of the four sides of the 
 obelisk is inscribed with three vertical rows of hieroglyphics, the middle 
 row in each case referring to Eamses II. while the others were added by 
 Ramses III., a monarch of the succeeding dynasty. The inscriptions of 
 Ramses II. are in the early Egyptian monumental style, and record with 
 self-satisfied repetition how Eamses II, the 'Lord of the Earth", the 'Sun', 
 the 'annihilator of the enemy", erected the pylons and the obelisks in 
 honour of Ammon Ra (the chief Egyptian deity) in return for the victorious 
 might with which the god had endowed him. 
 
 Each of the *Fountains beside the obelisk consists of a round 
 basin, 53 ft. in diameter, above which rise two smaller basins, 
 surmounted by a spout from which a jet of water rises to a height 
 of 28 ft. In the lowest basin are six figures of Tritons and Nereids, 
 holding dolphins which spout water into the second basin. The 
 fountain on the S. side is dedicated to the Seas ^ the other to the 
 Rivers. The figures and the upper basins are of bronzed iron, the 
 lower basins of granite. 
 
 The two imposing edifices of nearly uniform exterior on the N. 
 side of the square, separated from each other by the Rue Royale 
 (p. 80), were erected in 1762-1770, from Gabriel's plans, for the re- 
 ception of ambassadors and other distinguished personages. That to 
 the right is now occupied by the Ministere de la Marine ; that to the 
 left, the Hotel Crillon-Coislin, is now divided into four parts, of 
 which one is occupied by the Cercle de la Rue Royale (p. 36) and 
 another (No. 6) belongs to the Pope, having been bequeathed to him 
 by the Marquise Duplessis-Belliere. 
 
 Upon the pavilions placed around the Place rise eight stone 
 figures representing the chief towns of France : Lille and Strassburg 
 by Pradier, Bordeaux and Nantes by Calhouet, Rouen and Brest by 
 Cortot, and Marseilles and Lyons by Petitot. The Strassburg is 
 usually hung with crape and mourning garlands, in reference to the 
 lost Alsace. The square is lighted at night from twenty bronzed 
 rostral columns on the surrounding balustrades. 
 
 The Pont de la Concorde, which crosses the Seine from the Place 
 to the Chambre des Deputes, was built by Perronet in 1787-90, 
 the material for the upper part being furnished by the stones of the 
 Bastille. The piers are in the form of half-columns, and under the 
 first empire were adorned with statues of generals, which were sub- 
 sequently replaced by the statues of great men now in the Cour 
 d'Honneur at Versailles (see p. 312). 
 
 The view from the bridge is very fine. It includes the Place de la 
 Concorde, the Madeleine, and the Chamber of Deputies; then, upstream, 
 to the left, the Tuileries Garden, a pavilion of the Tuileries and one of 
 the Louvre, the Pont Solferino and the Pont Pi,oyal; to the right, the 
 ruined Palais du Quai d'Orsay, in front of which is the little dome of 
 the Palais de la Legion d'Honneur; farther off are the dome of the In- 
 stitut, the towers of Xotre Dame, the spire of the Sainte Chapelle, and 
 the dome of the Tribunal de Commerce. Downstream, to the right, rises 
 the Palais del'Industrie: then the Pont des Invalides, and. farther off, the 
 two towers of the Trocadero; to the left the Ministry of Foreign Affairs
 
 1. COLONNE VENDOME. 83 
 
 and the inevitable Eiffel Tower. The dome of the Invalides can be Been 
 only from a little below the bridge , to the right of the Chamber of De- 
 puties, and the spires of Ste. Clotilde to the left, above the houses. 
 
 Chambre des D^put^s, see p. 273 5 Boulevard St. Germain, p. 230; Gar- 
 den of the Tuileries, p. 149; Champs-Elysees, p. 151. — Omnibuses, tram- 
 ways, and steamboats, see the Appendix. 
 
 We finish our circular walk by re-entering the Rue de Rivoli 
 (p. 59), at the N.E. corner of the Place de la Concorde, and follow- 
 ing it to the E., skirting the Tuileries Garden and the wing of the 
 palace still existing on this side. On the left are several sumptuous 
 hotels, beginning with the Hotel Continental [jp. 3), which occupies 
 the site of the former Ministere des Finances, destroyed by the 
 Communards in 1871. A tablet on one of the pillars of the railing 
 of the Garden of the Tuileries, nearly opposite this spot, records 
 that here -was situated the famous riding-school (Manege) used as 
 a place of meeting by the Constituent Assembly, the Legislative 
 Assembly, and the National Convention. 
 
 The Rue Castiglione , at the corner of which the Hotel Conti- 
 nental stands, leads to the Place Vendome (PI. R, 18 ; /i), partly 
 constructed by the celebrated architect J. H. Mansart (the Younger, 
 d. 1708). The Place was once embellished with an equestrian statue 
 of Louis XIV, by Girardon. This was removed at the Revolution, 
 and the name of the square changed from Place des Conquetes to 
 Place des Piques. It owes its present name (assigned to it by Na- 
 poleon I.) to a palace erected here by Henri IV for his son, the Due 
 de Vendome. In the centre of the Place rises the — 
 
 *Coloime Venddme, an imitation of Trajan's column at Rome, 
 142 ft. in height and 13 ft. in diameter. It was erected by the 
 architects Denon, Gondouin, and Lepere, by order of Napoleon I. 
 in 1806-10, to commemorate his victories over the Russians and 
 Austrians in 1805. The column is constructed of masonry, encrusted 
 with plates of bronze (designed by Bergeret') forming a spiral band 
 nearly 300 yds. in length , on which are represented memorable 
 scenes of the campaign of 1805 , from the breaking up of the camp 
 at Boulogne down to the Battle of Austerlitz. The figures are 3 ft. 
 in height, and many of them are portraits. The metal was obtained 
 by melting down 1200 Russian and Austrian cannons. At the top is 
 a statue of Napoleon in his imperial robes, after Chaudet. Visitors 
 are no longer permitted to ascend. 
 
 The vicissitudes of the Vendome Column reflect the political history 
 of France. In 1814 the statue of Napoleon was taken down by the Royal- 
 ists, and was replaced by a monster fleur-de-lis surmounted by a white 
 flag. The metal was used in casting the equestrian statue of Henri IV 
 (p. 225). In 1831 Louis Philippe caused anew statue of the emperor, in a 
 greatcoat and three-cornered hat, to be placed on the summit, but Napo- 
 leon III. caused this to be replaced in 1863 by one resembling the original 
 figure. The Column was overthrown by the Communards in May, 1871, at 
 the instigation of the painter Courbet (d. 1878); but as the fragments were 
 preserved, it was re-erected in 1875. 
 
 The street prolonging the Rue Castiglione on the W. side of 
 the Place is the Rue de la Paix, mentioned at p. 76. — We, 
 
 6*
 
 84 1. ST. ROCH. 
 
 however, retrace our steps along the Rne Castiglione to the Rue 
 St. Honore, the first cross-street, where we turn to the left. 
 
 la this street, to the right, are the Nouveau Cirque (p. 33) and the Church 
 of the Assumption, a huilding of the 17th cent., with a somewhat heavy- 
 dome. On the cupola is an Assumption by Ch. de la Fosse. The church 
 is sometimes closed. 
 
 St. Roch (PI. R, 18; II), in the Rue St. Honore, between the 
 Place Yendome and the Palais Royal, is an interesting example of 
 the rococo style applied to a religious edifice. It was erected in 1653 
 -1740 from designs by Lemercier, but the fa(;ade, with its two rows 
 of Doric and Corinthian columns, one above the other, was designed 
 by Robert de Cotte, and executed by his nephew Jules de Cotte. 
 
 Interior. The pulpit, with its curious allegorical ornamentation, is 
 in the doubtful taste of the 18th century. — The chapels of the aisles were 
 decorated in the early part of the 19th cent, with paintings, now faded 
 and visible only in bright weather. The subjects of the paintings are 
 indicated by the" names of the chapels; viz., on the left, Chapelle des Fonts, 
 St. Nicolas, de la Compassion, Ste. Suzanne, St. Denis, St. Vincent de 
 Paul, St. Joseph, St. Francois Xavier, and St. Carlo Borromeo; on the 
 right, as we return, Chapelle Ste. Madeleine, Ste. Catherine, Ste. Therese, 
 Ste. Clotilde, Ste. Genevieve of the Apostles, St. Stephen, and Chapelle des 
 Monuments. The most important paintings in the church are those in the 
 transepts: to the left, St. Denis preaching, by Vien (d. 1809), master of 
 David, in the academic style; to the right, Healing of the Leper, by 
 Doyen (d. IjOG), a somewhat' theatric 1 composition. In the Ist chapel to 
 the left: Baptism of Christ, a group in marble, by Lemoine. — 2nd Chapel: 
 Mater Dolorosa, by Bogino. — 4th Chapel: Monument of the ^66^ c?e r£'p^« 
 (1712-1789), founder of the Deaf and Dumb Asylum (p. 288), by Priault. — 
 In the transepts, from left to right: St. Augustine, \>\ (THuez; St. Andrew, 
 by Pradier; Agony in the Garden, by Falconet; St. Roch, by Coustou, etc. 
 The other side-chapels contain large'reliefs, by i>eseiM€, representing scenes 
 from the history of the Passion. 
 
 To the left and right, behind the high-altar, are paintings, hj Lethi&re 
 and Restout, of Christ appearing to Mary Magdalen and the Presentation 
 in the Temple. — Upon the al'ar of the Ist chapel of the retro-choir : 
 Nativity, a group in marble by Michel Anguier. — In the ambulatory are 
 the following: right, Christ blessing children, by Schneiz ; Christ driving 
 out the money-changers, by Thomas ; left, Raising of the daughter of Jairus, 
 by Delorme; Triumph of Mordecai, by Restout. — The Chapelle du Cal- 
 vaire (the 2nd), which is separate from the other two, contains three well- 
 executed groups : the Crucifixion, by Duseigneur, Christ on the Cross, by Mich. 
 Anguier, and the Entombment, by Deseine. The central group, with a figure 
 of Mary Magdalen, by Lemoine, occupies a niche and is lighted from above. 
 
 In 'the last chapel but one, as we return towards the entrance: Mon- 
 ument of Marshal Due de Criquy (d. 1637), by Coyzevox and Coustou. — Last 
 chapel: Monuments of Cardinal Dubois (d. 1729), by O. Coustou, and of 
 Comte d'Harcourt (d. 1666), by Renard; busts of the painter Mignard (d. 
 1695), by Desjardins. and of the landscape-gardener Le Ndtre (d. 1700), by 
 Coyzevox the Elder; monument of the learned chancellor Maupertuis (d. 
 1759), by d'Huez; bust of the Due de Lesdigui&res {d. 1626), by Coustou, and 
 several medallions. 
 
 The church-festivals are celebrated at St. Roch with great pomp, and 
 it is noted for its music (10 a.m. on Sun.). 
 
 It was in the Place in front of St. Roch, extending at that time as 
 far as the Tuileries Garden, that the Royalists who attacked the Conven- 
 tion on 5th Oct., 1795, placed thair best battalions; whilst others ad- 
 vanced on the side of the river. Napoleon Bonaparte, however, brought 
 the latter under a cross-fire from his batteries, which he had hastily sum- 
 moned, while by a vigorous attack he overwhelmed the soldiers of St. 
 E,och, th IS stifling the counter-revolution in its birth.
 
 2. LOUVRE. 85 
 
 The Rue des Pyramides , to the right of St. Roch, leads to the 
 Rue de Rivoli , passing the small Place de Rivoli, with a mediocre 
 equestrian statue of Joan of Arc, in bronze, by Fremiet. 
 
 Following the Rue de Rivoli to the left we now soon reach the 
 Nouveau Louvre and the Place du Palais-Royal (p. 57). 
 
 2. Palace and Galleries of the Louvre. The Tuileries. 
 
 I. THE PALACE OF THE LOTJVRE. 
 
 The **Louvre (PI. R, 17, 20; II), the most important public 
 building at Paris, both architecturally and on account of its treasures 
 of art, is a palace of vast extent, rising between the Rue de Rivoli 
 and the Seine. 
 
 The Louvre is said to derive its name from an ancient hnnting-clia- 
 tean once situated here in the midst of a forest infested by wolves, and 
 called the Lupara, or Louverie. On the same site, close to the city-wall 
 of that period, Philip Augustus (d. 1223) erected a castle, consisting of four 
 wings enclosing a quadrangular court, with a strong keep or donjon, the 
 position of which is indicated by a white line on the ground in the S.W. 
 corner of the Cour du Louvre. This chateau was afterwards handsomely 
 fitted up as a royal residence by Charles V. (d. 1380), but no trace of these 
 buildings now remains. The old chateau was removed, and the foundation 
 of the present palace laid, in 1541, by Francis I. (d. 1547), an indefatigable 
 builder, who intended the court of the new building to be of the same 
 extent as that of the old. The growth of the building may be traced in 
 the Historical Plan, facing p. 86. The works were directed by the archi- 
 tect Pierre Lescot\ during the reign of the splendour-loving Henri II (1547- 
 59) , and under subsequent monarchs. After the death of Henri II his 
 widow, Catherine de Midicis (d. 1589), during the reigns of her sons Fran- 
 cis II. (d. 1560), Charles IX. (d. 1574), and Henri III (d. 1589), continued 
 the erection of the S. wing, and in 1566 also proceeded to build the so- 
 called 'Petite Galerie'', a wing of one story over which the Galerie d'Apol- 
 lon (p. 133) was afterwards constructed. — Like his predecessors, Henri IV 
 (1589-1610) devoted much attention to the continuation of the Louvre. He 
 constructed the 'Galerie d'ApoUon"' and completed the 'Galerie du Bord 
 de TEau"", or S. gallery, the entire W. portion of which, however, was 
 rebuilt on a different plan under Napoleon III. Henri IVs architects are 
 said to have been Thibatild Mdtezeau and his son Lotiis Mitezeati, besides 
 whom Baptixte Androuet du Cerceau and his brother Jacques were also 
 employed. Pierre Chamhiges, or Chamhiche, is also mentioned as one of 
 the architects. Vnder Louis XIII. (1610-43) the works were suspended for 
 a considerable time, but in 1624 he entrusted Jacques Lemcrcier with the 
 completion of the buildings begun by Lescot. The extent of Lescofs design 
 was quadrupled, and what had formerly been the N. pavilion (Pavilion 
 Sully, or de THorloge) was now made the centre of the W. wing. The 
 construction of the N., S., and E. sides, barely begun by Louis XIII., was 
 continued by his successor Louis XIV. (d. 1715), Levauheing the architect 
 who succeeded Lemercier in 1660. The building was suspended under 
 Louis XV. and Louis XVI. and during the Revolution; but was resumed 
 under Napoleon /., whose architects, Percier and Fontaine, began the con- 
 struction of a N. gallery parallel to that on the S. Finally, after another 
 interruption, the old plan of the French kings and the first emperor for 
 the junction of the Louvre and the Tuileries was completed in 18;52-1S57 
 under Napoleon III., whose architects were Visconti (d. l'^53) and Lefuel. 
 The parts built under Napoleon III. include the E. half (220 yds. long) 
 of the N. gallery , and also the inner galleries on both N. and S., nearly 
 
 t For details regarding the artists, see List at the^ndbf the Handbook.
 
 86 2. LOUVRE. 
 
 as long, which with their transverse galleries at right angles, and the gar- 
 dens in the square, were intended to conceal the want of exact parallelism 
 between the N. and S. wings and between the Vienx Lonvre and thfe 
 Tuileries. 
 
 The older part of the Louvre has been the scene of many memorable 
 historical events. On 19th Aug., 1572, the marriage of Princess Margaret 
 of Valois with the King of Navarre, afterwards Henri IV of France, was 
 solemnised here, most of the Huguenot chie'fs being present on the occa- 
 sion. Five days later, on the night of 24th Aug., the signal was given 
 here for the massacre of the Huguenots. The guards immediately issued 
 from the palace-court where they had been assembled, and proceeded 
 first to the residence of Admiral de Coligny^ who became the first victim 
 of the fearful Night of St. Bartholomew. According to a tradition, repeated 
 by Mirabeau and other orators of the Revolution, Charles IX. himself on 
 this occasion fired on his subjects from one of the S. windows of the 
 palace, where the inscription, 'C'est de cette fenetre que Tinfame 
 Charles IX., d'exe'crable m^moire, a tire sur le peuple avec une carabine", 
 was accordingly engraved in 1795. Six years later, however, the words 
 were erased, as it was discovered that that part of the palace was not 
 built till the reign of Henri IV. 
 
 On 2ith May, 18T1, the whole building with its immense treasures of 
 art was seriously imperilled by the incendiarism of the Communards. The 
 part of the connecting wing next to the Tuileries was much damaged by 
 the fire, and the imperial library of 90,000 vols, and many precious MSS. 
 was destroyed. The Versailles troops fortunately arrived in time to arrest 
 the progress of the flames and prevent incalculably greater losses. 
 
 The palace of the Louvre consists of two main divisions, the 
 Vieux Louvre.^ or Old Lonvre, and the Nouveau Louvre., or New Louvre. 
 
 The Vieux Louvee is the large quadrangle of buildings at the 
 E. end of the opposite historical plan, enclosing a court of harmo- 
 nious design. The finest parts, however, are the S. half of the 
 W. side facing the court and the W. half of the S. side, next the 
 Seine, both by P. Lescot, the most distinguished master of the 
 earlier French Renaissance style ; the other portions , as indicated 
 above, being merely reproductions. The rich facade of the W. wing, 
 rising in three stories and decorated by Jean Goujon and Paolo 
 Ponzio, is justly admired as the most perfect example of the style 
 of the period of Francis I. The central pavilion was originally of 
 two stories only; the story subsequently added is adorned with ca- 
 ryatides by J. Sarazin. These domed pavilions, like the lofty deco- 
 rated chimneys , form a genuine peculiarity of the French Renais- 
 sance, as we have already noted at the Hotel de Ville (p. 63). The 
 attic story of the remaining three sides was added under Louis XIV. 
 The exterior facades are similar, except on the E. side, opposite 
 St. Germain I'Auxerrois. That fagade, 190 yds. long and 90 ft. high, 
 was erected by Cl. Perrault^ physician and architect, whose hand- 
 some Colonnade, consisting of 28 Corinthian columns in pairs, has 
 oeen somewhat overrated. The dimensions of the colonnade were 
 so unskilfully calculated, that it is not only longer than the main 
 building, but was also too high until the attic story was added. 
 
 The gardens on the outside of the Vieux Louvre are to be adorned 
 with monuments of artists. To the left, in front of the colonnade, is an 
 equestrian statue of Velazquez (1599-1660), by Fremiet; farther to the left 
 is the monument of Fr. Boucher (1770), by Auber, then that of Raffet (1804'
 
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 2. LOUVRE. 87 
 
 1860), with the drummer from his 'Review of the Dead'; and beyond that 
 19 a monument to Meitsonier (lfl5-1891), by Mercie. 
 
 The NoxJVEAU Louveb, which is much larger, extends to the W. 
 from the Vieux Louvre to beyond the Arc de Triomphe du Car- 
 ronsel, where it unites with two wings of the former palace of the 
 Taileries. It includes a few ancient portions, as indicated above, 
 but the most interesting parts are the modern additions, especially 
 those in the inner square. The heavy and showy fa<;ades of these 
 new buildings, with their pavilions roofed with domes, their Cor- 
 inthian half-columns, their Caryatides, their portico, colossal statues 
 (representing 86 eminent Frenchmen), and groups of sculpture (63, 
 of an allegorical character), harmonise in their general characteristics 
 only with the architecture of the earlier parts of the palace. It is 
 scarcely more practicable to enumerate the sculptures that adorn 
 the exterior of the Nouveau Louvre, than to enumerate those on the 
 Vieux Louvre. The pediments and caryatides of the six chief pa- 
 vilions, from left to right, beginning at the Place du Carrousel, are 
 by the following artists : Guillaume (next the Place) and Cavelier; 
 Duref (pediment), Bono, Polet^ and Cavelier; Vilain (two pavilions); 
 Simart (pediment), Briant the Younger. Jacquot, Ottin^ a.nd. Robert; 
 Jouffroy (next the square) and Lequesne. 
 
 The Louvre and Tuileries together cover an area of about 48 
 acres, forming one of the most magnificent palaces in the world. The 
 effect of the whole is harmonious, in spite of the lack of unity; and 
 the pile is considered perhaps the best work of French architecture. 
 
 To the W. of the square which occupies the centre of the court of 
 the New Louvre is a Monument to' Oamhetta (p. 146). 
 
 Since 1793 the apartments of the Old Louvre have been used as 
 a Museum. The E. half of the S. vving of the New Louvre also con- 
 tains collections, while the N. wing is occupied by the offices of the 
 minister of finance. 
 
 Those who wish to make use of their time before the Galleries are 
 open, or after they are shut, may walk through the Jardin des Tuileries 
 (p. 149) to the Place de la Concorde (p. 80), or along the quays on the Seine 
 to the Pont-Neuf (p. 225), or even as far as the Palais de Justice (p. 221). 
 The Galleries cannot be properly seen in one day. — Dejeuner may he 
 taken at the Palais-Royal (see pp. 12, 14). 
 
 II. THE GALLERIES OF THE LOUVRE. 
 
 The Louvre Collections are open gratis to the public daily, except 
 Mondays and certain holidays (see p. 56); hours, see p. 54. 
 
 The best time for visiting the galleries is as early as possible in the 
 morning, as they are often crowded in the afternoon, particularly on Sun- 
 days. — Overcoats, sticks, and umbrellas may, if desired, be left in 
 charge of the officials at the principal entrances. — Convenien es for the 
 u?e of visitors are to be found ofl' the Galerie Mollieu and R ;. VII and 
 IX of the picture-gallery-, keys kept by the custodians. 
 
 Persons de.'iring to copy in the Louvre or Lu.vembourg aj ly to the 
 Adminisiraton det Mtu^es, the oflice of which i^ in the S.W. ai le of the 
 court of the Vieux Louvre (PI. M). The conditions and regul tions are 
 posted up in the vaiious galleries. 
 
 The history of the **Louvre Collections dates from the time of the 
 French monarchs of the Renaissance of the i6th cent., who were not only
 
 88 2. LOrVRE. 
 
 intimately connected with Italy in their political relations, but paid en- 
 thnsiastic homage to Italian culture. Foremost among patrons of art and 
 collectors was Francis I. His efforts, however, were but partly successful ; 
 for the School of Fontainebleau, as the group of Italian masters employed 
 by him and by Henri II is usually called, exercised no permanent in- 
 fluence on the character of French art. In the reign of Louis XIV., 
 who purchased the collections of the banker Jabach and of Charles I. of 
 England, it again became the fashion to make collections of treasures of 
 art, both with persons of the highest rank (such as Cardinal Mazarin) and 
 members of the middle class (like Crozat). The royal collections, how- 
 ever, known collectively as the 'Cabinet du Roi\ were inaccessible to the 
 public. To the Revolution the collections of the Louvre are chiefly in- 
 debted for their great extent and magnificence. The principle of centrali- 
 sation was then for the first time applied to art collections, and various 
 treasures distributed throughout the royal palaces, in churches, and in the 
 suppressed monasteries were united here in 1793. At length , when the 
 French armies returned to Paris from Italy, the Netherlands, and Ger- 
 many, laden with treasures of art, the Louvre Collection became par 
 excellence the museum of Europe and wa? so celebrated under the name 
 of the 'Jlu^ee Xapole'on', that the Allies in 1814 did not venture to restore 
 its treasures to their former owners. The act of restitution was, however, 
 performed in 1815, but many fine paintings and statues still remained in 
 Paris, and the collections of the Louvre can still boast of being the most 
 extensive and valuable on the continent. They are constantly being in- 
 creased by purchases, and still more by gifts, for nearly every art-collector 
 in France beque'^ths some of his treasures to the Louvre. 
 
 The rooms of the Louvre, most of which are connected with 
 each other, are so numerons that it takes 2 hrs. to walk through 
 them all without stopping, and it is indispensable for the visitor to 
 be provided with a plan for his guidance. 
 
 Before entering , the visitor should particularly note that the — 
 
 Ground Flooe, contains the Sculptures , ancient and modern, 
 and the Engravings. 
 
 The FmsT Floob, contains the Pictures, the Smaller Antiquities, 
 the Mediaeval, Renaissance, and Modern Art Objects, the Drawings, 
 and various small collections. 
 
 The Second Floor contains the Musee de Marine, another room 
 with Paintings, the Musee Ethnographique , the Musee Chinois, and 
 the Supplementary Saloons of Drawings. 
 
 Visitors who have only a short time to devote to the Galleries 
 should begin with the Antique Sculptures (p. 89) and the Pictures 
 (p. 107), which are the first to be opened in the morning (see p. 87). 
 They are also recommended to adhere closely to the following 
 order of proceeding through the rooms, so as to avoid missing their 
 way or losing time by going twice over the same ground. The less 
 important rooms are here described in small type or indicated as 
 such. To find the description of any particular saloon, see the Index. 
 
 The authorities' caution visitors, by means of numerous notices, not to 
 employ the guides who assail the public at the entrances to the Galleries. — 
 ]Not much reliance can be placed on the Cv-siodians for information outside 
 the sphere of their special duties, 
 
 Enteancbs. Most of the Galleries have special entrances, which 
 are marked on the plan. The Principal Entrance, leading to the 
 Gallery of Antique Sculpture and to the First Floor, is in the
 
 2. LOUVKE. 89 
 
 Pavilion Benon (PI. G, groundfloor), in the court of the New Louvre, 
 on the side next the Seine. The descriptions below and at p. 106 
 "begin here. 
 
 The Catalogues sold at the entrances of most of the collections not only 
 enumerate the objects in each, but contain biographical notices of the art- 
 ists and other information. In several of the departments the objects are 
 furnished with the names of the artists, and sometimes with explanatory 
 notices. Our enumeration includes only the objects of greatest interest. 
 
 A. GROUND FLOOR. 
 
 The ** Collection of Ancient Sculpture (Musee des Marbres An- 
 tiques), though inferior to the great Italian collections, boasts of a 
 number of works of the highest rank. "We begin our enumeration 
 at the end next the Pavilion Denon (comp. above). 
 
 As the new catalogue of the antique sculptures has not yet appeared 
 (July, 1896), and as the numbering of the specimens is neither complete 
 nor on one uniform system, the numbers have been for the present omitted 
 in the following description. It may al-o be noted that the new labels 
 give the provenience of the specimens in large letters in the first line, n t 
 the subject of the sculpture. 
 
 In the VESTiBuiiE is a cloak-room foptional). 
 
 Nearly opposite the entrance is the Salle des Moulages, in which casts 
 of the sculptures in the museum are on sale. — We may pass through 
 this room to the rooms of the Engravings ( Calcographie) and of the Col- 
 lection Gvandidier (p. 146). 
 
 To the right is the Galeeib Mollien, which contains ancient 
 statues, more or less mutilated and of inferior value, a large By- 
 zantine mosaic, found near Tyre, in Phoenicia, two antique sarco- 
 phagi, etc. At the end is a staircase ascending to the French de- 
 partment of the Picture Gallery (PI. K; see p. 128). — We turn to 
 the left and enter the — 
 
 Gaxebie Denon , where copies of bronzes from the antique, 
 executed in the 16-18th cent, at Fontainebleau and Rome, and 
 mutilated antiquities are exhibited. 
 
 Bronzes. To the right and left, Centaurs, from the Capitol ; right. 
 Boy extracting a thorn from his foot (Capitol); left. Mercury (Florence), 
 Cnidian Venus (Vatican), Ariadne (Vatican), Antinous (Capitol); right, Corn- 
 modus as Hercules (Vatican), Laocoon (Vatican), Amazon (Vatican), the 
 Arrotino or knife-grinder (Florence); left. Faun (Madrid), Young Athlete; 
 to the right, Medicean Venus; at the end, Diana 'a la biche' (Louvre) 
 and Apollo Belvedere (Vatican). 
 
 Two antique Sarcophagi are also placed here, one with scenes from 
 the life of Achilles, the other, surmounted by two recumbent sepulchral 
 figures, with a battle of the Amazons. 
 
 We next reach the Grand Escalieb, or Escalieh Daru, which 
 ascends to the Picture Gallery (p. 107). This staircase, left un- 
 finished until a few years ago, is now being decorated. On the 
 ceiling are mosaics after Lenepveu^ referring to Antiquity and the 
 Renaissance, which are represented by allegorical figures of the 
 principal countries, and by medallions and the names of their most 
 illustrious artists. — At the top stands the Nike of Samothrace 
 (p. 106).
 
 90 2. LOUVRK. Ancient 
 
 A new room, to the right of the staircase, contains Antiquities 
 from Northern Africa , including sculptures (mostly much muti- 
 lated), inscriptions, mosaics, Roman lamps, terracottas, etc. 
 
 To reach the sculpture-gallery we now descend either on the 
 right or on the left of the staircase. On the walls, at the windows, 
 and under the staircase are ancient inscriptions, bas-reliefs, statues 
 of secondary importance, a large Roman mosaic with rustic scenes 
 and occupations, two fine sarcophagi (known as the 'Bordeaux 
 sarcophagi'), representing the legends of Endymion and Selene and 
 of Dionysos and Ariadne, the statue of the tutor of the children of 
 Niohe, from Soissons, the Faun from Aries, sarcophagus-reliefs, etc. 
 
 RoTONDE , with decorations in stucco by Michel Anguier (1653) 
 and paintings by Mauzaisse, representing the Creation of Man. In the 
 centre, the *Borghese Mars (formerly called Achilles), a celebrated 
 statue in which the 'dread god of war' is represented as sunk in 
 dreams of love. To the right of the entrance to the next room: 
 ^Silenus with the Infant Bacchus, known as the Taune a I'Enfant', 
 of the school of Praxiteles. 
 
 This is one of the most attractive of those representations from the sat3rr 
 world which were so much in vogne during the later period of Greek art. 
 The guardian seems to be pacifying the child by his looks and kindly 
 gestures, while the child smiles to him and raises his left hand caressingly. 
 An air of perfect repose and content pervades the whole group, and 
 the effect is enhanced by the admirable ease and finish of the execution. 
 
 Round this room are three statues of Apollo and an Athlete, 
 restored as Pollux. — Turning to the right, we now enter a suite 
 of apartments in the wing erected by Catherine de Medicis (p. 85). 
 The archway leading to the first room is embellished with a relief 
 by Chaudet, representing Painting, Sculpture, and Architecture. 
 
 Salle de Mecexe, with ceiling-paintings by Meynier (the "World 
 receiving from Hadrian and Justinian laws dictated by Nature, Jus- 
 tice, and Wisdom); the arches by Biennoury ('Sculpture'). To the 
 right and left, Reliefs, including several from Roman sarcophagi. 
 In the centre, Antique fountain. By the first window, Colossal 
 head of the Emp. Caracalla, found in Macedonia. By the second 
 window. Colossal bust of Maecenas. 
 
 The next four rooms chiefly contain sculptures of the Roman 
 imperial epoch and are therefore comparatively unimportant. The 
 ceiling-paintings, however, are noteworthy. 
 
 Salle des Saisons , with ceiling by Romanelli (1617-1662; 
 Diana with Apollo, Actseon, or Endymion; Apollo and Marsyas ; 
 Apollo and the Muses; the Seasons). In the centre, Roman married 
 couple in the characters of Mars and Venus. To the right. Bust of 
 Constantino the Great. The god Mithras slaying a bull ; Mithras, 
 god of day among the Persians, was identified among the Romans 
 with the god of the sun. Sarcophagus-reliefs. 
 
 Salle db la Paix, with ceiling by Romanelli (Peace as the 
 fruit of War; Peace and Agriculture). Door of 1658. In the centre,
 
 Sculptures. 2. LOUVRE. 91 
 
 Statue of Minerva, restored as Roma, seated on a rock, in red por- 
 phyry, the flesh-parts in bronze gilt. 
 
 Salle de Severe , with ceiling by Romanelli (Poetry and 
 History celebrating the warlike fame of Rome ; Rape of the Sabines ; 
 Continence of Scipio; Cincinnatus; Mucius Scsevola). Extensive 
 collection of busts of Roman emperors and empresses from Marcus 
 Aurelius to Caracalla, named with the help of coins and medals. 
 In the middle, Statue of Mammaea, mother of Alex. Severus. To 
 the right, Antinous, a fine bust; Pertinax, statue. 
 
 The Salle des Antonins is mainly occupied with busts and 
 statues of Trajan, Hadrian, Antoninus Pius, Marcus Aurelius, 
 Commodus, ^Elius Verus, and Lucius Verus, some of them in several 
 different styles. In the middle: Colossal statue restored as Marciw 
 Aurelius (head modern). Behind, and in the comer to the right, 
 Three statues of Trajan. On the other side, Colossal head of Lucilla, 
 wife of Lucius Verus. — The ceiling-paintings of the first division, 
 by Romanelli, represent Religion and the Theological Virtues, Genii, 
 Judith, Moderation, Prudence, etc.; those of the second division are 
 the French Hercules, by Hennequin; Victory and the Arts, by Le- 
 thiere ; Esther and Ahasuerus, by Romanelli ; Study and Fame, by 
 Peyron, etc. — To the right is the — 
 
 Salle d'Auguste, with ceiling-painting by Matout (Assembly 
 of the gods). Busts and statues of the early Roman emperors are 
 exhibited here. In the centre : *Bust of Julius Caesar j colossal *Bust 
 of Antinous. The expression of the latter is grave and pensive, and 
 the elaborately - arranged hair is adorned with Bacchanalian at- 
 tributes ; the eyes were originally of gems or enamel. — *Roman 
 Orator, formerly called Germanicus (perhaps Julius Caesar), conceived 
 in the type of a Hermes and of fine and vigorous, though somewhat 
 realistic, execution. It is inscribed with the name of the sculptor 
 Cleomenes of Athens (on the tortoise at the foot) and belongs to 
 the best period of the revival of Greek art under the early Roman 
 emperors. — Bust of Agrippa; Colossal bust oi Roma, with Romulus 
 and Remus on the sides of the helmet, each suckled by a she-wolf. 
 In the centre of the end- wall : *Statue of Augustus, with finely- 
 executed draperies. To the right, *Tiberius; to the left, Augustus; 
 in front, Two Young Romans v/ith the Bulla. Along the sides of 
 the hall: Busts of the Julian emperors and their families, that of 
 Nero especially interesting ; some of the female heads are executed 
 with great delicacy. 
 
 We now return to the Rotonde (p. 90), whence we enter the 
 other rooms to the right. 
 
 The *Salle Gbecque, or Salle de Phidias, contains works of the 
 culminating period of Greek plastic art, and that immediately before 
 and after it (5th cent. B.C.). Everything here is worthy of careful 
 inspection, though for the most part sadly mutilated. 
 
 In the centre, three mutilated statues , in the archaic style:
 
 92 2. LOUVRE. Ancient 
 
 *Juno^ from Samos, probably of the 6th cent. ; Two figures of Apollo, 
 from Actium. 
 
 To the right, below, by the wall next to the Rotonde: Three 
 ^Reliefs from the Island of Thasos, found in 1867. 
 
 These three reliefs originally formed one whole, which, as we learn 
 from the ancient inscriptions, belonged to a sanctnary sacred to Apollo, the 
 Charities (Graces) , and the Nymphs. The inscription in larger letters at 
 the top is of later origin, and refers to the use of the reliefs in adorning 
 a tomb in the Roman period. From each side of the central niche step 
 four goddesses, holding garlands and blossoms in their hands ^ those on 
 the left are accompanied by Apollo, those on the right by Hermes. In 
 form and movement the stiffness and angnlarity of the archaic school are 
 still visible, but the vitality and variety of the motives, as well as the 
 fine arrangement and execution of the drapery, betoken the period of 
 transition to a more perfect style. The work thus probably dates from 
 the end of the 6th or the beginning of the 5th cent. B.C. 
 
 Above : *Fragment of the Frieze of the Parthenon, the celebrated 
 temple of Athena on the Acropolis at Athens, executed by Phidias 
 or by his best pupils, Alkamenes and Agorakrites. 
 
 The frieze, which ran round the walls of the temple within the colon- 
 nade , represents the festive procession which ascended to the Acropolis 
 after the Panatheneean games for the purpose of presenting the goddess 
 with the peplos, or robe woven and embroidered by Athenian virgins. 
 The rest of the reliefs are in London and Athens. The fragment preserved 
 here represents young Athenian girls with vessels, and two priests, advanc- 
 ing in solemn procession. 
 
 Still higher: *Metope from the Parthenon (much mutilated), 
 representing a Centaur carrying off a woman, perhaps by Alkamenes. 
 Adjacent, to the right. Hercules subduing the Cretan Bull, and to 
 the left, Athena or a nymph sitting on a rock, two metopes from 
 the Temple of Zeus at Olympia, excavated by the French in 1829, 
 and in tolerable preservation. Compared with Attic sculptures, 
 these works, dating from about 450 B.C., are somewhat deficient in 
 grace, but they are full of freshness and vigour. 
 
 Below, to the left: Attic relief of '^Hermes, Orpheus, and Eury- 
 dice, an admirable example of the simple and yet majestic style of 
 the best period of Greek art. 
 
 'Orpheus was permitted to bring back his wife Eurydice from the 
 infernal regions to the light of day on condition that he should not look 
 at her on the way ; but he failed" to fulfil the condition. Hermes , the 
 leader of the dead, gently, but firmly grasps the hand of Eurydice to con- 
 duct her back to the empire of shades. In this simple and beautiful com- 
 position are traceable a whole series of different phases of hope and pain. 
 The advance of the procession, the turning round of Orpheus , the confi- 
 dential communing of the pair, the halt, and the impending return of 
 Eurydice are all distinctly pourtrayed'. KikuU. — There are replicas of 
 the "work at Rome and Naples. The inscription 'Zetus, Antiope, Amphion' 
 over the figures is doubtless comparatively modern. 
 
 In the first window-recess, on the side next the Seine : Glass- 
 case containing fragments from'the temple at Olympia. To the left, 
 Apollo. — Between the windows : Alexander the Great (?}, formerly 
 called Inopus. — By the second window : in front, Head of Apollo^ 
 after an original of the 5th cent. B. C. ; behind, Tablets with Athen: 
 ian decrees ; on the walls, votive bas-reliefs. — By the third window- 
 Funeral bas-reliefs.
 
 Sculptures. 2. LOUVRE. 93 
 
 By the wall at the end of the room, Funeral monuments, in- 
 cluding several fine large bas-reliefs. The best is the * Tomb-relief 
 of Philis, daughter of Cleomedes, from Thasos. 
 
 The deceased is here represented, as was the custom on Attic steles, 
 in a scene of daily life and in her usual dress, with a cap, and holding a 
 jewel-case in her hand. A peculiar charm is lent to this relief by the 
 faint lingering characteristics of ;zenuine archaic Greek art and by the simple 
 and natural feeling of the representation. 
 
 In front, part of a sepulchral couch, found in Macedonia. 
 On the side next the court, to the left of the window : Bust of 
 a veiled woman; Minerva from Athens. By the window: Inscrip- 
 tions, including a Marble Stele, brought from Athens by Choiseul- 
 Gouffler, with inscriptions, recording the sums spent by the treas- 
 urers of the Parthenon in the 3rd and 4th years of the 92nd Olympiad 
 [B.C. 410 and 409). Above it, a relief of Athene, the sacred olive- 
 tree, and the Archon Glaucippus. — Then : Bust of a Greek athlete, 
 called Theseus (?) ; Daughter of Niobe; Lion; architectural frag- 
 ments from Macedonia and Epirus. 
 
 Paintings on the ceiling and walls: Diana and Jupiter, by Prud^hon; 
 Hercules receiving from Diana the stag with the golden horns, by Gar- 
 nier; Diana restoring to Aricia Hippolytus resuscitated by jEsculapius, by 
 Mirimie. Sculptures: Bas-reliefs h^' Cartellier^ Esparcieu , and Foucou; 
 casts of Jean Goujon's sculptures on the Escalier Henri II (p. 97). 
 
 We proceed in a straight direction, leaving the Salle des Cari- 
 atides (p. 96) on the left, and the Salle du Tibre [p. 96) on the right. 
 Corridor de Pan. To the right, near the end : Sitting figure 
 of Pan, of poor workmanship, and freely restored. 
 
 Salle du Sarcophage de Mbdee. To the right : *Sarcophagus 
 adorned with a representation of the myth of Medea. Hunting satyr 
 (bas-relief); The Graces (heads modern); Silenus ; Hygieia (?head 
 from another statue). At the entrance to the following room, two 
 figures of Venus. 
 
 Salle de l'Hermaphrodite de Velletri. To the right : Three 
 figures of Athena. In the window-recess : Hermaphrodite of Vel- 
 letri (comp. p. 96). To the left. Young satyr and boy. — At the en- 
 trance to the next room, two figures of Venus rising from the sea. 
 Salle du Sarcophage d'Adonis. To the right: Youthful Bac- 
 chus. Roman sarcophagus with Tritons and Nereids. Upon it, Statue 
 of Euripides, with a list of his works. On the wall above : Front of 
 a sarcophagus, with reliefs in three scenes, representing Adonis 
 starting for the hunt, being wounded by the boar, and dying in 
 presence of the mourning Aphrodite. — In the entry to the next 
 room stand four figures of Aphrodite. 
 
 Salle de la Psychk, To the right: Psyche (freely restored). 
 Several bas-reliefs from sarcophagi. Dancing Satyrs. Two fine 
 marble chairs. Athlete anointing himself with oil. — At the entry 
 to the next room : Venus of Falerone, for comparison with the 
 following. 
 
 Salle db la Venus de Milo , dedicated to the ** Venus of
 
 94 2. LOUVRE. Ancient 
 
 Milo, the most celebrated of the treasures of the Louvre. 'This 
 is the only statue of Aphrodite handed down to us which re- 
 presents her not merely as a beautiful woman, but as a goddess. 
 The form is powerful and majestic, and yet instinct with an in- 
 describable charm of youth and beauty, while the pure and noble 
 expression of the head denotes the goddess's independence of all 
 human requirements and the calm self-sufficiency of her divine 
 character. The fact that this beautiful work , notwithstanding its 
 great excellence , is not one of those which have been specially 
 extolled by ancient authors , affords us an approximate idea of the 
 beauty of those lost masterpieces which formed the great marvel of 
 antiquity' (Luhke). 
 
 The statue was found in 1820 by a peasant in the island of Melos, 
 now Milo, at the entrance to the Greek Archipelago, and sold for 6000 fr. 
 to the French government. It is the work of a school which forms a 
 transition from the school of Phidias to that of Praxiteles , and is very 
 similar to the Florentine group of the Children of Niobe, which was 
 probably executed by Scopus, a contemporary of Philip of Macedon, so 
 that this Venus is not unreasonably ascribed to a pupil of that master. 
 On the ancient monuments Aphrodite and Xike , in attitudes similar to 
 that of this work, are each represented singly, holding a shield; and the 
 same attitude is observed in groups of Aphrodite with Ares. The weight 
 of evidence in the present case is in favour of the view that the goddess 
 stood alone, holding a shield as a symbol of victory in her hand. 
 Among various fragments found along with the statue were part of a left 
 arm and a left hand, the closed fingers of which hold an apple (now 
 preserved in a glass-case by the first window to the left) ; and this has 
 naturally led some of the French savants to suppose that this Aphrodite 
 held an apple in her uplifted left hand and her drapery with the right. 
 The hand is, however, of inferior workmanship to the torso, so that it is 
 probably either altogether unconnected with it, or belonged to an ancient 
 attempt to restore the work. 
 
 Sallb de la Melpomenb. By the wall at the back: Melpo- 
 mene, one of the largest ancient statues in existence (13 ft. in 
 height), hewn out of a single block of Pentelic marble, and admir- 
 ably draped. — The large mosaic in front, by Francois Belloni 
 (after Gerard), represents the genius of Napoleon I. (in the char- 
 acter of Minerva) gaining victories that she may inaugurate peace 
 and plenty. — To the right, by the window at the back : *Head of 
 Aphrodite, of the Onidian Venus type, probably of the school of 
 Praxiteles. To the right and left of Melpomene : Two fine statues 
 restored as Euterpe. 
 
 Salle de la Pallas de Velletri. In the centre. Large marble 
 Cratera with masks of satyrs. Genius of Eternal Sleep; Bust of 
 Alexander the Great; Venus, an antique reproduction of the Venus 
 of Aries (see below); ancient bath of porphyry. — * Venus of Aries, 
 a Greek work found in 1651 at Aries in Provence. — *Head of 
 Homer (upper part of a herma), of the well-known type ; the sunken 
 features, sightless eye -balls, and slightly -opened mouth are all 
 characteristic of the ancient conception of the inspired singer in his 
 old age. 
 
 *Apollo Sauroctonus , 'the lizard-slayer', a copy of a work by
 
 Sculptures. 1. LOUTRE. 95 
 
 Praxiteles; the right hand originally held a dart, with which he 
 was about to transfix the reptile. 
 
 The easy attitude, the charming abandon of the figure almost femi- 
 nine in its forms, the ideal beauty of the countenance, the perfect pro- 
 portion of the limbs are so many distinctive marks of the genius of the 
 great Athenian sculptor'. Froehner. 
 
 *Vase of Sosibius^ with a curious representation of a festive 
 dance of Satyrs and Monads round a sacrificial altar, approached by 
 Diana, Apollo, Hermes, and other gods. 
 
 To the right, in retracing our steps : Rustic butcher ; Baccchi 
 candelabrum ; Bacchus and Silenus ; Juno (?) restored as Provi- 
 dentia. — On the other side: Statue restored as Urania; Sarco- 
 phagus with reliefs of Actseon torn to pieces by his dogs. — ^Pallas 
 of Velletri, whence the saloon derives its name, a Roman copy of 
 a work of the best Greek period, found in 1797 at Velletri near 
 Rome. In the right hand was a spear, in the left perhaps a small 
 Nike (Victoria). — Polyhymnia, the upper part of the body mod- 
 ern ; in front, ''^Sarcophagus of the Muses , on which are repre- 
 sented the Nine Muses in the following order, from left to right: 
 Olio, Thalia, Terpsichore, Euterpe, Polyhymnia, Calliope, Erato, 
 Urania, and Melpomene. On the right end are Plato and Calliope; 
 on the left, Socrates and a woman; on the top, a festival. — At the 
 entrance to the next room, Atalanta. 
 
 Salle du Heeds Combattant. In the centre : Venus Genetrix, 
 as the traditional ancestress of the Julian family. — *Fighting Hero 
 or Borghese Gladiator, found at Antium near Rome, in one of the 
 imperial palaces. The inscription records that it was executed by 
 ^Agasias, sou of Dositheos of Ephesus', who seems to have flourished 
 in the last years of the Republic or the first of the Empire. 
 
 'The statue is rather to be regarded as that of a hero fighting. The 
 right arm is modern, while the left arm and the strap of the shield are 
 preserved. Opposite the hero we must suppose an Amazon on horseback 
 or standing on a rock above, against whom the hero is defending him- 
 self with his shield by a movement of his left arm. while with his right 
 he is directing the stroke of his sword with eager look. The mouth is 
 open, as if the hero, like Homer's warriors, were shouting to his adver- 
 sary. The expression of the face is indicative of a supreme and yet con- 
 rolled effort of strength. The distinctness with which the simultaneous 
 acts of defence and attack are expressed in this master-work has led to 
 the belief that the figure did not originally stand alone, but was placed 
 opposite some antagonist, without whom the hero's attitude would be 
 comparatively meaningless.' Welcker. 
 
 Young satyr, known as the ^Faune h la tache^; *Diana of Gabii, 
 a charming work, probably of the time of Alexander the Great and 
 simply a genre-figure of a girl. To the right, in retracing our steps : 
 Mercury (the 'Richelieu Mercury') ; *Borghese Centaur, or Centaur 
 subdued by the Genius of Bacchus, resembling one of the Capitoline 
 Centaurs, which, however, is without the Genius. — Diana; Wounded 
 Amazon. On the other side : Minerva Pacifica ; Cupid and Psyche ; 
 ^Marsyas, bound to the trunk of a tree, in order to be flayed alive at 
 Apollo's command; in front. Sarcophagus of Meleager, on which
 
 96 2. LOUVRE. Ancient 
 
 lies a celebrated Graeco- Egyptian map of the stars, named after 
 Fr. BiancMni (d. 1729), an astronomer of Verona 5 Cupid; Cupid 
 as Hercules ; Mercury. 
 
 Salle du Tibre. In the centre: Unknown Greek poet. — 
 *Diana h la biche or Diana of Versailles^ probably executed at Rome 
 by a Greek sculptor during the last century of the Republic. It is 
 similar to the Belvedere Apollo, but inferior in execution. 
 
 The goddess, walking fast, seizes an arrow. She is looking round as if 
 in search of fresh game. The expression of face is grave, the forehead high 
 and severe, the eyes eager. The roe running beside her heightens the 
 impression of the rapid strides of the goddess. 
 
 *Colossal God of the Tiber , recumbent, with Romulus and 
 Remus and the she- wolf by his side, probably a work of the early 
 Roman empire, an admirable companion to the celebrated group of 
 the Nile in the Vatican (cast in the Tuileries Garden, p. 150). On 
 the left and right: Two Flute-playing Fauns, after Praxiteles. — 
 Behind, Four colossal Fauns bearing a frieze, a happy combination 
 of the dignified and the humorous, from the Theatre of Dionysus at 
 Athens (3rd cent. B. C). Another of these figures is preserved at 
 Athens, and a sixth at Stockholm. 
 
 By the second window : *J5ase of the Borghese Candelabrum, 
 also known as the Altar of the Twelve Gods. 
 
 Each of the three sides is divided into two equal parts, the upper part 
 containing four figures, the lower, three. First side: Jupiter, Juno, Ifep- 
 tune, Ceres; the Three Graces. Second side (left): Mars, Venus, Mercury, 
 Vesta; the Three Fates. Third side: Apollo, Diana, Vulcan, Minerva; 
 three Hours or Seasons. 
 
 To the left, by the first window : So-called Astrological Altar 
 of Gabii, with the heads of the twelve Olympian gods and the signs 
 of the Zodiac. 
 
 In front of the windows: Bacchus of Versailles ; ^Esculapius. 
 
 Salle des Cabiatides, so called from the caryatides at the 
 other end. 
 
 The saloon itself was originally an ante-chamber of the apartments of 
 Catherine de Medicis, and was therefore named the 'Salle des Gardes'. 
 Here Henri IV celebrated his marriage with Margaret of Valois , and 
 here his body was placed after his assassination. It was in this saloon 
 that the Ligne held its meetings in 1593, and that the Due de Guise 
 caused four of its most zealous members to be hanged the following year. 
 In 1659 the room was used as a theatre by Moliere, who acted here in 
 his own inimitable plays. 
 
 "We first enter a kind of vestibule which contains, by the 
 farther wall, a chimney-piece executed by Percier and Fontaine 
 in 1806. In front of the chimney-piece : *Hereules, with his son 
 Telephus and the hind by which the latter was suckled. — To the 
 left, by the window, the *Borghese Hermaphrodite, of the latest 
 Greek period, and too sensuous in style. The mattress is an un- 
 happy idea of Bernini (ITth cent.). 
 
 In the Salle proper, between two pillars: Jupiter of Versailles, 
 a colossal herma; 'no extant ancient statue of the ruler of Olympus 
 produces a more impressive effect than this' (Froehuer). To the
 
 Sculptures. 2. LOUVRE. 97 
 
 right, Statue of a Greek philosopher (Poseidonios?). To the left, 
 *Demosthenes ; the compressed lower lip suggests the effort made 
 by the great orator to overcome his stammering ; his features ex- 
 press the utmost intelligence and great self-reliance. 
 
 In the centre : Mercury and Apollo, of the school of Pasiteles 
 (1st cent. B.C.); Ancient alahaster vase, so placed that the faintest 
 whisper uttered at its edge is distinctly audible to an ear at the edge 
 of the similar vase at the other end; *Young Greek (Mercury?) in 
 the act of fastening his sandals, formerly called Jason or Cincinnatus; 
 Reposing Bacchus ; *Borghese Vase , in Parian marble , with ad- 
 mirable Bacchanalian representations, found in the 16th cent, near 
 the gardens of Sallust at Rome. Then, * Young Dionysus (the 
 'Richelieu Bacchus'); Discobulus; *^Minerva au colUer\ in the 
 archaic style. 
 
 The four *Caryatides bearing the gallery at the end were exe- 
 cuted by Jean Ooujon (p. 102). Above it is a cast of Cellini's Nymph 
 of Fontainebleau (p. 103). 
 
 Round the walls, from right to left: Intoxicated Bacchus; Large 
 Candelabrum reconstructed in the 18th cent, from ancient fragments, 
 Two statues restored as Thalia; Youthful Hercules. — * Venus in 
 the Bath, crouching so as to allow a nymph to pour water over her 
 back (freely restored) ; Alexander the Great , head and torso of 
 different statues ; Boy with a goose ; Jupiter; Nymph of Diana 
 (^ Venus h la coquilW); Jupiter; Crouching Venus (head modern). 
 
 Antique Bronzes, see p. 137; Terracottas, Vases, etc., p, 142. 
 
 The Escalier Henri II, in the Pavilion de I'Horloge, adjoining 
 the Salle des Cariatides, ascends to the principal collections on the 
 first floor (see plans, pp. 86, 87; Collection La Caze, p. 136). It 
 is, however, better to ascend by the grand staircase, reached by 
 returning through the Salle des Cariatides, and turning to the right. 
 The staircase is decorated with sculptures by Jean Goujon. 
 
 Visitors who have time to spare should pass out, by the side 
 of the Escalier Henri II, into the Court of the Old Louvre, in order 
 to inspect the following collections, which are open daily from 11. 
 
 The *Egyptian Museum (Musee des Antiquites Egyptiennes), the 
 most important collection of the kind in Europe, affords, so far as 
 is possible without the appropriate architectural surroundings, an 
 almost complete survey of the religion, the customs, and the art-life 
 of the most ancient of civilised nations. Changes in the arrange- 
 ments are at present taking place, but the exhibits are provided 
 with explanatory labels. The entrance is in the passage under the 
 colonnade (p. 86), on the right side when approached from the court 
 (A on the Ground-plan). 
 
 We first enter the Salle Henri IV, which contains the largest 
 objects in the collection. Among these are the Sphinxes, fantastic 
 figures with lions' bodies and human heads (gods or kings), sym- 
 
 Baedekek. Puris. 12th Edit. 7
 
 98 2. LOUVRE. Egyptian Museum. 
 
 bols of strength united to intelligence, which were erected in pairs 
 to serve as guardians at the entrances of temples ; Steles^ or votive 
 stones erected to the memory of deceased persons, bearing inscrip- 
 tions and representations of the infernal deities (Osiris), to whom, 
 as well as to the deceased themselves , offerings were presented 
 by the bereaved relatives ; Statues , likewise chiefly from tombs ; 
 Bas-reliefs ; and Sarcophagi. 
 
 Egyptian chronology being scarcely an exact science, the monuments 
 of this collection are dated merely by dynastiet , some of which were 
 only 70 years in duration while others lasted for 450 years. Thirty-one 
 such dynasties are reckoned, the earliest, according to Mariette, extend- 
 ing back to the year 5004B.C., the latest coming down to 340 B.C. Exact 
 dates first begin to be possible about 685 B.C. , under the 26th dynasty. 
 The 2Uth dynasty flourished in the 12th cent. B.C. , the 15th dynasty in 
 the 22nd cent., and the 10th dynasty in the 32nd cent. B.C. 
 
 The large Sphinx in pink granite at the entrance is in better preserv- 
 ation but is not so interesting as its pendant at the other end of the room. 
 To the right, Ifos. A 18, A 19. Foot and head of a colossal statue of 
 Amenhotep (or Amenophis) III., the Memnon of the Greeks. *D9. Sar- 
 cophagus of Taho , a 'masterpiece of the later Egyptian sculpture"; the 
 decorations on this, as on other sarcophagi, refer to the symbolical parallel 
 between the course of the sun after its setting, 'in the mysterious paths 
 of the Wesf, and the wanderings of the soul after death. — To the left, 
 D 8. Sarcophagus of a Priest^ of the reign of Psammetichus I. (26th Dyn.). 
 Farther on, A 20. so-called Statue of Ramses II.., belonging to a king of 
 the old empire (12th or 13th Dyn.), usurped by Ramses. In the middle 
 are several recent acquisitions, including the capital of a column in the 
 form of a double head of Hathor, from the temple at Bubastis, and a 
 fragment of a clustered column with a lotus capital. In front of the large 
 capital, *B7. Painted bas-relief of Seti I. (Sesostris; 19th Dyn.) and the 
 goddess Hathor; 'the lean and elongated form of Seti may be taken as 
 a genuine type of the proportions aimed at by the artists of that time". 
 A 24. Colossal Statue of Seti II., in red sandstone, with the 'Pshenf or 
 royal hat on his head and holding a flag-staff on which the royal name 
 and titles are engraved. Farther back, D 31. Portion of the base of the 
 obelisk of Luxor (p. 81), with four cynocephali (dog -faced baboons), 
 representing the spirits of the East adoring the rising sun. Above it, D 38. 
 Cast of the Zodiac of Denderah (p. 193). Then, A 2. Sekfiet. goddess of love, 
 with a lion's head; A 24. Statue of Earua, treasurer of Queen Ameniritis 
 (25th Dyn.); D 1. Colossal Sarcophagus of Bamses III. (20th Dyn.), in pink 
 granite (the lid is at Cambridge), — To the right. Sarcophagus of an official 
 named Horus; in the interior are the 42 infernal judges who assisted 
 Osiris in judging the dead. Adjoining it, Sarcophagi in human shape, 
 with beautiful reliefs. — To the left, by the wall, C46. Stele of pink 
 granite, in the form of an Egyptian temple-gate under the 18th Dyn.; 
 farther on, D29. Naos of Amasis., monolithic votive chapel in pink granite 
 (5th cent. B.C.). 
 
 To the left, at the end of this hall, is the Salle d'Apis, of less 
 interest to the ordinary visitor. It derives its name from the figure 
 of a hull, dating from the 30th Dyn. (4th cent. B.C.). 
 
 The Apis was the animal sacred to Ptah, the great god of Memphis. 
 The bull to be thus honoured required to be black in colour, to have a 
 white triangle on his forehead, a white mark on his back resembling an 
 eagle, and an excrescence under his tongue in the shape of the sacred 
 scarabseus beetle. After his death the sacred bull was interred with great 
 pomp in the vaults known to the Greeks as the 'Serapeum', a word derived 
 from 'Osiris Apis', which the Egyptians applied to the dead Apis. 
 
 At the side are several Canopi , or sepulchral vases in the shape of 
 human heads. Around the walls are Steles^ erected by devout persons in
 
 Asiatic Museum. 2. LOUVRE. 99 
 
 the tombs of the bulls, which give the dates of the deaths of these revered 
 animals, with the king's reigns when they occurred, affording a valuable 
 clue to Egyptian chronology. The Lion, near the window, of a late 
 period, should be noticed. — At the entrance to an adjacent apartment 
 is the gateway of the Serapeum (under glass), with inscriptions of the 
 period of the Ptolemies. In this room is a statuette of Bei, a grotesque 
 Egyptian divinity, etc. A door leads hence to the rooms containing the 
 Renaissance Sculptures (p. 101). 
 
 Another gallery, for monuments anterior to the New Empire, is about 
 to be opened under the colonnade beside the Salle d'Apis. 
 
 On the left wall of the adjoining staircase is a fragment of the most 
 valuable inscription discovered in the great temple at Karnak, recording 
 the campaign of Thotmes II. (18th Dyn.); then A22. a genuine Statue of 
 Ramses JI., the Pharaoh of the Exodus, an admirable work in alabaster, 
 the upper part of which, however, is modern. 
 
 The above-mentioned staircase ascends to the first floor, on which 
 are the Remaining Egyptian Collections, to the left (p. 141), etc. 
 
 The *A8iatic Museum (Musee des Antiquites Asiatiques) contains 
 one-half of the yield of the excavations made on the site of the an- 
 cient Asswr and Nineveh by M. Botta and Sir A. H. Layard (the other 
 half being in the British Museum), and also antiquities collected 
 by scientific missions and private individuals in other parts of Asia. 
 — The entrance is opposite that of the Egyptian Museum , to the 
 right in coming from the Cour du Louvre (B on the Plan, p. 87). 
 
 Room I. (Grande Galerie) : Assyrian Antiquities. The kingdom of 
 Assyria or Assur, the land of the Nimrod of the Bible, lay on the left 
 hank of the Tigris, its capital being Assur, and afterwards Nineveh. 
 The Assyrians conquered the Babylonian empire about B.C. 1250, 
 and afterwards extended their supremacy as far as Asia Minor. The 
 excavations have brought to light remains of extensive palaces, the 
 chambers of which were lined with alabaster slabs, bearing scenes 
 from the lives of the Assyrian monarchs, similar to those on the 
 Egyptian monuments, and still more lifelike. Hunting-scenes, 
 battle-fields , and sieges alternate with others representing the king 
 in his court or among his guards , and accompanied by figures of 
 fantastic monsters. The inscriptions are in cuneiform character, or 
 wedge-shaped and angular signs placed horizontally and obliquely. 
 Most of the sculptures exhibited here belonged to the palace of King 
 Sennacherib (B.C. 722-705) at Khorsabad, to that of Nimrod (10th 
 cent.), or to that of Sardanapalus V. at Nineveh (7th cent.). 
 
 Most of the gigantic '^ Winged Bulls come from the palace reared at 
 the modern Khorsabad by Sennacherib or Sargon. These were placed, 
 like the Egyptian sphinxes, at the entrances to great buildings, and their 
 human heads wearing a tiara seem to leave no doubt that they were 
 personifications of kings. Like the sphinxes, too, these animals symbolized 
 the union of strength and intelligence -, and wings are frequently found 
 as the emblem of power on Assyrian monuments. — The Colossal Figures 
 opposite the windows also adorned the entrance to the palace. The figures 
 who, without apparent effort and without passion, are crushing lions 
 against their breasts represent the Assyrian Hercules. In the spaces 
 between these figures are bas-reliefs of royal corteges, a king and a priest, 
 a king sacrificing an antelope to a god. etc. The defciils on these and 
 other reliefs have an important historical value; while certain portions, 
 
 7*
 
 100 2. LOUVRE. Asiatic Museum. 
 
 especially the horses, are of admirable workmanship. In the centre of 
 the room: Nine headless statues, two heads, and other Chaldean anti- 
 quities; finely-designed Door-frame. 
 
 Visitors who are pressed for time may pass hence immediately 
 to the following collection (p. 101). 
 
 Rooms II & III. : Phoenician Sarcophagi, in black and white 
 marble. — In the middle : Ba.sa.lt Sarcophagus of King Esmunzar 
 of Sidon, with the longest known Phoenician inscription. 
 
 The Phoenicians , whose chief settlements were on the Syrian coast, 
 possessed important colonies on every part of the Mediterranean, and were 
 the earliest traders between the East and West. To them we are indebted 
 for our modern system of writing, as they were the first to reject the 
 cumbrous Egyptian style and to adopt a simple sign for each simple sound. 
 They also exercised no small influence on the earlier stages of Greek art. 
 
 Room IV., to the left, contains Phoenician antiquities and others 
 from Syria and Cyprus. Among these are a Vase, 12 ft. in diameter, 
 from Amathus in Cyprus, hewn out of a single block of stone, and 
 seven statues from the same island. — The — 
 
 Salle de Milet, the 36th room of Greek antiquities , contains 
 sculptures from Miletus and Heraclea in Asia Minor, and also frag- 
 ments from the Temple of Apollo at Didyma. In the centre : Two 
 colossal bases of columns from the same temple. At the back : 
 Statues (headless) which adorned the theatre, in the Greek style. 
 Mutilated statues from the Necropolis , in the Assyrian style. On 
 the upper part of the walls, Bas-reliefs from the temple of Assos, 
 in Mysia, specimens of primitive Ionian art. — The — 
 
 Salle de Magnesie du Meaxdre (37th room) contains frag- 
 ments of the Temple of Artemis Leucophryene ('Diana of the white 
 eyebrows') at Magnesia, near Ephesus, of a late period. The *Frieze, 
 one of the most extensive relief-compositions of ancient times, about 
 88 yds. in length, represents wild contests between Greeks and 
 Amazons. "We also observe a Vase from Pergamus, with reliefs of 
 young Greeks on horseback ; and a statue of Diana from Phrygia, 
 acquired in 1888. 
 
 Continuation of the Asiatic Collections, on the first floor, to which 
 the adjoining staircase ('Escalier Asiatique') ascends, see p. 140. 
 
 The Salle Jtjdaiqtje, to the right, under the staircase (9th room 
 of the Asiatic Antiquities), contains Jewish antiquities from Pales- 
 tine and the neighbouring countries, such as sarcophagi from the 
 Tombs of the Kings, architectural fragments, reliefs, pottery, Moabite 
 sculptures, and inscriptions. In the centre of this room is the famous 
 basalt Stele of King Mesa of Moah, whose battles with the Jews in 
 B.C. 896 are recorded by the inscription. This is the oldest known 
 example of alphabetic writing. 
 
 Quitting this room, we proceed to visit the remainder of the 
 groundfloor.
 
 Mediaeval Sculptures. 2. LOUVRE. 101 
 
 '''Collection of Mediaeval and Renaissance Sculptures (Musee 
 des Sculptures du Moyen Age et de la Renaissance). The chief en- 
 trance is in the S. wing of the inner Conrt of the Louvre, "by the 
 door on the left of the passage, as we face the Seine (PI. D ; p. 87) ; 
 but it may also be reached via the small room under the staircase 
 at the end of the large room of the Egyptian antiquities (p. 99). — 
 Catalogue not yet (July, 1896) issued. 
 
 Vestibule. Reproduction of a fountain-group from Fontaiiie- 
 bleau, with a bronze Huntress Diana, after the antique (p. 96), and 
 four bronze dogs of the French school of the 17th century. — The 
 rooms to the left are not yet arranged. — The — 
 
 Salle des Antiquites Chkbtiennes, to the right, contains 
 sarcophagi, reliefs, a mosaic, and inscriptions, chiefly of the 4th 
 and 5th centuries, from S. France, Italy, Algeria, etc. — Adjoining 
 room, see p. 103. 
 
 Salle Beauneveu or Room I., at the end to the left, communi- 
 cating with the Egyptian Museum (p. 99), contains statues from 
 tombs and statuettes of the French school of the 14-15th centuries. 
 The chief work is the *Monument of Philippe Pot, grand-seneschal 
 of Burgundy and favourite of Philip the Good , who was buried at 
 the Abbey of Citeaux. The recumbent statue reposes on a slab 
 supported by eight mourning figures. By the window towards the 
 Seine, a Flemish *Calvary, in wood (16th cent.). At the window 
 towards the Place is the bronze sepulchral tablet of a Catalan 
 merchant (1400). In the centre the tomb -figure of Blanche de 
 Champagne, in beaten copper (14th cent.). 
 
 Salle du Moyen Age (II). Other French tomb-statues of the 
 14th century; three figures of the Virgin, Christ, and bas-reliefs of 
 that date. Statue of Childebert, King of France (13th cent). Gothic 
 *Door from a house in Valentia in Spain (15th cent.). Sculptured 
 fragments, including four from the rood-loft of the cathedral of 
 Bourges and another from Notre-Dame at Paris (in the centre); 
 capitals, etc., of the ll-13th centuries. 
 
 Salle de Michel Colombb (III), the works in which show the 
 French school of sculpture uninfluenced by Italian art. By M. Co- 
 lombe or Michault Columh (1431-1514), the chief representative of 
 the Loire school of his period, from whom the room takes its name : 
 opposite the entrance, *St. George and the Dragon, a large relief. 
 To the right, *Virgin, of the same school. Below the relief, Entomb- 
 ment, ascribed to G. Pilon. In the middle : *Mercury and Psyche, 
 bronze, by A. de Vries; Mercury, a replica of the bronze statue in 
 Florence by Giov. da Bologna, an imitator of Michael Angelo, and 
 a native of Douai in Flanders ; Fame, by Berthelot. Behind and at 
 the sides, sepulchral statues and bas-reliefs of the 15-16th cent. ; 
 bust of Giov. da Bologna, by P. Tacca; *Virgin (16th cent.); bronze 
 bust of Francis I.; *Tomb of Jean de Cromois, abbot of St. Jacques, 
 at Liege (d. 1526). Between the windows. Statue of Henri IV,
 
 102 2. LOUVRE. Renaissance 
 
 attributed to B, Tremblay and G. Gissey. By the second window, 'La 
 Mort St. Innocent', a skeleton from the former Cemetery des Inno- 
 cents ; fine bas-reliefs, including a Holy Family, after Diirer, at- 
 tributed to Hans Daucher. 
 
 Salle de Jean Goujon flV), named after the most dis- 
 tinguished French sculptor of the 16th century, who executed, under 
 Henri II, a great part of the decorations of the Louvre. His best- 
 known work is the large group of *Diana with the stag in the middle 
 of this saloon , which affords an excellent example of the grace- 
 fulness of form and other attributes characteristic of French taste. 
 (The visitor will find it interesting to compare this Diana with 
 Benvenuto Cellini's Nymph of Fontainebleau , p. 103.) In the 
 middle of the room are also placed a marble group of the Three 
 Theological Virtues or Three Graces (the urn on whose heads was 
 once destined to contain the heart of Henri II), and wooden statues 
 representing the Four Cardinal Virtues (destined as the supporters 
 of a reliquary), works by Germain Pilon (d. 1590), showing the 
 same style as the Diana, and one which the French painters soon 
 afterwards adopted. — Round the room from right to left : Barth. 
 Prieur, Statue of Anne de Montmorency ; G. Pilon^ Bust of a child ; 
 three bas-reliefs ; statue and figures from the tomb of the wife of 
 the chancellor De Birague ; J. Goujon, *Five bas-reliefs ; G, Pilon, 
 Mater Dolorosa, in painted terracotta; B. Prieur, Column, three 
 statues, and symbols from the tomb of the Constable Anne de Mont- 
 morency ; G. Pilon, Chimney-piece, with bust of Henri II attributed 
 to J. Goujon ; Le Hongre, Mausoleum of the Cosse-Brissac family ; 
 G. Pilon, Bust of Henri III; bronze statue of the Chancellor de 
 Birague; Fremin Roussel, Genius of history; B. Prieur, Bronze 
 genii, from a tomb; G. Pilon, Bust of Henri II; J. Goujon, Foun- 
 tain-nymphs from the Fontaine des Innocents. — At the third 
 window: Jean Richier, *Daniel come to judgment (relief) ; Ligier 
 Richier, Infant Jesus and two angels; Pieta, by an unknown artist 
 of the 17th cent. ; Fr. Boussel, Nymphs awakened; G. Pilon, Faith 
 and Strength (bas-reliefs) ; bust of Charles IX. and Entombment 
 (bronze reliefs). At the second window : B. Prieur, Statue from a 
 tomb; School of J. Goujon, Nymphs and Venus (bas-reliefs). At 
 the first window : G. Pilon, Fragments of a pulpit. — The — 
 
 *Salle Michel- An ge (V), containing Italian sculptures of the 
 15-1 7th cent., is named from the marble statues of the two **Fettered 
 Slaves, by the great Florentine sculptor Michael Angelo Buonarroti. 
 
 These figures were intended to form part of a magnificent monument 
 to Pope Julius II., and to represent, along with several others of a simi- 
 lar character, the virtues fettered and doomed to death in consequence of 
 the decease of that pontiff. Michael Angelo executed them in 1513-16, 
 and in 1544, when the original ambitious design of the monument was 
 abandoned, presented them to Roberto Strozzi, by whom they were sent 
 to France. The younger dying slave, with the pained expression of coun- 
 tenance, is of great beauty ; the other figure is in a somewhat constrained 
 and unpleasing attitude.
 
 Sculptures. 2. LOUVRE. 103 
 
 These statues stand on the right and left of the entrance to the 
 next room, consisting of a *Portal of the end of the 15th cent., re- 
 moved from the Palazzo Stanga in Cremona, and attributed to the 
 brothers Rodari. The reliefs represent scenes from the life of Her- 
 cules, the mythical founder of Cremona , and from that of Perseus. 
 In front of this portal are two busts, one of *Filippo Strozzi by Be- 
 nedetto da Majano. In the middle of the room are a marble fountain 
 from Chateau Gaillon (p. 371) and a bronze bust of Michael Angelo, 
 both Italian works of the 16th century. 
 
 Beside the entrance : to the right, Bust of John the Baptist as a 
 child, by Mino da Fiesole; Julius Caesar, bas-relief by Donatello (^') -^ 
 Six Virgins, by unknown artists of the 15-16th cent., and one by 
 Samovino; Bust of Ferdinand I. of Aragon, King of Naples (1423 
 -1494), and other busts; etc. High up: *Benvenuto Cellini, the 
 'Nymph of Fontainebleau', a large relief in bronze executed for an 
 archway in the Palace at Fontainebleau, and mentioned in the 
 master's autobiography. 
 
 By the back-wall : Jason, and Hercules slaying the Hydra, two 
 bronze statues of the 16th cent. ; equestrian figure in high-relief of 
 Rob. Malatesta, captain - general of the papal forces (end of 15th 
 cent.); Virgin and the angel Gabriel (Florentine school of the end 
 of the 14th cent.) ; Busts of a man and woman (15th cent.); Virgin 
 in enamelled terracotta attributed to Andrea delta Rohbia; four other 
 Virgins in high relief (15th cent.). 
 
 By the first window : Romulus and Remus suckled by the wolf, 
 another Italian work of the 16th cent., in white marble and rosso 
 antico. — The highly interesting collection of early-Renaissance 
 *Bronzes by the windows includes eight bronze reliefs by Andrea 
 Briosco, surnamed fiiccio, of Padua (1480-1532). Originally belong- 
 ing to the tomb of Marcantonio della Torre, these reliefs illustrate 
 the life and death of that celebrated physician in a thoroughly an- 
 tique style. Also, six bas-reliefs of the Virgin, three of which are 
 by Mino da Fiesole. At the second window: Statue of a negro, after 
 the antique, and a bronze medallion of Charles V., by Lionelioni 
 d^Arezzo. 
 
 Salle Italibnne (VI). Statues and reliefs of religious subjects 
 of the 18-1 5th centuries. At the entrance is a curious statue re- 
 presenting Nature, by Tribolo. Opposite the entrance : Statue of 
 Louis Xll. by Lor. da Mugiano; Friendship, by P. P. Olivieri; Bust 
 of John the Baptist by Donatello ; alto-relief of a funeral, in imitation 
 of the antique. Opposite, bust of a child, in the style of Donatello. 
 At the window: Ornamental sculptures, etc. 
 
 The next room is to be more especially devoted to terracottas by 
 Luca della Rohbia and his school (Florence, 15th cent.). Adjoining 
 it is the Salle des Antiquit^s Chre'tiennes (p. 101).
 
 104 2. LOUVRE. Modern 
 
 The *Collection of Modern Sculptures (Musee des Sculptures 
 Modernes)^ whicli forms a continuation of the Renaissance collection, 
 occupies the W. portion of the Vieux Louvre (PI. E.). Entrance by 
 the second door to the right of the Pavilion d'Horloge (opening into 
 the Salle de Puget). Catalogue not yet (July, 1896) issued. 
 
 Sallb de Puget, named after Pierre Puget of Marseilles (1622- 
 94) , the most famous and the most exaggerating of the French 
 followers of the theatrical school of Bernini, which aimed exclusively 
 at effect. Among his works are, in the middle : Perseus and Andro- 
 meda (1684); Hercules reposing (1660); *Milo of Croton fighting 
 with a lion, the best-known and most admired of his works (1682), 
 described by Yiardot as a 'reminiscence, nay more, a rival of the 
 Laocoon'. On the wall to the left, Puget, Diogenes requesting 
 Alexander the Great to stand out of his light, a bas-relief; Coyzevox 
 (see below). Monument of Cardinal Mazarin, the allegorical figures 
 of which are specially noteworthy. By the adjoining window: 
 Theodon, Atlas. P. Legros, Hermae of the Seasons. By the second 
 window, the 'Vase de Marly', a large work of the French school, to 
 which also belong the two vases in the centre. Then, Girardon^ 
 Bronze model and a fragment of the equestrian statue erected to 
 Louis XIV. in the Place Vendome in 1699. — By the next window: 
 Theodon^ Phaetusa converted into a reed. To the right : Fr. Anguier^ 
 Monument of Jacques de Thou (d. 1617), with statues of his two 
 wives, the first by B. Prieur, the second by Fr. Anguier. Sim. Gil- 
 lain,, Louis XIII., Louis XIV. as a child, Anne of Austria, bronzes. 
 — The door on the left of the entrance leads to the — 
 
 Salle de Coyzevox, named after Charles Antoine Coyzevox, 
 one of the ablest masters of the same school, especially happy in his 
 portrait-busts. In the centre : Fr. Anguier, Monument of Duke Henri 
 de Longueville. By the right wall and back wall, from right to left: 
 Coyzevox, The Rhone, Nymph with a shell, Duchess of Burgundy 
 as Diana, Shepherd playing on the flute, Venus, and busts of Marie 
 Serre, mother of the painter Rigaud, Bossuet, Richelieu, Colbert, 
 Coyzevox himself, Lebrun, the painter, Conde, Mazarin, and Mig- 
 nard, the painter. Between the windows. Remains of the old mon- 
 ument to Henri IV on the Pont Neuf, by P. Francheville ot Franqueville. 
 On the side next the entrance: Mich. Anguier, Amphitrite; R.Fremin, 
 Flora; Francheville, David and Goliath; Fr. Anguier, Jacques de 
 Souvre'; S. Guillain, Charlotte de la Tremoille; Francheville, Orpheus; 
 Fremin, Diana. In the centre, G. Guerin, Tomb-statues of the Duke 
 and Duchess de la Vieuville. — To the right of the entrance is the — 
 
 Salle des Coustou, in which are assembled the plastic master- 
 pieces of the pleasure-loving age of Louis XV. The brothers Nico- 
 las Coustou and Guillaume Coustou, and the son of the latter, 
 another Guillaume Coustou, were artists of the 17th and 18th cent, 
 who exaggerated the tendencies of their predecessors. In the centre : 
 Nicolas Coustou , Adonis resting from the fatigues of the chase
 
 Sculptures. 2. LOUVRE. 105 
 
 (1710). Behind, *Cupid with his dart, hy Antoine Tassaert (below is 
 the inscription by Voltaire: 'Qui que tu sois, voici ton maitre, il 
 Test, le fut, ou le doit etre'). L. S. Adam, Poetry; Allegrain, 
 Venus and Diana bathing. To the left, Falconet, Music ; Nic. Coustou, 
 Csesar; Guillaume Coustou the Elder, Maria Lesczinska of Poland, 
 queen of Louis XV. (1731); Pajou, Statue of the same queen as 
 Charity. Facing this: Nic. Coustou, Louis XV. On the other side of 
 the door, Slodtz, Hannibal. Between the windows : J. B. Pigalle, 
 Mercury fastening his sandals, a leaden statue formerly in the Luxem- 
 bourg gardens. Above, on the wall : Martin Desjard ins, Six. bas- 
 reliefs in bronze from the statue of Louis XIV. in the Place des 
 Victoires, now replaced by another. — Then the — 
 
 Sallb de Houdon , dedicated chiefly to Antoine Houdon (Ver- 
 sailles, 1741-1828). By Houdon, in the centre of the room : Bronze 
 statue of the nude Diana (1783), executed first in marble for the 
 Empress Catherine II. of Russia (1781). — To the right of the en- 
 trance, and farther to the right, Pajou, Psyche (1790), Bacchante. 
 In a niche, Bouchardon , Cupid carving a bow out of the club of 
 Hercules; Copy of the Barberini Faun; P. Julien, Amalthea. — The 
 following busts are also by Houdon: Mirabeau (two), Washington, 
 Rousseau (bronze), Abbe Aubert (d. 1814), Diderot, Franklin, 
 Buffon, and Voltaire (bronze). Pajou, Busts of Mme. Dubarry, 
 Buffon, etc. — Opposite the window : Pigalle, Love and Friendship ; 
 Bouchardon , Model of the statue of Louis XV. that stood in the 
 Place de la Concorde, in bronze. 
 
 The Salle be Chaudet is mainly occupied vrith works of the 
 end of the 18th and beginning of the 19th cent. , when the ancient 
 classical style was revived. To the left : Clodion , Bacchante ; 
 Chaudet, Cupid with a butterfly; Roland, Homer; Cortot, Daphnis 
 and Chloe ; Delaistre, Cupid and Psyche ; Roman, Nisus and Eu- 
 ryalus. In the centre : Bosio, Aristaeus, god of gardens ; *Canova, 
 Cupid and Psyche; Chaudet, The young Oildipus rescued by the 
 shepherd Phorbas. Round the hall, as we return : Cortot, Soldier 
 of Marathon ; Lemire , Cupid ; Bridan , Epaminondas ; Legendre- 
 Heral, Giotto; RuxtieL Psyche borne by Zephyr (1814); *Canorfl, 
 Cupid and Psyche with the butterfly ; Dupaty, Biblis changed into 
 a fountain ; Bosio, the Nymph Salmacis; Sergell, Drunken faun. — 
 Beyond the door: Coriof, Victory (bronze); Bosio, llyacintlius; Cal- 
 delari. Narcissus; Dc6a?/, Mercury; Statue of Cato of Utica, begun 
 by Roman, and finished by Rude in 1840. 
 
 The Salle de Rude , the last , named after the sculptor Fran- 
 cois Rude (1784-1855), contains the most modern works admitted 
 to the Louvre (comp. p. 268). From right to left: Foyatier, Spar- 
 tacus ; Jaley, Louis XI. ; Barye, Bronze animals. Centaur and Lapith ; 
 *Carpeaux, Four quarters of the globe supporting tlie sphere, model 
 of the group on the Fontaine du Luxembourg (p. 287); Rude, 
 Mercury, in bronze; Perraud, Despair; Rude, Maurice of Saxony,
 
 106 2. LOUYRE. Modern Sculptures. 
 
 Joan of Arc, Napoleon I. awakening to immortality, Yonng Neapolitan 
 fisher; Pradier^ Sappho ; ^David d' Angers, PMlopcemen wounded 
 with a spear; Rude, Christ; *Duret, Young fisherman dancing the 
 tarantella; opposite, JaZe?/, Prayer ; Pradier, Psyche; Ramey^ Theseus 
 and the Minotaur ; Nanteuil , Eurydice ; *Duret, Neapolitan Im- 
 provisatore, in bronze ; *Perraud^ Childhood of Bacchus; *Carpeaux^ 
 Dance, model of the group at the Opera (p. 77) ; Dumont, Genius 
 of Liberty, a model of that on the July Column (p. 70) ; opposite, 
 Pradier^ Child of Niobe (after the antique), Atalanta's toilet. On 
 the walls : Several medallions by David d' Angers. — The next rooms 
 are not yet opened. 
 
 To reach the Picture Gallery hence we turn to the right on leaving and 
 pass through the first pavilion, to the principal entrance, or we ascend 
 the Escalier Henri 11 (see below), to the left in the pavilion. 
 
 B. FIRST FLOOR. 
 
 The most important collection on the first floor of the Louvre is 
 the Picture Gallery, which occupies more than half of the S. con- 
 necting gallery between the Old Louvre and the Tuileries (^Qalerie 
 du Bord de VEau), together with the whole of the inner gallery of 
 the New Louvre parallel to it, and also several saloons in the Old 
 Louvre. — The first floor of the Old Louvre also contains the Ancient 
 Bronzes (p. 137), the Drawings (p. 138), the Mediaeval^ Renais- 
 sance, and Modem Works of Art (p. 139), the Ancient Vases and 
 the Smaller Antiquities (pp. 142-144), the Jewels (p. 135), the 
 Oems, Enamels, and Oold Ornaments (p. 133). 
 
 The Peincipal Entrancb to the first floor is by the Pavilion 
 Denon (where sticks, etc., may be left), whence the Escalier Daru 
 (p. 89) ascends to the picture-gallery. — Those who wish may 
 ascend the Escalier Henri 11 (comp. p. 97), whence they proceed 
 to the right to the Collection La Caze (p. 136), the Salle Henri II 
 (p. 136), the Salle des Sept - Chemine'es (p. 135), the Salle des 
 Bijoux (p. 135), the Rotonde d'Apollon (p. 132), and the Galerie 
 d'Apollon (p. 132), which leads to the Salon Carre' (p. 111). 
 
 It is, perhaps, preferable to ascend by the Escalier Daru. On 
 the landing are a portion of the collection of Etruscan terracottas 
 (p. 143) and also the *JV/fee of Samothrace, on a pedestal represent- 
 ing the prow of a trireme. This figure was originally erected in 
 memory of a naval victory won by Demetrius Poliorcetes about 
 305 B.C. The much mutilated statue represents the goddess de- 
 scending from Olympus and in the act of alighting upon the earth. 
 In dignity of conception and in the masterly handling of the volu- 
 minous drapery, this scalpture is perhaps the finest extant work of 
 early-Hellenistic art. — To the left, seven steps higher, is a replica 
 of the Victory of Brescia, a variation of the Venus of Milo (p. 93). 
 
 Thence we may either enter by the door to the right of the last- 
 named Victory and pass through the Galerie d'Apollon, as indicated
 
 Picture Oallery. 2. LOUVRE. 107 
 
 below; or we may ascend the seven steps to the right of the Nike 
 and reach a colonnaded vestibule and the Salle Duchatel (p. 115), 
 at the end of which is the Salon Carre (p. 111). 
 
 The Vestibule just mentioned formed part of a staircase removed when 
 the Louvre was extended. Its ceiling is painted by Meynier: France as 
 Minerva receiving homage from the Fine Arts. 
 
 Photographs of the pictures, drawings, and sculpttires, by Braun, are 
 sold in this vestibule. The photographs of the large pictures, 2U in. long and 
 16 in. broad, cost 12 fr., but there are also cheap copies ('dpreuves d'ar- 
 tistes au nitrate") at 3 fr. The smaller cost 3-10 fr. The prices are marked 
 on the specimens in the albums for public use. 
 
 **Picture Gallery. 
 
 The numbers on the pictures were altered in 1889, and a new cata- 
 logue is being prepared, of which an abridgement, for the entire musee, 
 has appeared bnt is already out of print. Several sections of the old 
 catalogue are likewise out of print, but most of the pictures also bear the old 
 numbers (below, to the left). Labels, with the names of the artists and 
 the subjects of the paintings, have also been placed on the frames. The 
 former are the painters' family names, and not the names by which they 
 arc commonly known; thus, Sanzio (more correctly Santi). and not Raphael^ 
 and Vecellio instead of Titian. 
 
 The Picture Gallery of the Louvre, the saloons of which have 
 an aggregate length of live furlongs , comprises about 2500 se- 
 lect works , almost every school being represented by numerous 
 masterpieces. There are indeed some masters whose acquaintance 
 can be satisfactorily made in the Louvre alone. For the follow- 
 ing general review of the most important works, arranged in schools, 
 we are indebted to the pen of Prof. Anton Springer, the eminent 
 German historian of art ; and we recommend his sketch, as well as 
 the various incidental notices of particular pictures by Mr. Crowe and 
 other distinguished authorities , to the perusal of the visitor before 
 proceeding to view the gallery itself. 
 
 Most visitors to the Louvre will of course be chiefly interested 
 in the Italian Painters. Among the Eaely Mastbks, those of 
 the Florentine School first attract our notice. An excellent example 
 of the tender and saintly style of Fra Angelico da Fiesole is his 
 Coronation of Mary (No. 1290; p. 116), while Benozzo Gozzolis 
 Glory of St. Thomas Aquinas (No. 1319 ; p. 116) affords an instance 
 of the inveteracy with which the artists of that age clung to medi- 
 aeval ideas. Fra Filippo Lippi is admirably represented by a Ma- 
 donna among angels and archangels (No. 1344 ; p. 117) ; but Domen- 
 ir.o Ghirlandojo' sYisiUtion, of the year 1491 (No. 1321 ; p. 117), is 
 not one of his best works. — To the earliest period oiPerugino, the 
 chief master of the Umbrian school, belongs a round picture of the 
 Madonna with SS. Rose and Catharine, and to his culminating 
 period (1505) the Conflict between Cupid and Chastity (Nos. 1565, 
 1567; pp. 112, 116). — The Louvre also possesses several impor- 
 tant creations of Andrea Mantegna, a master of Upper Italy: Mt. 
 Parnassus and the Victory of Minerva (Nos. 1376, 1376; p. 116) 
 mark the transition from mythological to allegorical scenes ; then the
 
 108 2. LOUVRE. Picture 
 
 Madonna della Vittoria, a votive picture in memory of the Battle of 
 the Taro(No. 1374; p. 116). 
 
 The Geeat Mastbks of the Italian School , Leonardo da Vinci, 
 Raphael, and Titian, demand the most careful attention. The most 
 celebrated v^^ork of Leonardo in the Louvre is his Mona Lisa 
 (No. 1601 ; p. 113], the portrait of a Florentine lady, the wife of 
 Francesco Giocondo. Leonardo was engaged on this work for four 
 years, and at last left it unfinished. 'Any one desirous of seeing how 
 far Art can succeed in imitating Nature should examine this beau- 
 tiful head', said Yasari; but the work is so faded that its original 
 effect is not easily imagined. A better-preserved work by Leonardo 
 is another portrait of a lady in a red dress with a band on her fore- 
 head, supposed to be a portrait of Lucretia Crivelli, the mistress of 
 Lodovico Moro (No. 1600; p. 118). 
 
 No gallery in Europe is so amply supplied with works of Ra- 
 phael as the Louvre. Even when the doubtful pictures (No. 1508. 
 Raphael and his fencing-master ; 1644, The handsome youth leaning 
 on his hand) are deducted, there remains so complete a series of 
 his works that with their help the student will have no difficulty 
 in tracing the various stages of the master's development. To his 
 earlier period, before he had shaken off the influence of Perugino's 
 school, belong the small pictures of St. George and St. Michael, 
 which he is said to have painted for the Duke of Urbino (Nos. 1503, 
 1502, p. 117). A gem of his Florentine period is the 'Belle Jar- 
 diniere', painted in 1507 (No. 1496 ; p. 114), in which pure maternal 
 joy, a favourite motive in Raphael's Madonnas, is expressed with 
 the most lifelike fidelity. The Apollo andMarsyas (No. 1509 ; p. 112), 
 a masterpiece of a different style, was also painted in this period. 
 To his early Roman period belongs the 'Vierge au Voile' (No. 
 1497; p. 113). His progress in dramatic effect and in depth and 
 contrast of colouring are exemplified by his large Holy Family 
 and his St. Michael conquering Satan (Nos. 1498, 1504; p. 113), 
 two works painted with the aid of his pupils in 1518, by order 
 of Leo X., as a gift for the king and queen of France. The touch 
 of inferior hands, and the haste with which the work was probably 
 executed , serve to account for the unpleasing effect produced by 
 the blackened shadows and the coldness of the lights. A specimen 
 of his best period (1515) is the portrait of Castiglione (No. 1505; 
 p. 117), in which we are struck with his consummate skill in 
 modelling, in blending a warm yellow tint with a delicate green, 
 in giving roundness without sudden contrasts, and in lighting with- 
 out the slightest glare. The portrait of the beautiful Johanna of 
 Aragon, wife of Ascanio Colonna, Constable of Naples (No. 1607; 
 p. 117), which has also been much extolled, appears to have been 
 chiefly executed by other hands. By desire of Cardinal Bibbiena, 
 the papal legate in France, the picture was drawn at Naples by 
 Qiulio Romano , Raphael's pupil , and afterwards painted from
 
 Oallery 2. LOUVRE. 109 
 
 memory in the master's studio. The fact of its having been painted 
 without the living model accounts for the hardness of the outlines 
 and the coldness of the colouring. The fresco of God the Father 
 with angels (No. 1512; p. 117), removed from the Villa Magliana 
 near Rome, is now universally attributed to Lo Spagna. 
 
 Correggio is fairly well represented in the Louvre by the Mar- 
 riage of St. Catharine (No. 1117; p. 115) and Jupiter and Antiope 
 (No. 1118, p. 112; formerly called Venus and a Satyr). 
 
 With specimens of Titian's works in all his various styles the 
 gallery is admirably provided. His Entombment (No. 1584; p. 112) 
 is a work of the most touching pathos and most magic colouring. 
 The Christ at Emmaus (No. 1581 ; p. 119), a favourite scene with 
 the Venetian school, and one which gradually led to the delineation 
 of great and ceremonious banquets, rather approaches the genre 
 style, but is lifelike and pleasing. Very imposing as a study of 
 character is the Christ crowned with thorns, between the execu- 
 tioners (No. 1583; p. 119). Among the pictures of the Virgin we 
 may mention the Madonna with the rabbit (No. 1578 ; p. 118), paint- 
 ed in 1530 for the Duke of Mantua. To this beautiful idyll the 
 Holy Family (No. 1580; p. 119) forms a companion picture of al- 
 most equal excellence. A work over which the master has shed a 
 radiant poetic halo is the Sleeping Antiope approached by Jupiter 
 in the form of a Satyr, while fauns are couching on the outskirts of 
 the wood, a hunter quiets a dog, and in the background the signal 
 of victory is being blown on the horn (No. 1587 ; p. 119). The pic- 
 ture was formerly known as the Venus del Pardo, from a palace at 
 Madrid. In all these works the landscape in the background is 
 worthy of examination. In order fully to appreciate Titian's merits 
 as an artist the visitor must not overlook his portraits , painted 
 either for the purpose of embodying his ideal of female beauty, or 
 for that of displaying his skill in psychological delineation. To the 
 former class belongs the picture known as Titian and his Mistress 
 (No. 1590; p. 113), representing a girl arranging her hair in pre- 
 sence of her lover, who is holding the mirror. Most interesting as 
 a study of character is the Portrait of Francis I. (No. 1588; p. 119), 
 which is all the more remarkable as the king never sat to the master 
 for it. An admirable portrait of Titian's middle period is the Young 
 man in black, holding a glove in his left hand (No. 1591 , p. 119 ; 
 'L'homme au gant'). Half portrait, half allegory, is the likeness of 
 Alphonso Davalos, Marchese del Vasto , the famous general of 
 Charles V. (No. 1589; p. 119). Equipped for departure, he stands 
 beside his wife, a sister of Johanna of Aragon , who sits with a 
 crystal globe in her lap, mourning over his departure, while emblem- 
 atic figures of Victory, Cupid, and Hymen appear to console her. 
 — By these fine compositions the other Venetian works are almost 
 entirely eclipsed. The most attractive of them is the Rustic Festival 
 (No. 1136 ; p. 114), attributed to Oiorgione. The banqueting scenes
 
 110 2. LOUVRE. Picture 
 
 by Paolo Veronese, in a rich, but somewhat materialistic style, are 
 too large to be easily overlooked (thus No. 1192; p. 114). 
 
 After having feasted his eyes with the ideal and richly-coloured 
 pictures of the South, the visitor will at first be disposed to do but 
 scant justice to the spetiimens of Northekn Aet, with which the 
 Louvre is also richly stocked. To the Early Gekman School, 
 which is not very fully represented, belongs a table with four 
 scenes from the life of David, painted by Sebald Beham for Arch- 
 bishop Albert of Mayence (No. 2701 ; p. 127). The portraits of Eras- 
 mus of Rotterdam, Archbishop Warham of Canterbury, and Nicho- 
 las Kratzer, the astronomer , by the younger fi'oi&em (Nos. 2715, 
 2714, 2713; p. 127) should also be noticed. — By far the most 
 noteworthy work of the Eaely Flemish School is Jan van Eyck's 
 Madonna revered by the Chancellor Rollin (No. 1986; p. 114). To 
 an important altar-piece by Memling belong the St. Magdalen and 
 John the Baptist with rich landscape in the background (Nos. 2024, 
 2025; p. 121). 
 
 The Late Flemish, or Beabant School is magnificently repre- 
 sented by Rubens, by whose brush the gallery possesses 21 large 
 scenes from the life of Marie de Medicis (Nos. 2085-2105 ; pp. 121, 
 122). However objectionable it may be from a strictly sesthetical 
 point of view to combine portraits with allegory, the spectator will be 
 unable to refrain from admiring these pictures for the freshness of 
 their composition , richness of colouring , and the lifelike vigour 
 of the numerous characters they contain, although their meaning is 
 not always distinctly intelligible. As a painter of ecclesiastical 
 works and of dignified mythological and historical scenes, Rubens 
 may be studied elsewhere as well as in the Louvre, but his Flemish 
 Fair (No. 2115; p. 125) in this collection exhibits him to us in an 
 entirely new light. Of the broad humour and exuberant merriment 
 which characterise his countrymen he was by no means destitute, 
 and no painter has shown himself better acquainted with national 
 customs except Teniers alone, who is rather to be regarded as a 
 follower of Rubens in this sphere than the originator of the genre 
 style. So successful, however, were the labours of Teniers, though 
 Louis XIV. utterly despised him, that the fine collection of his 
 works in the Louvre forms one of the chief boasts of the gallery. 
 
 The Dutch Masters of the 17th cent, can be thoroughly appre- 
 ciated only on their native soil, but the Louvre gallery possesses 
 good specimens of the handiwork of all the most celebrated. Among 
 these are Rembrandt's Angel of Tobias, Holy Family at Nazareth, 
 known as the 'Carpenter's Family', Christ atEmmaus, his own por- 
 trait with the gold chain (Nos. 2536, 2542, 2554, 2555), besides his 
 Bathsheba , or woman bathing (No. 2549) added by the La Caze 
 collection (p. 137). To that collection the Louvre is also indebted 
 for the Laughing Girl (No. 2384; 'La Boh^mienne') by Frans Hals. 
 The latter is well calculated to exhibit the broad humour of the
 
 QaUery. 2. LOUVRE. Ill 
 
 master, while his portrait of a woman (No, 2385) presents him to ns 
 as a most brilliant colonrist. The collection originally possessed only 
 one canvas hy Hals, the portrait of Descartes (No. 2383; p. 126), 
 but has lately been enriched by three other portraits by him (Nos. 
 2386, 2387, 2388). Van der Heist is also well represented by his 
 Distributors of Prizes (No. 2394 ; p. 124). — The most famous of the 
 genre pictures are : Terburg's Officer and Girl (No. 2587), Dou'i 
 Woman selling spices, and particularly his Dropsical Woman (Nos. 
 2350, 2348), Mefsw's Vegetable Market (No. 2458), Jan S teen a 
 Tavern Festival (No. 2578), Adrian van Ostade's Schoolmaster 
 (No. 2496), and an Interior by P. de Hooch (No. 2415). — Of the 
 numerous excellent landscapes of the Dutch School it is unnecessary 
 to make any special mention , as the visitor will have no difficulty 
 in making a selection to suit his own taste. 
 
 The renown of the Spanish pictures in the Louvre had its origin 
 in a time when Spain was seldom visited by travellers, and when 
 the treasures which Madrid and Seville possessed in the master- 
 pieces of Velazquez and Murillo were known only in limited circles. 
 Since that period the study of Spanish art has become both wider 
 and more profound, and it is now admitted that it can be perfectly 
 estimated in Spain alone. This is especially true with regard to Ve- 
 lazquez, of whose works the Louvre possesses only one eminently 
 good example, the portrait of PhUip IV. (No. 1732; p. 120). The 
 most famous ofMurillo's works in this collection is the 'Conception' 
 (No. 1709; p. 113), while the 'Nativity of the Virgin' (No. 1710), 
 and the 'Cuisine des Anges' (No. 1716; p. 121) are also admirable 
 specimens of his power. 
 
 The French School is naturally more numerously represented 
 in the Louvre than any other, though to obtain a complete idea of it 
 the collections at Versailles and the Luxembourg and some provin- 
 cial galleries must also be visited. Comp. Introduction, p. xxix. 
 
 We now proceed to enumerate the most important works in the 
 order in which they are distributed throughout the various saloons. 
 Our list is necessarily limited to the more interesting and celebrat- 
 ed pictures, to which the traveller who pays only a few short visits 
 to the gallery should specially direct his attention ; but it need 
 hardly be said that there are many other works of high merit, which 
 the discriminating visitor, with command of sufficient leisure, will 
 easily discover for himself. The explanatory and critical remarks 
 are from the pens of several of the most eminent historians of art. 
 In each room, unless stated to the contrary , we begin to the right 
 of the entrance and the lower paintings are mentioned first. 
 
 The **Salon Carre, or Room IV, Like the Tribuna in the Ufflzi 
 at Florence , contains the gems of the collection. The ceiling is 
 richly sculptured by Simart. The routes to this room are indicated 
 on p. 89. We begin to the right of the entrance from the Galerie 
 d'Apollon.
 
 112 2. LOUVRE. Picture 
 
 *2545. Rembrandt, Portrait (1658). — *1565. Perugino, Holy 
 Family. — 1373. Mantegna, Mount Calvary. — 731. iV. Poussin, Nar- 
 cissus and Echo. — *2547. Rembrandt, Portrait. — 1354. Luini, 
 Infant Christ asleep. 
 
 *1198. Paolo Veronese, Jupiter hurling thunderbolts against 
 criminals, once a ceiling-painting in the assemhly-hall of the 
 Council of Ten in the Doges' Palace at Venice. 
 
 **1584. Titian, Entomhment of Christ, painted for the Duke 
 of Mantua about 1523. 
 
 'It would be true to say that none of the persons perform all that 
 they seem to promise, and that there is more of symbolism than of ab- 
 solute reality in the action of every one of them \ and yet the impression 
 produced by the picture as a whole is probably much greater than that 
 which we receive on looking at the Borghese altar-piece; and this arises 
 no doubt from a surprising variety in type and expression, a subtle dis- 
 play of light surfaces upon a ground studded with diverse shades of gloom, 
 and a richness of colouring which throws over the whole canvas a myster- 
 ious weirdness.' Crowe d Cavalcaselle, Titian. 
 
 1706. Herrera, St. Basil expounding his doctrines. 
 
 *2542. Rembrandt, Holy Family at Nazareth, known as the 
 'Carpenter's Family', signed 1640. 
 
 This family scene is one of those idyllic pieces by means of which 
 Rembrandt and other Dutch masters endeavoured to famUiarise the spec- 
 tator with incidents from the Old and New Testament by transplanting 
 them to the present. The simplicity and depth of sentiment which per- 
 vade the picture may be regarded as the badge of the Protestant spirit 
 of the 16th and 17th' centuries, which viewed the Bible as a standard of 
 life in a very different sense from the mediaeval church. 
 
 **1118. Correggio , Antiope and Jupiter disguised as a satyr, 
 executed about 1518, for the Duchess of Mantua; the atmosphere 
 is full of magical charm, and the conception is naive and unaffected. 
 — *2946. Adrian van Ostade, The Schoolmaster, dated 1662; the 
 dramatic force and warm golden tone are characteristic of the master's 
 most finished style. — 325. Guide Reni, Dejanira carried off by the 
 Centaur Nessus. — *1509. Raphael, Apollo and Marsyas, purchased 
 in 1883 for 200,000 fr. ; its authenticity is vouched for by a draw- 
 ing by Raphael in the Academy at Venice, 
 
 1048. Jean Perreal or J. de Paris, Madonna and donors. — 723. 
 Nic. Poussin, St. Francis Xavier resuscitating a dead woman in 
 Japan, painted in 1641. — *1731. Velazquez, Infanta Margaret, 
 daughter of Philip IV. — 1976. A. van Dych, Portrait. 
 
 *2587. Ger. Terburg, A handsome officer sitting in a room with 
 an elegantly-dressed girl, to whom he offers money: the heads full 
 of life, admirably drawn, and of a delicately-blended silvery tone ; 
 one of his finest works. — *2459. Gabriel Metsu , Officer saluting 
 a young lady, a gracefully-conceived and delicately-coloured work. 
 
 1352. Sebastian del Piombo, The Salutation, signed Rome, 1521, 
 a most impressive picture. 
 
 *2348. Gerard Dou, The dropsical woman, his greatest work : a 
 successful composition, in which the grief of the daughter is
 
 Gallery. 2. LOUVRE. 113 
 
 oucliingly pourtrayed ; most elaborately finished , although un- 
 usually large for this master. — 1947. Ph. de Champaigne, Portrait 
 of the artist. 
 
 **1709. Murillo, The Immaculate Conception, one of his greatest 
 works (1678), pervaded with an intense sentiment of religious 
 enthusiasm. As usual in the Spanish School, the master has drawn 
 his inspiration from the 'woman clothed with the sun , and the 
 moon under her feet , and upon her head a crown of twelve stars' 
 (Rev. xii. 1). The picture was bought from Marshal Soult for 
 615,300 fr. 
 
 *1590. Titian, *La Maitresse du Titien', a girl at a toilet-table, 
 with a man behind her with two mirrors, perhaps Laura Dianti and 
 Duke Alphonso of Ferrara, painted shortly after 1520. 
 
 •The light is concentrated with unusual force upon the face and bust 
 of the girl, whilst the form and features of the man are lost in darkness. 
 We pass with surprising rapidity from the most delicate silvery grada- 
 tions of sunlit flesh and drapery, to the mysterious depth of an almost 
 unfathomable gloom , and we stand before a modelled balance of light 
 and shade that recalls Da Vinci, entranced by a chord of tonic harmony 
 as sweet and as thrilling as was ever struck by any artist of the Vene- 
 tian school.' C. d' C. 
 
 1977. Van Dyck, Portrait. — *1644. Italian School of the 16th 
 cent. (? Franciabigio), Portrait of a young man. — *1497. Raphael, 
 Madonna with the veil, also called the Virgin with the diadem 
 (p. 108). — *1514. A. del Sarto, Charity (painted in 1518). 
 
 **1601. Leonardo da Vinci, Portrait of Mona (Madonna) Lisa, 
 wife of the painter's friend Fr. del Giocondo of Florence, and hence 
 known as 'La Gioconda'. 
 
 'The eyes', says Vasari (d. 1574), the painter and biographer of artists, 
 'have the moist radiance which we observe in living persons; the mouth, 
 the lips, the redness of which blends at the corners with the rose tint of 
 the cheeks — this is not colour, but actual living flesh'. These excel- 
 lences are now concealed by the darkened shades, but the face still 
 delights us with the wonderful charm of its smile. 
 
 1184. Bronzino, Portrait of a sculptor. — *1193. Paolo Vero- 
 nese, Christ in the house of Simon the Pharisee, painted in 1 570-75. 
 
 *1967. Ant. van Dyck, Portrait of Charles I. of England, a work 
 of the most pleasing delicacy of execution and fidelity to nature. 
 — 1219. Annibale Carracci, The Madonna appearing to St. Luke 
 and St. Catharine. — *1533. Andrea Solario, Head of John the 
 Baptist. 
 
 1510. Raphael ('i), Abundance. 
 
 **1498. Raphael, 'Great Holy Family of Francis I.' (Rome, 1518). 
 
 'This picture is one of the richest and most dramatic compositions of 
 Raphael. In care and uniformity of execution, in fulness and grandeur 
 of the nude, in breadth and delicacy of the drapery, in lightness and 
 freedom of the motions, and in powerful effects of colour, this work 
 approaches most nearly to the Transfiguration in the Vatican'. — Waagen. 
 
 1499. School of Raphael, Holy Family; the original, according 
 to F. Notte, is at the chateau of Isle- Adam (p. 360). — *741. 
 Poussin, Diogenes throwing away his bowl. — '2084. Rubens, To- 
 myris, Queen of the Scythians, causing the head of Cyrus to be 
 
 Babobkbb. Paris. 12th Edit. 3
 
 114 2. LOUYRE. Picture 
 
 dipped in a vessel full of l)lood. — *2539. Rembrandt, The Supper 
 at Emmans, dated 1648, from the collection of his friend the Burgo- 
 master Six. As in the picture of Tobias, a subdued red is here the 
 predominating colour, and the whole work is pervaded with a warm 
 and hazy glow (Vosmaer). — Claude Lorrain, 319. Sea-piece, 320. 
 Landscape. 
 
 **1496. Raphael, Madonna and Child with St. John, usually 
 called 'La Belle Jardiniere'; Florence, 1507. 
 
 'With the Madonna and Infant Christ, who are represented alone in 
 the simpler and earlier representations of the Madonna, is associated the 
 young St. John. This addition has not only given rise to more varied 
 gestures of infant life, but has enabled the master to form a more regular 
 group. Standing or kneeling at the Madonna's feet are the two children, 
 forming a broad pedestal for the composition, which is easily and natur- 
 ally completed by the Madonna. This idea was first expressed by sculp- 
 tors, and afterwards eagerly adopted by Florentine painters, including 
 Raphael, who within two years painted the ■3Iadonna in the Garden'' 
 three times, one of the replicas being now at Vienna' (Springer: '•Ra- 
 phael d' Michael Angela''). — The original drawings for this work have 
 lately been bequeathed to the Louvre. 
 
 *1986. Jan van Eyck, The Chancellor RoUin revering the Vir- 
 gin, with a beautifully-executed landscape. 
 
 The strong and the weak points of Van Eyck's art are combined in 
 this picture. The figure of the chancellor is admirably faithful to life, 
 contrasting strongly with the commonplace Madonna and the wooden 
 form of the Child. 
 
 1932. PhiL de Champaigne , Pietk, resembling Holbein's Pietk 
 at Bale. — 437. Jouvenet, Descent from the Cross. — 783. Rigaud, 
 Portrait of Bossuet, the celebrated preacher. — 2015. Jordaens, 
 After-dinner Concert, a grotesque composition. 
 
 1422bis. Vittore Pisano, Portrait of a Princess of Este. — *2715. 
 Holbein the Younger, Erasmus of Rotterdam, exceedingly lifelike 
 and admirably executed. 
 
 *1598. Leonardo da Vinci, Madonna and Infant Christ with 
 St. Anne ; one of the gems of the gallery, with beautiful heads and 
 most expressive features, but somewhat careless in the details. 
 (There are several sketches for this picture at Windsor.) 
 
 *1134. Antonello da Messina, Portrait of a man, known as the 
 Condottiere, 1475. ■ — 1143. Guercino ^ Patron saints of Modena. 
 — 288. Foucquet, Portrait of Guillaume Juvenal des Ursins. — 
 *1136. Giorgione , Rustic festival: very charming from the depth 
 and warmth of the colouring, the golden glow of the flesh tones, 
 and the rich treatment of the landscape, in spite of its having been 
 freely retouched. 
 
 2077. Rubens, Adoration of the Magi. 
 
 **1192. Paolo Veronese , Marriage at Cana , finished in 1563, 
 the largest picture in the collection , 32 ft. long and 21 ft. high, 
 occupying nearly the whole S. wall, a perfect 'symphony in 
 colours'. 
 
 Among the figures are numerous portraits. The bride is Eleanor of 
 Austria, the young Queen of France; behind her the court-jester; at her 
 aide Francis I., with a curious head-dress; then Mary of England in a
 
 Gallery. 2. LOUVRE. 115 
 
 yellow robe, Sultan Soliman near a negro prince ; at the corner of the 
 table the Emperor Charles V., with the Golden Fleece. The musicians are 
 portraits of Venetian painters of the day. Paolo Veronese himself, in 
 white, plays on the vidl, behind him Tintoretto with a similar instru- 
 ment, on the other side Titian with a bass-viol, and the elder Bassano 
 with a flute. 
 
 *2555, Rembrandt, Portrait of the artist at an advanced age 
 (1660). — **1117. Correggio, Betrothal of St. Catharine, 'with a 
 celestial expression in the faces' , says Vasari. — *1592. Titian, 
 Young man in black with gloves , or 'L'Homme an Gant', an ad- 
 mirable portrait of his middle period. Comp. p. 109. 
 
 *1713. Murillo, Holy Family; the light and harmonious colour- 
 ing are of great beauty. — 1435. Francia, Nativity. 
 
 *1504. Raphael, St. Michael the conqueror of Satan, painted in 
 1518 for Francis I. of France, a work of sublime poetical character 
 and strikingly sudden in its action , painted partly by Giulio Ro- 
 mano and other pupils (comp. p. 108). — 1139. Guercino, Raising 
 of Lazarus. — No number, Vmbrian School, St. Sebastian. — *1383. 
 Simone di Martino {y) , Christ bearing the Cross. — 129. Clouet, 
 Elizabeth of Austria, wife of Charles IX. — No number, Memling, 
 Betrothal of St. Catharine, with John the Baptist and the donor. — 
 — 1938. Ph. de Champaigne, Portrait of Richelieu. — 1538. Lio- 
 nello Spada, Concert. 
 
 The Salle Duch&tel, or Room V, nearly opposite the Marriage at 
 Cana, connecting the Salon Carre with the EscalierDaru (pp. 89, 106), 
 contains five paintings bequeathed in 1878 by the Comtesse Du- 
 chatel, viz. : 421. Ingres, (Edipus solving the riddle of the Sphinx, 
 with a view of Thebes in the background, painted in 1808, when 
 the master was still swayed by his admiration of the plastic features 
 of antique art; *422. Ingres, The Spring, painted in 1856 and per- 
 haps the most perfect specimen of the treatment of the nude among 
 modern paintings ; *2026. Memling, Madonna and Child , with 
 SS. James and Dominic, and the donors, a work of solemn dignity 
 and appropriate colouring; to the right, *2480, *2481. Ant. Moro, 
 Portraits, probably Louis del Rio, an official of Brabant, and his wife. 
 
 This room also contains several frescoes, transferred to canvas, 
 of the Milanese School , which reflected the influence of Leonardo 
 da Vinci. — 1359, *1360, *1361. Bern. Luini, Nativity, Adoration 
 of the Shepherds, and Christ pronouncing a blessing, from Milan. — 
 1357, 1358. Bern. Luini, Two boys with vine-foliage, from the 
 Villa Pallucca near Monza. 
 
 "We may now leave the Salon Carre by the door at the end oppo- 
 site the Galerie d'ApoIlon, and enter the Grande Galerie (p. 117); 
 but in order to obtain a better chronological survey of the Italian 
 School, it is advisable first to visit the so-called Galerie des Pri- 
 mitifs, the first saloon on the right. 
 
 The Salle des Primitifs (formerly des Sept Mhtres), or Room VII, 
 contains an admirable collection of pictures of the earlier Italian 
 
 8»
 
 116 2. LOUYRE. Picture 
 
 School, particularly by Florentine masters of the 15th century. The 
 series begins at the farther end of the room, where a door (now 
 closed] led to the Escalier Daru. 
 
 On the right: 1607. B. Vivarini^ S. Giovanni da Capistrano; 1668. 
 Bolognese School, Judgment of Paris; 1400. Palmezzano, Pieta; 
 *1259. Cima da Conegliano, Madonna and Child; 1350. Lor. Lotto, 
 St. Jerome; *1394. Montagna, Concert of children; Gentile Bellini 
 and his School, 1156. Portraits, 1157. Reception of a Venetian am- 
 bassador at Cairo; *1158. Giov. Bellini, Madonna with SS. Peter and 
 Sebastian; 1540. Lo Spagna, Virgin and Child; 1384. Massone, 
 Nativity, with saints and donors; 1261. Lor. Costa, Court of the 
 Muses, held by Isabella d'Este, Duchess of Mantua, an attractive 
 allegory ; Andrea Mantegna, *1375. Mount Parnassus, 1374. Madonna 
 della Vittoria, one of his last works, painted about 1495 for Giov. 
 Franc. Gonzaga, Duke of Mantua, *1376. The Vices banished by 
 Wisdom, companion to No. 1375. — 1567. Perugino, Conflict be- 
 tween Cupid and Chastity ; the visitor should compare this work 
 with the similar scenes by Lor. Costa (No. 1261} and Mantegna 
 (No. 1376). — 2721. Justus of Germany (painted at Genoa), 
 Annunciation and saints; 1268. C. Orivelli, St. Bernardino of Siena; 
 1282, 1280. School of Gent, da Fabriano, Scenes from the life of the 
 Virgin; farther on are four similar works, two of which (Nos. 1279, 
 1278) are by the master's own hand. 
 
 *1564. Perugino, Madonna and Child with angels, St. Rose, and 
 St. Catharine. 
 
 'An early work, remarkable for clearness of outline, pure and rich 
 brilliance of colour, and soft, pale yellow flesli tone.' 
 
 Crowe & Cavalcaselle. 
 No number, Sienese School, Mt. Calvary. 
 
 On the wall at the end: *1312. Giotto, St. Francis of Assisi re- 
 ceiving the stigmata ; below, Vision of Innocent III. , the same pope 
 confirming the statutes of the order of St. Francis, and St. Francis 
 preaching to the birds : a genuine, signed picture, painted for the 
 Pisans. — 1260. Cimahue, Virgin and angels, a strange composition 
 resembling a Russian icon. — 1151. Bartolo, Presentation in the 
 Temple. 
 
 On the next wall, as we return: 1313-1317. School of Giotto, 
 Funeral of St. Bernard, Madonnas, Birth of St. John the Baptist; 
 1301. Gaddi, Annunciation; 1658. Florentine School, St. Jerome; 
 1293. Fra Angelica da Fiesole, Martyrdom of St. CosmasandDamian. 
 — *13i9. Benozzo Gozzoli, Triumph of St. Thomas Aquinas. 
 
 Above is Christ, with Paul, Moses, and the Evangelists. In the centre 
 of the glory is the celebrated theologian between Aristotle and Plato; at 
 Ms feet; overwhelmed by his eloquence, is Guillaume de St. Amour, a 
 professor of the Sorbonne; below, an ecclesiastical assembly with Pope 
 Alexander IV. - 
 
 *1290. Fra Angelico da Fiesole, Coronation of Mary, with acces- 
 sories, extolled by Vasari. the faces of the saints full of holy aspira- 
 tion (freely restored). — 1345. School of Fra Filippo Lippi, Madonna
 
 Oallery. 2. LOUVRE 1 1 7 
 
 and Child; 1320. B. GgzzoU, Decoration of an altar; 1295. Botticelli, 
 The Magnificat; *1344. Fra Fit. Lippi, Madonna and Child with 
 two sainted abbots. — 1296. Botticelli (school-piece), Madonna -vrith 
 the Child and John the Baptist; *1343. Fra Filippo Lippi, Nativity 
 (the Virgin is said to be a portrait of Lucrezia Buti), D. Ghirlandajo, 
 1322. Portraits of a man and a boy, 1321. Visitation. 1367. Mai- 
 nardi, Madonna and Child; 1299. School of Botticelli, Venus; 1482. 
 Roaselliif), Madonna in glory; *1263. Lor. di Credi, Madonna and 
 Child with saints; 1323. B. Ghirlandajo, Bearing of the Cross: 1167. 
 Fr. Bianchi, Madonna enthroned, between SS. Benedict and Quen- 
 tin. — Above the door: 1512. Lo Spagna (not Raphael), God the 
 Father and two angels, frescoes removed from the Villa Magliana near 
 Rome, purchased in 1873 for the extravagant price of 206,500 fr. 
 (8260L). 
 
 The *Grande Galerie, or Room VI, is divided into six bays, 
 marked A, B, C, D, E, F. — It contains nearly all the remaining 
 pictures of the Italian, Spanish, German, Netherlandish, and Early 
 French Schools. The paintings have recently been rearranged and 
 several of secondary importance have been removed. 
 
 Bay a. High Renaissance Italian Masters. 
 
 On THE right: 1417. Pinturicchio, Madonna and Child; 1539. 
 Lo Spagna, Nativity, 1303. Raffaelino del Garbo, Coronation of the 
 Virgin; 1661. Florentine School of the 15th cent., Madonna and Child 
 and four saints; 1526. Luca Signorelli, Adoration of the Magi; 1416. 
 Piero di Cosimo, Coronation of the Virgin; *1114. Albertinelli, Ma- 
 donna and Child with SS. Jerome and Zenobius, dated 1507, a 
 fine work; 1516. Andrea del Sarto, Holy Family; Pcntormo, 1242. 
 Visitation (copy), 1240. Holy Family. — Fra Bartolommeo, 1153. 
 Annunciation; *1154. Madonna enthroned, with saints (1511). 
 
 'Christ gives the ring to the kneeling Catherine of Siena. This charming 
 idea, rendered with Leonardesque elegance, conveys a sense of great affec- 
 tion and veneration towards Christ on the part of his mother, expressed 
 chiefly by movements emulating those of the Bella Giardiniera in softness.' 
 
 C. d- C. 
 
 1515. A. del Sarto, Holy Family. 
 
 Raphael,*ibOQ. Portrait of a young man, painted after 1515 (long 
 erroneously regarded as a portrait of himself), 1502. St. Michael 
 (1501, an early work), 1503. St. George and the dragon, 1609bi3. 
 Head of St. Elizabeth. 
 
 *1505. Raphael, Portrait of Count Castiglione, a poem regarding 
 which still exists, painted about 1516, with masterly management 
 of the different shades of colour. Comp. p. 108. *1507. Raphael and 
 Giulio Romano, Portrait of Johanna of Aragon, painted in 1518, 
 the head only, according to Vasari, having been painted by Raphael 
 (comp. p. 108); 1500. Raphael, John the Baptist in the wilderness, 
 probably genuine, but completely ruined; *1601. Raphael, St. Mar- 
 garet, painted, according to Vasari, almost entirely by Giulio Romano ;
 
 118 2. LOUVRE. Picture 
 
 1508. Raphael, Portraits; 1511. School of Raphael, St. Catharine 
 of Alexandria; 1513. After Raphael, Madonna of Loretto (original 
 lost). Above the Raphaels : *1418. Giulio Romano, Nativity, painted 
 as an altar-piece for S. Andrea at Mantua; 1183. Bronzino^ Christ 
 and Mary Magdalen; 1484. Rossi, Thomas's unhelief; 1420. Giulio 
 Romano, Triumph of Titus and Vespasian, composed in the style 
 of the ancient reliefs on the Arch of Titus at Rome; 1258. Chimenti 
 da Empoli, Madonna in glory. 
 
 On the left, beginning at the entrance again : *1436. Fr. Francia, 
 Crucifixion; 1388. Mazzolini, Christ preaching to the multitude; 
 1553. Garofalo, Child Jesus asleep; 1276. Dosso Dossi, St. Jerome; 
 1353. B. Luini, Holy Family; 1605. School of Leonardo da Vinci, 
 Portrait; Marco da Oggiono, no number, Madonna and Child; 1382. 
 Holy Family; 1488. Sacchi, The four doctors of the church; 1284. 
 Lor. di Pavia, Family of the Madonna; 1355. B. Luini, Salome 
 receiving the head of John the Baptist, painted under the influence 
 of Leonardo da Vinci; Borgognone, 1181. Presentation in the 
 Temple, 1182. St. Peter of Verona and a kneeling woman; Andrea 
 Solario, *1530. 'Madonna with the green cushion', rich and radiant 
 in colouring, with a beautiful landscape, *1532. Crucifixion; 1597. 
 Leonardo da Vinci, John the Baptist, with an enthusiastic, ecstatic 
 expression of countenance (retouched); *1604. School of Leon, da 
 Vinci (perhaps Cesare da Sesto~), Madonna with the scales; *1599. 
 Leonardo da Vinci^ Holy Family, known as 'La Vierge aux Rochers', 
 a work of the highest merit; the light on the flesh-tints is still bril- 
 liant, but the shadows have become very dark. — *1600. Leonardo 
 da Vinci (?), Female portrait. 
 
 'It was formerly, without any authority, called La Belle Fironnihre 
 (a mistress of Francis I.), but is probably the portrait of Lucrezia Crivelli, 
 the mistress of Ludovico Sforza, and must, therefore, have been painted 
 at Milan. The figure is remarkable for its graceful and noble bearing, 
 and attractive owing to the gentle tinge of melancholy which pervades 
 the features.' Eugler. 
 
 1602. Leon, da Vinci (? school-piece), Bacchus, originally com- 
 posed as John the Baptist in the "Wilderness; 1531. Solario, Por- 
 trait of Charles d'Amboise; 1603. Marco da Oggiono (?), Copy of 
 Leon, da Vinci's fresco of the Last Supper (at Milan), one-third 
 smaller than the original; 1169. Boltraffio, Madonna of the Casio 
 family, with the poet of that name on the right (the painter's 
 masterpiece, according to Vasari); 1519. Savoldo, Portrait. 
 
 *1578. Titian, 'La Madonna del Coniglio', or the Virgin with 
 the rabbit, painted in 1530. 
 
 'A master-piece in which Titian substitutes for the wilds of Bethlehem 
 the lovely scenery of the Isonzo and Tagliamento. He represents the 
 Virgin seated on the grass with her hand on a white rabbit, and St. Ca- 
 therine by her side stooping with the infant Christ : a charming group in 
 the corner of a landscape, — a group on which all the light of the picture 
 is concentrated , whilst the broad expanse behind with the wooded 
 farmstead in its right, the distant village, the chain of hills, and the 
 far-off mountains lost in blue haze, lies dormant under the shade of a 
 summer cloud. St. Catherine and the Virgin are both portraits." — C.d: C.
 
 Oallenj. 2. LOUVRE. 119 
 
 1318. Girolamo daiLibri, Madonna and Child. — 1673. Venetian 
 School of the 16th cent., Portrait. 
 
 **lo83. Titian, Christ crowned with thorns, painted about 1560. 
 
 'The pictures of this period show various allusions to antiquity. Ti- 
 tian seems to have been specially interested in the Laocoon. The im- 
 pression produced on him by that work is most worthily utilised in the 
 chief figure in his 'Crowning with thorns', although the master's efiforts 
 to attain fidelity to nature have led him into exaggerations foreign to 
 antiquity. — Strangely enough, though warm and golden in general tone, 
 the picture has less variety and more uniformity of colour than usual.'' 
 
 C. d- C. 
 
 *1581. Titian, Christ and the two disciples at the Supper of 
 Emmaus, painted about 1547. 
 
 'A genre picture in monumental setting, a mixture of the common- 
 place and the sublime, forming a kind of precursor to that naive and 
 piquant mode of rendering the sacred narrative which was afterwards 
 rendered almost classical by Paolo Veronese.' C. d: C. 
 
 1425. Jac. Bassano^ Marriage at Cana. — *1589. Titian, Allegory, 
 painted, for Alphonso Davalos , Marohese del Vasto, representing 
 that general taking leave of his wife when summoned by the em- 
 peror to Vienna in 1532 to fight against the Turks (see also p. 109). 
 
 'As an allegorical creation and as a work of a potent master of colour, 
 Titian's canvas is one of the most entrancing that was ever created. 
 There is such perfect sweetness of tone, such a rich strain of harmony 
 in tints, such a solemn technical mastery — that we can do no more than 
 look on and wonder.' C. (k C. 
 
 *1588. Titian, Portrait of Francis I. of France, painted about 
 the year 1530 from a medal, and yet reproducing the characteristically 
 quaint features and royal bearing of that monarch ; 1586. Titian, 
 Council of Trent. 
 
 **1687. Titian, Jupiter and Antiope, known as the 'Venus del 
 Pardo', painted in 1574. Comp. p. 109. 
 
 'Though injured by fire, travels, cleaning, and restoring, the master- 
 piece still exhibits Titian in possession of all the energy of his youth, 
 and leads us back involuntarily to the days when he composed the 
 Bacchanals. The same beauties of arrangement, form, light, and shade, 
 and some of the earlier charms of colour are here united to a new scale 
 of effectiveness due to experience and a magic readiness of hand. . . . The 
 shape of Antiope is modelled with a purity of colour and softness of 
 rounding hardly surpassed in the Parian marble of the ancients.' 
 
 C. d- C. 
 
 *1591. Titian, Portrait of a man in black, resembling No. 1588 
 (see above), and painted at the same period ; *1577. Madonna ; 1582. 
 Christ led to execution; *1580. Holy Family; 1593. r^mn (?), Por- 
 trait; 1585. Titian, St. Jerome. 
 
 In the middle, 1462. Dan. da Volterra, David beheading Goliath, 
 forced and exaggerated (painted on both sides). 
 
 Bay B. Italian Academic School op Bologna (Eclectics) and 
 Naturalistic School of Naplbs. — Spanish School. 
 
 On the left: 1579. Titian, Holy Family, perhaps partly executed 
 by a pupil; 1185. John o/" Caicar (Venetian School), Portrait, dated 
 1540; 1135. Giorgione, Holy Family; Paolo Veronese, 1199. Por-
 
 120 2. LOUVRE. Picture 
 
 trait, 1189. Esther before the wrathful Ahasuerus, very lifelike and 
 dramatic; *1399. Palma Vecchio^ Adoration of the Shepherds: the 
 figures resembling portraits , exuberantly natural (C). — Paolo 
 Veronese, 1188. Susanna and the elders, 1194. Bearing of the Cross 
 (unfinished), 1191, *1190. Holy Family, *1196. Christ and the 
 disciples at Emmaus (the subsidiary figures the most attractive), 
 1195. Golgotha, 1187. Destruction of Sodom. — Above the Vero- 
 neses: 1171, 1172. Bonifazio, Holy Family; 1180. Paris Bordone, 
 Portraits ; 1594. Titian, Portrait of a knight of Malta. — Tintoretto, 
 1467. Portrait, 1464. Susanna at the bath, *146o. Paradise, 1469. 
 Madonna and Child with saints; 1547. Tiepolo, Last Supper; 1463. 
 Fel. Riccio, Holy Family ; *1203. Canaletto, Yiew of Venice. — 
 1330-1333. Guardi, Fetes at Venice; 1413. Pellegrini, Allegory. — 
 Panini, 1408. Interior of St. Peters at Rome, 1409. Concert at Rome. 
 — The remainder of the left wall in this bay is devoted to the 
 Spanish School (see below). 
 
 To THE BIGHT, beginning again at the other end: 1438. Bagna- 
 cavallo. Circumcision; Barocci, 1150. Madonna in glory, 1149. 
 Circumcision; 1421. Giulio Romano, Venus and Vulcan; 1493. 
 Sassoferrato, Holy Family (after Raphael) ; 1385, 1386. Parmigiano, 
 Holy Family; 1433. Copy of Primaticcio, Concert; 1163. P. da 
 Cortona, Madonna and Child; 1121. Caravaggio, Death of the Virgin; 
 1288. Feti, Melancholy ; 1124. Caravaggio, Portrait of Alof de Vigna- 
 court, grandmaster of the Maltese Order ; 1368. Manfredi, The fortune 
 teller; 1210. Cardi di Cigoli, St. Francis of Assisi; 1520. Schidone, 
 Holy Family; 1287. Feti, Country life; 1379. Maratta, Maria Madda- 
 lena Rospigliosi. 
 
 The adjoining room contains tlie pictures of tlie Frencli school described 
 at p. 131. 
 
 1257. Cesari, Diana and Action ; 1543. Strozzi, St. Antony of 
 Padua; 1534. Solimena, Heliodorus expelled from the Temple. — 
 Salvator Rosa, *1479. Cavalry battle, 1480. Landscape, 1478. Ghost 
 of Samuel appearing to Saul; 1447. Guido Reni, Ecce Homo; 1232. 
 Ann. Carracci, Fishing; *1613. Domenichino, St. Cecilia, well known 
 from engravings ; 1439. Guido Reni, David and Goliath ; 1233. Ann. 
 Carracci, Hunting; 1450. G. Reni, St. Sebastian; 1111. Albani, 
 Diana and Actaeon ; 1392. P. Mola, Vision of St. Bruno ; 1227. Ann. 
 Carracci, Martyrdom of St. Stephen; 1546. Tiarini, Repentance of 
 St. Joseph; 1616. Domenichino, Triumph of Cupid; 1390. Mola 
 St. John the Baptist preaching. 
 
 Left Wali. (continued). Spanish School, beginning a little 
 beyond the window. *1717. Murillo, Beggar-boy 'cherchant a d^- 
 truire ce qui I'incommode' : the intent expression is full of life and 
 the light admirable; *1732. Velazquez, Philip IV. of Spain, in a 
 simple but majestic style; 1715, 1714. Murillo, Christ in Gethse- 
 mane, Scourging of Christ, painted on marble; 1734. Velazquez^ 
 Thirteen portraits ; Spagnoletto, *1723. St. Paul the hermit, 1721.
 
 Gallery. 2. LOUVRE. 121 
 
 Adoration of the shepherds, with charming Madonna of the Spanish 
 type; Murillo, **1710. Nativity of the Virgin, with exquisitely 
 blended colours, *1708. Immaculate Conception; *1738. Zurharan^ 
 Conference of St. Peter of Nola and St. Raymond of Pennaforte ; 
 1722. Spagnoletto, Entombment; *1735. Velazquez^ Infanta Maria 
 Theresa; *1716. Murillo^ Miracle of St. Diego, known as the 'Cuisine 
 des Anges' (a poor monastery provided with food by angels) ; 1703. 
 Collanth^ The burning bush; 1739. Zurbaran^ Funeral of a bishop; 
 1704. Goya, Guillemardet, French ambassador at Madrid, 1798; 
 1712. Murillo, Madonna with the rosary, of his earlier period. 
 
 Bay C. Early French School 
 
 On the bight: 1004, 1005. French School of the 15th cent., St. 
 Peter and St. John the Evangelist, with the donors; 1013. School 
 of Fontainebleau (15th cent.), Diana; 155. Jean Cousin, Last Judg- 
 ment (one of the only two extant pictures of this artist); 1049. 
 French School of the 15th cent., Crucifixion and saints; 1035. 
 Vnknoicn Artist of the 16th cent.. Ball at the court of Henri III; 
 1014. School of Fontainebleau (16th cent.), Moderation of Scipio. 
 
 On the left : 126. Clouet (?), Francis I.; 1007. French School of 
 the 16th cent., Francis I. ; 998. French School of the 15th cent., De- 
 scent from the Cross; 995. French School of the 14-1 5th cent.. Last 
 communion and death of St. Denis ; *289. J. Foucquet, Charles VII. 
 — Several other interesting portraits of the old. French school. 
 
 Bay D. Flemish and Dutch Schools. 
 
 On the left: *2196. Rogier van der Weyden, Descent from the 
 Cross. *2029. Q. Matsys, Banker and his wife, of very delicate 
 workmanship; replicas, with slight variations, are to be seen at 
 Valenciennes, Nantes, etc. *2024, *2025. Memling, John the Baptist, 
 and Mary Magdalen with the box of ointment, two delicately-finished 
 panels (school-pieces according to Mr. Weale); No number. Ant. 
 Moro (Sir A. More), Supposed portrait of Edward IV. of England ; 
 2028. School of Memling, Martyrdom of St. Sebastian, Resurrection, 
 and Ascension; No number, Florentine School, Dead Christ; Mabuse, 
 1997. Carondelet, chancellor of the Netherlands, 1998. Madonna and 
 Child; 2640. Zustris, Venus and Cupid; *1957. Ger. David (•}), 
 Marriage at Cana; No number, Brueghel the Elder, surnamed '■Peamnt 
 BruegheV, Parable of the seven blind men, a large work, of curious 
 conception but admirable in colouring; 1961. Van Dyck, Madonna 
 and Child with saints ; 1921. Jan Brueghel, surnamed ' Velvet BruegheV, 
 Battle of Arbela. 
 
 We now proceed to examine the series of large **Painting6 by 
 Rubens (Nos. 2085-2105), which begins here and is continued on the 
 opposite wall. Marie de Medicis, widow of Henri IV, for a time 
 regent for her son Louis XIII., and afterwards exiled, returned to 
 France in 1620, and resolved to embellish her Luxembourg Palace
 
 122 2. LOUVRE. Picture 
 
 with paintings on a very extensive scale. Rubens, to whom the task 
 was entrusted, came to Paris in 16*21, where he painted the sketches 
 (eighteen of which are now at Munich^, after which he returned to 
 Antwerp and executed the pictures there with the aid of his pupils. 
 In 1625 the completed works were brought to Paris, where they 
 received a few final touches from Rubens himself. The sr-enes are 
 as follows: — 2085. The three Fates spin the fortunes of Marie de 
 Me'dicis. — 2086. Birth of Marie [1575, at Florence); Lucina, the 
 goddess of births, is present with her torch; Florentia, the goddess 
 of the city, holds the new-born infant; on the right is the river- 
 god of the Arno. — 2087, Her education, conducted by Minerva, 
 Apollo, and Mercury; on the right are the Graces. — *2088. Amor 
 shows the portrait of the princess to Henri IV ; above are Jupiter 
 and Juno; beside the king appears Gallia. — 2089. The nuptials; 
 the Grand Duke Ferdinand of Tuscany acts as proxy for his niece's 
 husband. — 2090. The queen lands at Marseilles. — 2091. Wedding 
 festival at Lyons ; Henri IV in the character of Jupiter, and Marie 
 de Medicis in that of Juno ; in the chariot in front the patron- 
 goddess of Lyons. — 2092. Birth of Louis XIII.; behind the queen 
 is Fortima ; the infant is in the arms of the genius of Health. — 
 2093. Henri IV, starting on his campaign against Germany (1610), 
 entrusts the queen with the regency. — *2094. Coronation of the 
 queen by Cardinal de Joyeuse at St. Denis ; the king is observed 
 in a gallery above. — *2095. Apotheosis of Henri IV; below are 
 Victoria, in a yellow robe, and Bellona with a trophy; on the right 
 is enthroned the mourning queen between Minerva and Wisdom; 
 at her feet are Gallia and noblemen. — *2096. Regency of the 
 queen under the protection of Olympus ; Mars , Apollo (a copy 
 of the antique Belvedere), and Minerva drive away the hostile 
 powers ; Juno and Jupiter cause the chariot of France to be drawn 
 by gentle doves. — 2097. The queen in the field during the civil 
 war; she is orowned by Victoria. — 2098. Treaty between France 
 (on the right) and Spain (left) ; princesses of the allied courts are 
 mutually destined to marry the heirs to the two thrones. — *2099. 
 Prosperity prevails during the regency ; the queen enthroned bears 
 the scales of justice; on the right are Minerva, Fortuna, and 
 Abundantia; on the left Gallia and Time; below are Envy, Hatred, 
 and Stupidity. — *2100. The queen commits the rudder of the ship 
 of the state, rowed by the virtues, to Louis XIII. on his majority. 
 — 2101. Flight of the queen (1619). — 2102. Mercury presents 
 himself to the queen as a messenger of peace. — 2103. The queen 
 is conducted into the temple of peace. — *2104. Marie de Medicis 
 and Louis XIII. in Olympus; below is the dragon of rebellion. — 
 *2105. The god of time brings the truth to light; above is the king 
 giving his mother a chaplet of peace. — 2106, 2107. Rubens^ Por- 
 traits of the Grand Duke Francis of Tuscany and of Johanna of 
 Austria, parents of Queen Marie de Medicis.
 
 Oallery. 2. LOUVRE. 123 
 
 To THE BIGHT (returning to the beginning of this bay and omit- 
 ting the Rubens series): 1999. Mabuse , Portrait of a monk; No 
 numbers and 2202. Flemish School of the 15th cent., Adam and Eve 
 (1507), Annunciation, Dead Christ; 2030. Quentin Matsys, Christ 
 imparting a blessing; 2143. Snyders^ Stag-hunt: Flemish School of 
 the 15th and 16th cent.^ *2198. Pastoral instruction, *2205. Portrait, 
 *2201. Mater Dolorosa, *2202bis. Madonna and donors (triptych); 
 1906. Bril, Deer-hunt; 2147. Snyders, Fruit and animals; 2140. 
 Seghers, St. Francis of Assisi; Flemish School, 2740, Abraham's 
 sacrifice, 2203. Portrait ; No number, Aertgen van Leyden ( ?), Bearing 
 of the Cross; 1907. 5rji, Landscape ;<?<> A. More, 2478. Portrait, 2479. 
 Dwarf of Charles V.; 2079. Rubens, Madonna in a garland ; *1975. 
 Van Dyck, Duke of Richmond; 2144. Snyders, Boar-hunt; 2164. 
 Teniers the Elder, Heron-hawking, with the Archduke Leopold on 
 horseback to the right (erroneously ascribed to the younger Teniers); 
 *2116. Rubens, Tournament, a spirited sketch; Phil de Ch impaigne, 
 1934. Portraits of two nuns, 1941. Portrait of a girl; ^Velvet' Brueghel, 
 1919. The Earth, or the terrestrial paradise, 1920. The Air; 2160. 
 Teniers the Younger, Tavern by a brook ; 2369. Sir P. Lely{f), Portrait 
 of a lady; 2011. Jac. Jordaens, Christ driving the money-changers 
 out of the Temple, somewhat trivial in composition but masterly in 
 its realistic vigour; Teniers the Younger, *2155. Peters Denial; 
 among the soldiers at the table is the artist himself; 2165. The 
 Smoker; 1963. Van Dyck, Pieta; 1940. Ph. de Champaigne, Portrait; 
 2016. Jordaens, Admiral de Ruyter ; 2072. Pourbus, Marie de Medicis ; 
 1937. Ph. de Champaigne, Victory crowning Louis XIII. 
 
 The adjoining door leads to the French Galleries, see p. 127. 
 *2108. Rubens, Marie de Medicis; *1969. Van DycTc, Duke 
 Charles Louis I. of Bavaria (full face) and his brother Robert, Duke 
 of Cumberland ; Teniers the Younger, 2168. Old man, 2167. Bagpipe- 
 player, 2169. Blowing soap-bubbles; *1968. Van BycJc, Children of 
 Charles I ; 2033. Van der Meulen, Louis XIV. entering Douai (1667) ; 
 1943. Ph. de Champaigne, Portrait; 2163. Teniers the Younger, Tavern 
 scene; 2024. Memling, John the Baptist; 2465. M. J. van Mierevelt^ 
 Portrait of Oldenbarnevelt; 2307. L. Bakhuizen, Sea-piece; 2022' 
 Meel, A military halt; 2378. J. van Goyen, Sea-piece; *2360. Jan 
 le Ducq, Interior of a guard-house, his principal work; 2399. J. van 
 der Heyden, Town Hall at Amsterdam ; 2137. Ryckaert, Interior of 
 . a studio ; 2362. Phil, van Dyck, Sarah presenting Hagar to Abra- 
 'ham; 2621. Ph. Wouverman, The 'boeuf gras' in Holland; *2561bi3. 
 Jac. van Ruysdael, Edge of a wood; 2509. Is. van Ostade, Halt; 
 2363. Ph. van Dyck, Abraham dismissing Hagar ; 2447. Lingelbach, 
 Vegetable-market at Rome; *2389. Dirk Hals, Fete champetre; 
 2325. Van Bergen, Landscape and animals; C. van Poelenburg, 2520. 
 Women bathing, 2519. Pasture; 2306. L. Bakhuizen, Sea-piece; 
 2461. O. Metsu, The chemist; 2431. K. du Jardin, Landscape with 
 animals; 2500. A. van Ostade, Smoker; *2596. A. van de Velde
 
 121 2. LOUVRE. Picture 
 
 Landscape -witli animals; 2356. Ger. Dou^ Reading the Bible, a very 
 attractive, peaceful domestic scene; *24:20. J. van Huysum^ Flowers; 
 2602. Verkolk^ Interior; *2391. Dav. de Heem, Fruit and dishes on 
 a table; 2351. G. Dou^ Trumpeter. 
 
 To THE LEFT, beginning below the first of the large Rubens 
 series: Tenters the Younger, *2156. The Prodigal Son, *2162 (beyond 
 2110), Tavern with card-players; 2110. Riibens, Sketches for the 
 paintings Nos. 2085 and 2105 (see above); 2423 and (farther on) 
 2424. J. van Huysum, Flowers, etc.; *2075. Ruiens, Flight of Lot, 
 signed and dated (1625); *1792. A. van Dyck^ Portrait of Francesco 
 deMoncade; 2071 and (farther on) 2070. Pcurbusthe Younger, Por- 
 traits of Henri IV; Tenters the Younger, *2157. The works of Mercy, 
 *2158. Temptarion of St. Antony; Rubens, *2114. Portrait of a lady 
 of the Boonen family, 2081 (farther on). Raising of Lazarus, a sketch; 
 1952. Gonzales Coques, Family party ; 2166. TenierstheYounger, Knife- 
 grinder; 1942. Ph. de Chnmpatgne, Portrait of a girl; *2593. A. van 
 de Velde, Prince of Orange on the beach at Scheveningen; Ger. Dou, 
 *2352. Cook, 2350 (farther on). Village grocer; *2394, Bart, van der 
 Heist, Four directors of a guild of archers awarding the prize to the 
 victor, a reduced replica of the well-known painting in the Museum 
 at Amsterdam, and in better preservation ; 2600. W. van de Velde, 
 Sea-piece; 2161. Tenters the Younger, Rustic dance; *2330. Bol, 
 Portrait of a mathematician; 2623. Ph. Wouverwan, Setting out for 
 the hunt; 1912. A. Brouwer, Interior of a tavern; 2359. G. Dou, 
 Portrait of himself; *2373. Gov. Flinck. Portrait of a girl ; J. van 
 Huysum. 2421. Basket of flowers, 2422 (farther on). Fruit and 
 flowers; 2001. A. van de Venne, Fete champetre, with allegorical 
 allusions to the peace in 1609 between Archduke Albert and the 
 Dutch; *2484. A. van derNeer, Dutch village; 2521. C. van Poelen- 
 burg, Bathers ; 2474. W. van Mieris, Game-dealer; *2508. Is. van 
 Ostade, Travellers resting; 2522. C. van Poelenburg, Ruins at Rome; 
 2473. W. van Mteris, Soap-bubbles. *2536. Rembrandt, Family of 
 Tobias revering the departing angel, painted in 1637 ; very char- 
 acteristic of the master's easy and genial mode of rendering Bible 
 scenes, and admirable for its warm and harmonious colouring and 
 its poetry of chiaroscuro. *2403. M. Hobbema, Landsf'ape; 2597. A. 
 vande Velde, The shepherd's family; 1960. Fr. Duchdtel, Equestrian 
 portrait; Ph. Wouverman, 2628. Cavalry skirmish, 2632 (farther on). 
 Soldiers halting; *2415. Pteter de Hooch, Two ladies and cavaliers in^ 
 a room, with admirable rendering of sunshine ; 2564. D. van Sant- 
 voort, Christ at Emmaus: Ntcolas Berchem , 2315. Cattle wading 
 through a ford (of the master's happiest period), 2320 (farther on), 
 Landscape with cattle; 2346. DekTcer, Landscape; 2456. J. van der 
 Meer of Delft, Lace-maker; 2333. J. Both, Landscape; 2361. J. le 
 Ducq, The marauders ; *2495. A. van Ostade, Domestic scene, sup- 
 posed to be the two Ostades and their families; Gerard Don, *2353. 
 Girl hanging up a cock at a window, *2355. The dentist ; 2482. Mou-
 
 Qallery. 2. LOUVKE. 125 
 
 cheron, Starting for the hunt- 2460. 0. Metsu^ The music-lesson; 
 2428. K. du Jardin, The ford; 2490. Ja. van NickeUe^ Vestibule of a 
 palace; *2414. P. de Hooch^ Interior of a Dutch house, another good 
 sunlight effect (comp. No. 2415) ; *2589. Terburg^ The concert, of 
 delicate workmanship; 2571. Soryh, Kitchen; 2462. Metsu, Dutch 
 woman; J. van Ruysdael^ 2561. Landscape, *2559. Autumnal land- 
 scape; 2453, Metsu^ A Dutch cook; 2436. W.Kalf^ Interioi of ahut; 
 2580. Jan Steen^ Bad company ; 2450. Lingelbach^ Landscape. 
 Between this hay and the following are two Sevres vases. 
 
 Bay E. Flemish and Dutch Schools. 
 
 On thb left: Rembrandt^ 2543. Venus and Cupid (portraits), 
 an early work, 2538 (farther on), St. Matthew (1661); *2404. Hob- 
 bema^ The Mill; 2141. Snyders, Earthly Paradise ; *2341. A.Cuyp^ 
 Landscape; 2604. Lievens^ The Visitation; *2553. Rembrandt. Por- 
 trait of the artist (1634); 2492. J. van 0«, Flowers and fruit; *2588. 
 Terburg^ The music-lesson, a charming work; 2612. J. Weenix^ Sea- 
 port; 2155. Snyders, Fish-dealer; 2544. Rembrandt, Portrait of an 
 old man, dated 1638 ; No numher, W. van Aelst, Fruit; *1974. A. van 
 Dyck, Portraits of a lady and her daughter ; *2343. A. Cuyp, The 
 ride; 2013. Jordaens, Childhood of Jupiter; 2076. Rubens, Elijah 
 in the desert fed by an angel, painted in Spain as a pattern for 
 tapestry; *2342. A. Cuyp, Two riders; 2014. Jordaens, Bean-feast; 
 A. van JDyck, 1973. Portrait of a man and a girl, 1985. Portrait of 
 President Richardot of Brussels and his son; *2113. Rubens, Helena 
 Fourment, his second wife, with two of her children (unfinished) ; 
 *2557. J. van Ruysdael, River in a wood, with figures by Berchern, 
 an important work of the master's best period; 2035. Van der Meu- 
 len, View of Arras, in the foreground Maria Theresa in a carriage, 
 behind which are Loviis XIV. and his train on horseback; Rubens, 
 *2111. Portrait of Baron de Vicq, ambassador of the Netherlands at 
 Paris, *2115. Village festival; A. van de Velde, 2598. Frozen canal, 
 2594. Landscape with animals; 2546. Rembrandt, Portrait; 2078. 
 Rubens, Madonna; 2068. Pourbvs the Younger, Last Supper. 
 
 To the right, beginning again at the other end: *2527. Paul 
 Potter, Cattle pasturing, very highly finished ; 2548. Rembrandt, Car- 
 case in a butcher's shop; *2159. Tcniers, Village festival; 2142. 
 Snyders, Animals entering Noah's Ark ; 1962. Van Dyck, Madonna 
 .and donors; 2314. Berchern, Landscape; 1954. Caspar de Crayer, 
 Equestrian portrait of Archduke Ferdinand of Austria, governor of 
 the Netherlands; 2606. Ary de Voys, Portrait; *2497. Adr. van 
 Ostade, Fish-market; 2340. J. van Craesbeck, The artist painting a 
 portrait; *2611. Jan Weenix, Dead game; 2083. Rubens, Triumph 
 of Religion, painted as a pattern for tapestry, like No. 2076 (oppo- 
 site); *2392. Jan Davidsz de Heem, Fruit; 2371. J. Fictoor, Girl 
 at a window; 2117. Rubens, Landscape; *1971. Van Dyck, Eques- 
 trian portrait of Fr. de Moncade; 2625. Ph. Wouverman, Stag-hunt;
 
 126 2. LOUVRE. Picture 
 
 *2112. Rubem, Elizabeth of France, daughter of Henri IV; *2388. 
 Fr. Hals, The Van Beresteyn family of Haarlem. — *1970. A. van 
 Dyck, Elizabeth of Austria, Regent of the Netherlands, as a Claris- 
 sine nun; 2469. Fr. Mieris the Elder, Portrait; 2528. P. Potter, The 
 white horse; 2163. Teniers the Younger, Tavern; 2534. J. van Rave- 
 steyn, Portrait; 2331. Ferd. Bol, Portrait; 1927. Phil, de Champaigne, 
 Repast at the house of Simon, the Pharisee. 
 
 At the windows, two Sevres vases of the Restoration period. 
 
 Bay F. Flemish and Dutch Schools. 
 On the right: 2332. Both, Landscape; 2327. Bloemaert, Na- 
 tivity; 2400. J. van der Heyden, View in Holland; 2319. Berchem, 
 Landscape with animals ; 2396, 2395. B. van der Heist, Portraits ; 
 2510. J. van Ostade, Frozen canal; 1994. Fyt, Dog and game; 2401. 
 J. van der Heyden, View in Holland; 2316. Berchem, Horse-pond; 
 *2458. Metsu, Vegetable market at Amsterdam ; *2560. J. van Ruys- 
 dael, Mountain-landscape, with a sunbeam shining through the 
 parting clouds ; figures by Ph. Wouverman : poetically rendered, 
 and masterly in its silvery, greenish-grey tone; 2312. C. Bega, 
 Rustic interior; 2595. A. van de Velde, Landscape and animals ; 2067. 
 J. van Oost the Elder, S. Carlo Borromeo administering the sacrament 
 to the plague -stricken; 2636. Wynants, Edge of the forest; No 
 number, *Pynacker, Landscape at sunset; 2576. O. Sprang, Portrait; 
 2377. J. van Goyen, a brook; *2383. Fr. Hals, Portrait of Descartes; 
 2130. Rubens(Jf), Diogenes looking for a man ; 2609. Weenix, Maraud- 
 ers repulsed; 1953. De Crayer, St. Augustine in an ecstatic trance. 
 
 To the left, beginning at the other end: 2642. Dutch School 
 of the 17th cent.. Literary society; 2438 bis. DeKeyser, Portrait; 2313, 
 Berchem, Environs of Nice (?) ; 2375. J. van Goyen, Banks of a river 
 in Holland; 2605. H van Vliet, Portrait. *2578. Jan Steen, Roys- 
 terers, dated 1674 ; a most humorous and joyful scene, full of happy 
 motives. 2541, 2540 (farther on), Rembrandt, Two philosophers 
 in profound meditation, dated 1633. *2558. J. van Ruysdael^ Stormy 
 sea on the Dutch coast ; a work of marvellous poetry, striking effect, 
 and masterly treatment. 2082. Rubens, Crucifixion ; 2626. Ph. Wou- 
 verman, Riding school; 2537. Rembrandt, Good Samaritan (dated 
 1648); 2511. Isaac van Ostade, Frozen canal; *2386, *2387. Fr. 
 Hals, Portraits of Nic. de Beresteyn and his wife; 2554. Rembrandt, 
 Portrait of himself; Aetscher, 2486. Singing-lesson, 2487. Lesson on 
 the bass-viol; 2345. A. Cuyp, Storm; 2069. Pourbus, St. Francis of 
 Assisi receiving the stigmata. 
 
 At the end of the gallery : *2475. Fr. Mieris the Elder, Cook ; 
 3280. J. van der Hagen, View in Holland; 1929. Ph. de Champaigne, 
 Last Supper (variation of No. 1928); 2472. Fr. van Mieris, Flemish 
 family ; No number. Van den Tempel, Portrait. 
 
 Supplementary Room of the Flemisli and Dutch Schools, see p. 144.
 
 Gallery. 2. LOUVRE. 127 
 
 We now return to Bay D and on the left enter the — 
 Petites Salles, wMcli are also entered on the other side by a door 
 at the top of the Escalier Mollien or des Galerles Fran^alses. 
 
 IX. Room. FiENCH School (continued; see p. 121). 152. Courtois 
 (Le Bourguignon)^ Attack of cavalry; 71. S. Bourdon^ Descent from 
 the Criss; 1014 ''is. School of Fontainebleau^ Toilet of Venus; 694. 
 Fr. Perrier^ Acis and Galatea; 165. N. Coypel, Apollo, painted as a 
 pattern for tapestry; Le Nain^ 539. Nativity, 541. Rustic repast; 74. 
 Bourdon^ Csesar visiting the tomb of Alexander; 58. Valentin (J. de 
 Boulongne)^ The Tribute Money ; 304. Friminet^ Mercury command- 
 ing ^neas to abandon Dido. 
 
 X. Room. German School. Hans Holbein the Younger^ 2719. 
 Portrait of Sir Richard Southwell, a replica, or perhaps a skilful copy 
 of the picture at Florence, *2718. Anne of Cleves, fourth wife ot 
 Henry VIII., a late work, 2720. Unknown portrait. 2703. Cranach 
 tJie Elder^ Yenus, dated 1529; *2737. School of Cologne (15th cent.), 
 Descent from the Cross. Holbein the Younger^ *271S. Portrait of Nic. 
 Kratzer of Munich, astronomer to Henry VIII. of England, dated 
 1528, the finest Holbein in the Louvre; *2714 (farther on), William 
 Warham, Archbishop of Canterbury, at the age of seventy, dated 
 1528. 2709. Aibrecht DiXrer^ Head of an old man (tempera; under 
 glass); 2724. Mignon^ Chaffinch's nest; 2708. Dietrich^ The woman 
 taken in adultery. — 2732. Rottenhammer^ Death of Adonis. — 2716. 
 Holbein the Younger^ Portrait of an elderly man ; No number, Ger- 
 man School of the 16th cent., Madonna and Child; 2741. German 
 School of the Kith cent.., Portrait. 2717. Holbein the Younger^ Portrait 
 of Sir Thomas More, the English chancellor, a small and spirited 
 picture, probably painted soon after the painter's arrival in England 
 (1526). 2738. School of Cologne of the 16th cent. (Master of the Death 
 of the Virgin)., Last Supper, Preparation for the Entombment, and 
 St. Francis receiving the stigmata; iNo number, School of Cranach 
 the Elder., Portrait; German School of the 16th cent.., *2739. Adoration 
 of the Magi, 2743. Portrait. — 2706. Denner^ Portrait of a woman, 
 of unrivalled finish; 2722. Angelica Kauffman^ Portraits of Baroness 
 KriJdener and her daughter. — In the centre is a table painted by 
 Hans Sebald Beham, with four scenes from the history of David. 
 
 XI. Room. British School (to the left) and a few unimportant 
 paintings of the French School. — British School: 18 12 bis, Hoppner, 
 Portrait of the Countess of Oxford; 1803. Constable, Bay of Wey- 
 mouth; 1811, 1812 (farther on), Gaim6orowp/i, Landscapes; 1808. 
 Bonington, Card. Mazarin and Anne of Austria; 1804. Constable, 
 Hampstead Heath; 1813. Lawrence, Portrait of Lord Whitworth; 
 1818. Allan Ramsay, Charlotte Sophia of Mecklenburg-Strelitz, Prin- 
 cess of Wales; 1807. Bonington, Francis I, and the Duchesse 
 d'Etampes; 1805. Constable, The glebe farm; 1806'^^^. Bonington, 
 The old governess, 1809 (opposite). The park at Versailles; 1819. 
 British School, Portrait; 1802. Constable, The rainbow; 1810. Bo-
 
 128 2. LOUVRE. Picture 
 
 nington, View of Venice; 1806. Beechey, Brother and sister; 1813. 
 Lawrence, Portrait of Julius Angerstein and his wife ; 1801. Constable^ 
 Landscape; 1816. Opie, The woman in white ; 1814. Morland, The 
 halt; 1817. H. Eaebum, Naval pensioner. 
 
 XII. Room. French School [continued). Twenty -one large 
 pictures hy Eustache Lesiieur, illustrating the life of St. Bruno, the 
 founder of the Order of Carthusians, painted on wood in 1645-48 
 for the Carthusian Monastery at Paris, hut freely retouched. The 
 best is 584. Death of St. Bruno. Two of the series are in R. XL 
 
 XIII. Room. Fkench School (continued). Lesueur, Scenes from 
 the life of Cupid, the Muses, Phaeton, Ganymede, painted for the 
 Hotel Lambert (p. 229) ; Hubert Robert, 805. View of a park, 804. 
 Round temple surmounted by a dove-cote. 
 
 "We next reach the staircase to the French galleries mentioned 
 at p. 89, and the — 
 
 Galerie Francaise dn xvii© Siecle, or Room XIV. On the 
 right: 730. N. Foussin, Bacchanal; Valentin, 57. Judgment of Solo- 
 mon, 56. Acquittal of the chaste Susanna ; 742. Poussin, Apollo and 
 Daphne, unfinished; 513. Chas. Lebrun, Alexander entering Baby- 
 lon, a large picture, painted (like Nos. 509-512, see below) as a 
 design for Gobelins tapestry ; 558. Lesueur, Christ appearing to Mary 
 Magdalen; 504. Lebrun, Martyrdom of St. Stephen; *556. Lesueur, 
 Bearing of the Cross; 713. Nicolas Poussin, Holy Family; 494. Le- 
 brun, Adoration of the Shepherds ; Poussin, 740. Landscape, with 
 Orpheus and Eurydice, 709. The Israelites gathering manna in the 
 wilderness (Rome, 1639), 710. The Philistines struck with pest- 
 ilence (painted at Rome about 1630), 706. Moses in the ark of bul- 
 rushes ; 562. Lesueur, St. Scholastica appearing to St. Benedict ; 502. 
 Lebrun, Piet^; *434. J.Jouvenet, Raising of Lazarus, one of the best 
 and most characteristic works of this artist (1706) ; *560. Lesueur, 
 Preaching of St. Paul at Ephesus (1649), the chief figure after 
 Raphael; 511. Lebrun, The tent of Darius, one of the Gobelins series 
 mentioned above; 715. Poussin, The blind beggars of Jericho. — 
 Claude Lorrain (unsurpassed in rendering soft and vaporous at- 
 mosphere), *313. Harbour at sunset, an ideal landscape, 312. Land- 
 scape with village-festival, both painted in 1639 ; the figures, as in 
 most pictures by this artist, are by another hand. Poussin, 726. The 
 young Pyrrhus, son of the King of Molossus, rescued from the pur- 
 suit of his rebellious subjects by two faithful followers of his father, 
 712. Adoration of the Magi; 59. Valentin, Concert; 433. Jouvenet, 
 The miraculous draught of fishes, 1706; 724. Poussin, Rape of the 
 Sabine women; Lebrun, 497. Christ in the desert, waited on by 
 angels, 501 (below), Crucifixion; 529. Lefebvre, Master and scholar; 
 CI. Lorrain, *323. Harbour, 315. Anointing of David; 707. Poussin, 
 The infant Moses spurning the crown of Pharaoh with his feet; 456. 
 Lahire, Pope Nicholas V. opening the burial-vault of St. Francis of 
 Assisi 5 *317. Claude Lorrain, Harbour, of great vigour and depth
 
 Gallery. 2. LOUYRE. 129 
 
 of colouring ; 790. Rigaud, Robt. de Cotte, the architect; *567. 
 Lesueur, Descent from the Cross, one of the painter's masterpieces; 
 *610, Lebrun, Battle of Arhela, another of the Gobelins series 
 mentioned above ; 322, Claude Lorrain, The ford. 
 
 On the exit-wall : 52. Bon Boulogne, St. Benedict resuscitating 
 a child ; 555. Lesueur, The Annunciation, painted under the in- 
 fluence of Guido Reni. 
 
 318. Ciawde Zorram/ Sea- port; 736. Poussin, Spring, or the 
 earthly paradise; 780. Rigaud, Presentation in the Temple; Pous- 
 sin, 737. Summer, or Ruth and Boaz, 729. "bacchanal; Claude 
 Lorrain, 325. Defile of Susa, 324. Siege of La Rochelle'; 977. Vouet, 
 Riches; Poussin, 738. Autumn, or the spies returning with'^grapes 
 from the Promised Land, 727. Mars and Venus, 721. John the 
 Baptist, 739. Winter, or the Deluge; 512. Lehrun, Alexander and 
 Porus; Poussin, 722. Vision of St. Paul, 720. Death of Sapphira; 
 544. Le Nain (?), Procession in a church; 782. Kigrawd,^ Philip V. 
 of Spain, at the age of 17, painted in 1700; Powssm,' 716. The 
 Woman taken in adultery,' 714. Holy Family; 515. Lehrun, Death 
 of Meleager; *314. Claude Lorrain, Cleopatra received by Antony 
 at Tarsus; 735. Poussin, Time delivering Truth from the attacks of 
 Envy and Discord, executed as a ceiling-painting for Card. Riche- 
 lieu in 1641 ; 24, 23. Blain de Fontenay, Flowers and Fruit; *316. 
 Claude Lorrain, Ulysses restoring Chryseis to her father (figures by 
 Fit. Lauri') ; *734. Poussin, Three Arcadian'shepherds and a maiden 
 surrounding an old tombstone which they have found and which 
 bears the inscription 'Et in Arcadia ego' : a simple, harmonious, 
 and much admired composition (comp. p. xxxvi); *628. Mignard, 
 The Virgin with a bunch of grapes ('la Vierge ^ la grappe'); Pous- 
 sin, *711. Judgment of Solomon, 705. Moses in the ark of bul- 
 rushes; *781. Rigaud, Louis XIV., painted from life (17011; 452. 
 Lahire, Virgin and Child; Lehrun, 514. Meleager and Atalanta, 
 498. Christ entering Jerusalem; Vouet, 971. Presentation in the 
 Temple, 978. Faith; 505. Lehrun, Repentant Magdalen, perhaps 
 a portrait of Mile, de la Valliere, mistress of Louis XIV.; 540. Le 
 Nain, Forge; 530. Lefehvre, Portrait; 500. Lehrun, Crucifixion; 
 311. Claude Lorrain, Campo Vaccino; 732. Poussin, Triumph of 
 Flora;' *310. Claude Lorrain, Sea-port at sunrise; Mignard, 634. 
 St. Cecilia, 630. Bearing of the Cross : 509. Lehrun, Crossing of 
 the Granicus ; 483. Largilliere, Count de la Chatre ; *704. Poussin, 
 Eleazar and Rebecca; 499. Lebrun, Bearing of the Cross. 
 
 In the centre are recent acquisitions : Belloc, Portraits of his 
 wife and daughters; H. Vemet, Portrait of Isabey; Chintreuil, Six- 
 teen studies for landscapes; several other portraits. 
 
 We now enter a lofty saloon with vaulted ceiling, called the — 
 
 Salle des Portraits, or Room XV, which contains a collection of 
 portraits of artists, founded in 1887 on the model of the collection 
 at Florence. Some of the canvasses have been brought from the 
 
 Baedekek. Paris. 12tli Edit. 9
 
 130 2. LOUVRE. Picture 
 
 other rooms of the Louvre, but the majority come from the Ecole des 
 Beaux Arts and from Versailles, and are of historical value only. 
 The most interesting are as follows, from right to left : 
 
 373. Et. Jeaurat, by Greuze; 640. P. Mignard, by himself; 525. Jos. 
 Vernet, by Mme. Lebrun-, *1983. VanDyck. by himself; 524. Hubert Robert, 
 by Mme. Lebrun ; *2552. Remhrandt, the portrait with the gold chain, 1148. 
 Guercino, by themselves; 1944. F. Mansarf and CI. Ferrault, by Phil, de 
 Champaiiine; 1380. Maratta. by himself; 4<6. J. L. David, bv Langlois; 
 482. Lebrun, by Largilliere; 760. P. Puget, by Fr. Puget; 147. Courbet, '521. 
 Mme. Lebi'un, 214. Eug. Delacroix, 183. Ch. Cot/pel, by themselves; 492. 
 Mc. Goustou, by Largilliere. 
 
 The ceiling is embellished with paintings by Charles Muller 
 illustrative of the history of art in France : St. Louis and the Sainte 
 Chapelle^ Francis I. in the studio of one of his artists, Louis XIV. 
 beginning the Louvre, Napoleon I. ordering its completion. 
 
 We now repass the large side-hall, in which the more recent 
 works are hung, and inspect first the — 
 
 Galerie Francaise du xviiie Siecle, or Room XVI, containing 
 French works of the 18th and 19th centuries. On the right: 180. 
 Ch. Ant. Coypel, Perseus and Andromeda; 411. Huet, Dog and 
 geese; 902. L. Mich. Vanloo , Portrait of Soufflot, the architect; 
 Boucher, 35. Pastoral scene, 42. The goal; 170. A. Coypel, Esther 
 before Ahasuerns; 465-462. Lancret, The seasons; 275. J. Dumont 
 (called Le Romairi), Madame Mercier, nurse to Louis XV., and her 
 family; 531. Le Fevre, Cupid disarmed by Venus; 224. Desportes, 
 Portrait of a huntsman; 9. Aved , Portrait of the Marquis de Mi- 
 rabeau; Hub. Robert, 798. View of Nimes, 808. Ruins of a temple; 
 J. Vernet, 935. Castello S. Angelo, 936 (farther on), Ponte Rotto, 
 at Rome; 375, 374. Greuze, Studies of girls' heads; 896. J. B. 
 Vanloo, Diana and Endymion ; 900. C. Vanloo, Maria Lesczinska, 
 Queen of France ; Boucher, 83. The bagpipe, 30. Diana quitting the 
 bath, 31. Venus demanding arms for ^neas from Vulcan, 32. 
 Sleeping shepherdess ; 246. Desportes, Dog and partridges ; 99. Char- 
 din, The procuress; H. Robert, 809. Landscape, 797. View of 
 Orange; 666, 671. Oudry, Dogs; Char din , 97. The antiquarian 
 monkey, 94. Weapons of the chase; 863. Taraval, Triumph of 
 Amphitrite; 668. Oudry, Dog and game; 658. Nattier, Mme. 
 Adelaide, fourth daughter of Louis XV; 520. Boilly, Arrival of 
 the diligence; 520. Mme. Lebrun, Abundance led back by Peace; 
 222. De Marne, Fair; 913. J. Vernet, Moonlight; 766. Raoux, Pyg- 
 malion and Galatea; 261. Drolling, Kitchen. 
 
 End wall: 194. David, Paris and Helen; 43. Boucher, Toilet of 
 Venus. — Greuze, 370. The father's curse, 372 (on the other side of 
 the door), The repentant son. These are characteristic examples 
 of the 'bourgeois' dramas with a 'moral', which Greuze was so fond 
 of painting. — 448. Lagrenee, Rape of Dejanira. 
 
 Leftside, returning: 381. Greuze, Portrait of the artist ; J. Ver- 
 net, 922. Return from fishing, 925. Moonlight effect. — *369. Greuze, 
 The marriage contract, marked by skilful discrimination of indivi-
 
 Gallery . 2. LOUVRE. 131 
 
 dual character at a moment of great excitement. This is considered 
 his master-piece. — 884. Fr. de Troy, Esther's toilet ; 34. Boucher, 
 Pastoral scene; helow, several works hy Chardin. Then, 678. 
 J. Parrocel, Passage of the Rhine by Louis XIV. 's army; H. Robert, 
 799. Interior of the temple of Diana at Nimes, 807. Ruined por- 
 tico; 899. C. Vanloo, Huntsmen resting; 865. Tocque, Maria Les- 
 czinska ; 803. H. Robert, Porticus of Octavia ; *92. Chardin, Grace 
 before meat, his best work; *982. Ant. Watteau, Embarking for 
 Cythera, an admirable study for the picture at the Palace in Berlin; 
 91. Chardin, The industrious mother; H. Robert, 802. Porticus of 
 Marcus Aurelius, 810. Park, 800. Pont duGard; *372. Oreuze, The 
 broken pitcher, the most popular of his works; 923. J. Vernet, 
 Landscape; 45. Boucher, Pastoral; 638. Mignard , The Grand 
 Dauphin, son of Louis XIV., and his family; 921. J. Vernet, 
 Landscape; Chardin, 89. Kitchen, 90 (farther on), Fruit'and ani- 
 mals; 237. Desportes , Still-life; 36. Boucher, Vulcan presenting 
 Venus with arms for ^neas. — Desportes, 229, 230. Dogs, 245. 
 Fruit, 249. Portrait of the artist; 869. Tocque, Portrait of a lady ; 
 670. Oudry, The farm. 
 
 Between the doors: 835. Santerre , Susanna at the bath; 938. 
 J. Vernet, Sea-piece; 853. Subleyras, Christ and Mary Magdalen. 
 
 Visitors wlio wish to adhere to the chronological order in studying 
 the paintings of the French school should omit the next gallery for the 
 present, and proceed to the Salon des Sept Chemine'es (p. 136). Those whose 
 time is limited may return through the Salle des Portraits to the Salle des 
 Etats (see Plan, p. 88). 
 
 The Salle Francaise du xix© Siecle, or Room VIII, formerly 
 the Salle des Etats, where the Chambers used to be formally opened 
 by Napoleon III., has now been completely transformed, and the 
 upper part has been lavishly decorated, though in a style open to 
 criticism. As mentioned at p. 122, the farther end communicates 
 with the Grande Galerie. We begin to the right, on entering from 
 the Salle des Portraits (p. 130). — 140, 139. Corot, Views in 
 Rome; *250. Eug. Deveria, Birth of Henri IV; *207. Eug. Dela- 
 croix, The barque of Dante, a powerful composition, with which the 
 artist introduced himself to the public in 1822; Ingres, 415. Peter 
 receiving the keys of heaven, 419. Ruggiero delivering Angelica ; 
 147. Courbet, Deer in cover; 641. Millet, Church at Gr^ville; 702. 
 Pils, Rouget de I'lsle singing the Marseillaise; 363. Gleyre, Lost 
 illusions; *156. Couture, The Romans of the decadence; 615. Ma- 
 rilhat. Ruins of the mosque of Sultan Hakem; 841. Ary Scheffer, 
 St. Augustine and his mother Monica; 418. Ingres, Portrait of 
 Cherubini; 390. Gros, Francis I. and Charles V. visiting the tombs 
 at St. Denis (an unhappy composition); 138. Corof, Morning. — *417. 
 Ingres, Apotheosis of Homer, an old ceiling-painting (p. 143). The 
 figure of the 'Iliad', clad In red , is perhaps the best in this calm 
 and dignified composition. — 145. Courbet , Stags fighting ; 744. 
 Prud'hon, Crucifixion (unfinished) ; 426, 427. Ingres, Portraits of 
 
 9*
 
 132 2. LOUVRE. Picture Gallery. 
 
 M, and Mme. Riviere; 643. Millet, Spring; 956. H. Vernet, The 
 Barriere de Clicliy in 1814 ; *889. Troyon, Bullocks going to their 
 work ; No number, David^ Portraits of Mme. Morel de Tangry and her 
 two daughters; 610. Lethiere, Death of Virginia; *817. L. Robert, 
 Return from the pilgrimage to La Madonna dell' Arco at Naples ; 
 748. Prud'hon, Meeting of Francis IL and Napoleon after the battle 
 of Austerlitz ; *847. Th. Rousseau, Forest of Fontainebleau ; 443. 
 De la Berge, Arrival of the diligence in a Normandy village ; 958. 
 H. Vernet, Raphael at the Vatican. — Above the door, 142. Couder, 
 The Levite of Mount Ephraim. 
 
 Beyond the door to the Grande Galerie, to the right as we come 
 from the latter : Daubigny^ 185. Spring, 184. Vintage in Burgundy ; 
 *216. P.Delaroche, Death of Queen Elizabeth of England. — *816. 
 L. Robert, Reapers in the Pontine Marshes. This and No. 817 (see 
 above) are two works characterized by skilful grouping, energetic, 
 and cheerful. — 840. Ary Scheffer, The Temptation in the wilder- 
 ness; No number, Bellange and Dauzats, Review at the Tuileries 
 (1810); 847. Sigalon, The young courtesan; 211. Delacroix, Jewish 
 wedding in Marocco; *890. Troyon, Return to the farm; 305. Fro- 
 mentin, Hawking in Algeria ; 609. Lethiere, Brutus condemning his 
 sons; 210. Delacroix, Algerian women; 147. Courbet, The wave; 
 123. Chintreuil, Space; 50t>is. Bouchot, Fall of the Directoire (Nov. 
 9th, 1799); *213. Delacroix, Crusaders entering Constantinople; 
 141. Corot, Landscape; 209. Delacroix, The Barricade, July 28th, 
 1830 ; 408. Heim, Capture of Jerusalem by the Romans ; 199. David, 
 Mme. R^camier, unfinished; 14. Belly, Pilgrims to Mecca; 217. 
 Delaroche, The Princes in the Tower of London; *389. Qros, Na- 
 poleon after the battle of Eylau ; 212. Delacroix, Don Juan's ship- 
 wreck (from Byron's 'Don Juan') ; 957. H. Vernet , Judith and 
 Holofernes; 141t>is. Corot^ Italian scene; *644. Millet, Gleaners, in 
 the poetic and realistic style of the more famous 'Angelus' of this 
 tardily appreciated artist; 830. Th. Rousseau, Marsh in the 'Landes' ; 
 *208. Delacroix, Massacre at Chios; 770. Regnault, General Prim. 
 
 We now again pass through the second French gallery (p. 130), 
 and descend the Escalier Daru (p. 89), on which there are a few 
 Italian paintings (the door hence to the Salle des Italiens Primitifs 
 is now closed; p. 116). "We re-ascend on the left side, passing the 
 Nike of Samothrace (p. 106), to the — 
 
 Eotonde d'ApoUon, a kind of vestibule, adorned with ceiling- 
 paintings of the Sun (Fall of Icarus) and the four Elements , by 
 Blondel and Couder. In the centre is a handsome marble vase, 
 imitated from an antique vase of the Vatican, and surrounded with 
 a beautiful modern mosaic by F. Belloni. A fine wrought-iron door 
 of the 17th cent, on the right leads to the — 
 
 *Galerie d'ApoUon. This saloon, which is about 70 yds. in 
 length, was constructed in the reign of Henri IV, burned down 
 under Louis XIV. in 1661, and rebuilt from designs by Charles Le-
 
 Oaleried'Apollon. 2. LOUVRE. 133 
 
 brun, who left the decoration unfinished. It was then entirely 
 neglected for a centnry and a half, but was at length completed in 
 1848-51. It is the most beautiful hall in the Louvre, and is con- 
 sidered one of the finest in the world. It derives its name from 
 the central ceiling-painting by Deiacroix, representing 'Apollo's Vic- 
 tory over the Python', a fine work both in composition and colour- 
 ing (1849). On the vaulting above the entrance is the Triumph of 
 Cybele, with Bacchantes, by J. Ouichard, after Lebrun, 1849. The 
 ceiling is divided into five large fields, representing the periods of 
 the day. In four other fields , next those in the centre , are the 
 seasons, while twelve medallions in grisaille represent the months. 
 The subjects of the principal paintings are as follows : Night or 
 Diana, hy Lebrun; Evening or Morpheus, by Lebrun; Apollo, men- 
 tioned above ; Castor or the Morning Star, by A. Renou ; Aurora or 
 Dawn, by Ch. L. Muller, after Lebrun. In the vaulting over the 
 window , Triumph of the Waters (Neptune and Amphitrite) , by 
 Ch. Lebrun (about 1665). The panels of the walls are adorned with 
 *Portraits of twenty-eight celebrated French artists , and of St. 
 Louis, Francis I., and Louis XV., in Gobelins tapestry. 
 
 The beautiful tables and other furniture in this room date 
 chiefly from the reign of Louis XIV. The glass-cases contain 
 **Objects of art, gems, etc. The collection of enamels is the most 
 extensive and valuable in the world. The arrangement is not final. 
 
 Table I. -Reliquari/ of Si. PothentJiin., a German work of the 12th century. 
 
 Case I. (in the centre). On the top shelf: at each end, enamelled Vene- 
 tian basins ; reliquary (i2th cent.), for an arm of Charlemagne. Silver-gilt 
 reliquary cross (12th cent.), with statuettes and precious stones ; *Reliquary 
 with enamelled statuettes, etc., from the Chapel of the Order of the Holy 
 Ghost in the Louvre, dating from the 15th cent, and therefore anterior to 
 the founding of the order by Henri III (1579). — On the middle shelf : next 
 the windows, Enamelled croziers of the middle ages ; pases of the 15th 
 and 16th csnt. ; silver reliquaries in the form of hgures of the Madonna 
 (15th cent.); reliquary of St. Henry (12th cent.); cylindrical silver mon- 
 strance of the 15th cent. ; rock-crystal crucifix mounted in silver gilt, of 
 the 15th cent.; painted reliquary of the 13th cent., in imitation of Byzan- 
 tine works ; ciborium of the 13th cent. ; cylindrical monstrance of the 
 15th century. — Below: Two reliquaries in the form of angels, and other 
 objects from the Chapel of the Holy Ghost; small enamelled shrines of 
 the Romanesque period; chalices, including one of the 13th century. — 
 On the other side of the case are enamelled vases, reliquaries, etc. 
 
 Case II. Chiefly objects of the 16th century. 'Pax, with enamels 
 and rubies ; 'Ciborium of crystal, with silver-gilt base and cover, adorned 
 with chasing, cameos, and gems; *Rings; ''Ornaments; *Cups of sardonyx; 
 vessel of rock-crystal, shaped like a chimsera; urns formerly in the 
 possession of Cardinal Mazarin. 
 
 Case III. Similar objects. On the top shelf : *Epergne of the time of 
 Louis XV., consisting of a boat in lapis lazuli mounted in gold and enamel ; 
 Goblets in rock-crystal and "Vessels, beautifully chased (translucent, be.^t 
 seen from the other side); the handle of the first cup is set with enamels 
 and rubies; caskets of Hungarian jade. — On the middle shelf, returning: 
 •Vessel of sardonyx, with enamelled mounting; busts of the Ctesars, the 
 heads of crystal or precious stones ; agate cup , with cameos ; cups of 
 various kinds, richly mounted. — Below: *Vessels of agate; incense vessel 
 of green jasper adorned with enamels ; vase of jasper, with dragons as 
 handles, attributed to Benveiiuto Cellini', antique 'Vase, with very fine
 
 134 2. LOUVRE. Galerie dCApollon. 
 
 mountings ; "Cvp of sardonyx, the handle in the shape of a dragon studded 
 with diamonds, rubies, and opals. — On the other side of the case are 
 other noteworthy vessels. 
 
 Case IV. contains the Crown Jewels retained when the rest were 
 sold in 1887. Among these are : the "^-Regent, perhaps the finest diamond 
 in the world, weighng 136 carats and worth 12-15 million francs; to the 
 right, the *Mazarin, a rose-diamond of immense value, and a large ruby 
 in the shape of a dragon. In fri,nt, *Sword ('epee militaire'), made at the 
 order of Napoleon I., and set with gems, valued at 2 million francs; 
 ''Mirror and Candlestick of Marie de Medicis , set with sardonyx and cut 
 and engraved agates, presented to the queen by the Venetian Republic. 
 — Behind: to the right, Crown of Louis XV. (false jewels), to the left 
 Crown of Napoleon I. ^ in imitation of Charlemagne's; between these, *0r- 
 nament commemorating the Peace of Teschen (1779), an interesting German 
 work. In front. Watch presented to Louis XIV. by the Dey of Algiers; 
 pearl dragon-brooch and elephant of the Danish order of the Elephant. — 
 To the left, Chatelaine of Catherine de Mddicis, set with diamonds. 
 
 Case V. Objects of the 16-17th centuries. — On the top shelf: Articles 
 of rock-crystal ; silver-gilt group of a Centaur carrying ofif a woman ; *Fe- 
 male equestrian statuette, also in silver-gilt. — On the middle shelf and 
 below: Vessels of sardonyx, agate, and jasper, with enamels, etc. — In 
 the centre: Scourging of Christ, a statuette in blood jasper, on a richly 
 ornamented pedestal. 
 
 Case VI, behind, to the left, ^Enamelled Reliquary, with the Virgin 
 and Child (early 14th cent.). — "Reliquary for an arm of St. Louis of Tou- 
 louse , enamelled, on the hand a sapphire ring (14th cent.); chalice in en- 
 amelled silver (14th cent.); Vase of Eleanor of Aquiiaine, wife of Louis VII. 
 of France and afterwards of Henry II. of England (12th cent.). Vases and 
 Sacrament- Platter of the Abbot Suger of St. Denis; one of the vases, of an- 
 tique porphyry, was remounted in the form of an eagle in the 12th cen- 
 tury ; Byzantine reliefs in beaten work. 
 
 Case VII, behind, to the right: Casket once belonging to Anne of 
 Austria; objects from the above-mentioned Chapel of the Holy Ghost. 
 
 In front of the adjoining window is a handsome 'Bureau formerly in 
 the possession of Louis XV., by Riesener, with bronze ornaments by 
 Hervieux. 
 
 The cabinets along the wall opposite the windows, and the glass-cases 
 in front of the windows, chiefly contain *Enamels. Like majolica-painting 
 in Italy, the enameller's art was practised in France at a very early date. 
 Its culminating period was coeval with that of the School of Fontainebleau 
 (second half of the 16th cent.), and Limoges was its headquarters. The 
 most famous artists in enamel were Nardon Penicaud, Leonard Limosin, 
 Jean and Pierre Courteys, and Pierre Reymond. The practice of the art died 
 out in the 18th cent., but has recently been revived with some success. — 
 Enamels are termed Cloisonnis when the coloured vitreous glaze is de- 
 posited in compartments formed by thin metal partitions (cloisons) fol- 
 lowing the outlines of the design on the surface of the plate; Champlevis 
 when the compartments are sunk into the thickness of the plate; Trans- 
 lucides or Transparents when the design is incised on the plate and covered 
 with transparent enamel; and Painted (peints) when the entire surface of 
 the plate is covered with coloured enamel. Cloisonne and champleve 
 enamels were made by Byzantine and mediaeval artists, but the translucid 
 process was not invented until the 15th century. 
 
 By the First Window, near the entrance: Transparent enamels of 
 the 14-15th cent. ; ''Binding of a Prayer-book, with filigree ornamentation, 
 enamels (symbols of the Gospels), and embossed gold reliefs (Crucifixion), 
 a Byzantine work. — Second Window: Champlevi Enamels of the 12th 
 cent., from the Rhine; Limoges Enamels of the 13th century. — Third 
 Window: *Enamels ('Emaux Peints'') by the P^nicauds. — Fourth Window: 
 Enamels by the same. — Fifth Window : •Goldsmiths' work : snuff-boxes, 
 bonbonnieres, caskets, etuis, medallions with miniatures, rings, chains, 
 crosses, pendants, and other ornaments enamelled or set with pearls and 
 gems; cameos; intaglios; etc. — Sixth Window: Enamels hj Lionard
 
 Salle des Bijoux. 2. LOUVEE. 135 
 
 Limosin^ including several portraits. — Seventh Window: Articles used 
 at the coronation of the French kings : sword of the end of the 12th cent.; 
 buckle (14th cent.); spurs (12th cent.); 'Sceptre of Charles V. (Uth cent.); 
 'Hand of Justice' of the kings of the 3rd dynasty; ring of St. Louis. — 
 Book of hours of Catherine de Medicis; poniard of the grand-master of the 
 Order of Malta (16th cent.). — The cases at the remaining windows con- 
 tain Limoges enamels by L. Limosin, P. Reymond, Jean de Court^ the Fini- 
 eauds, Couly Nouilher^ Suz. de Courts Laudin, etc. 
 
 Cases XIII — XVII, opposite the windows, contain enamels by P. Cour- 
 teijs and L. Limosin (in the 2nd and 3rd), and other Limoges enamels. 
 In the last case also is goldsmith's work: 'Shield and '*Helmet of Charles IX. 
 (d. 1574) in gold and enamel ; silver ewer and platter in repouss^ and chased 
 work, reiiresenting the expedition of Emp. Charles V. against Tunis in lb'6b. 
 
 We return to the Salle Ronde, aud turn to tlie rooms of the Old 
 Louvre on the right, first entering the — 
 
 Salle des Bijoux, which is adorned with a ceiling-painting by 
 Mauzaisse, representing Time showing the ruins that he causes and 
 the works of art he brings to light; below, Seasons, Elements, etc. 
 The room contains an extremely valuable collection of ancient orna- 
 ments, jewels, and enamels, among which the Etruscan works are 
 conspicuous for the perfection of their execution. Other valuable 
 antiques are also preserved here. 
 
 1st Central Case. At the top : Gold Tiara of Saitapharnes., presented 
 to the king of that name by the Greek colony of Olbia in Sarmatia, 
 with flat reliefs, 3rd cent. B.C. (? authenticity disputed). Gilded iron helmet 
 (Gallo - Roman), with enamel ornamentation (found in the Seine near 
 Rouen); conical Etruscan helmet, with golden circlet and wings; golden 
 quiver; three gold crowns, including a Gra'co-Etruscan ''Diadem (unique). 
 Below are golden crowns, necklaces of gold, silver, enamel, and pietra 
 dura, some with artistic pendants of the finest filigree work. *198. Golden 
 Etruscan necklace adorned with a head of Bacchus with the horns and 
 ears of a bull. In one of the following cases, *Collar and two ear-covers 
 in the Greek style, also from Olbia. — 2nd Central Case. '■Treasure 
 of Bosco Reale, consisting of 94 silver articles recently discovered on the 
 site of a house destroyed by the eruption of Mt. Vesuvius in 79 A.D. 
 These objects are Alexandrian, Greek, and Roman works of the 1st cent., 
 though some are in such admirable preservation as to seem modern. — 
 Wall Case. Silver objects, -Ceres, with mt)vable arms; silver-plate found 
 in Notre-Dame-d'Alencon near Brissac in 1836; Etruscan earrings; rings 
 of Greek and Roman workmanship. — Side next the Seine. 1st Windoto 
 Case. Intaglios. Gold and bronze rings, bracelets. — 2nd Windoic Case. 
 Cameos ; intaglios ; 'phalerse' or ornaments for horses, etc. — 3rd Window 
 Case. Golden rings with and without precious stones; golden necklaces 
 and earrings ; bronze clasps. — 4th Window Case. Gold necklaces ; plaques 
 of beaten gold; earrings. — 5th Window Case. Articles belonging to the 
 treasure- trove of Notre-Dame-d'Alencon (see above). — Side next the court. 
 Window Case: Buckles; gold and bronze bracelets. 
 
 Proceeding in a straight direction, we next enter the — 
 Salle des Sept Cheminees, or Koom III, containing a number 
 of the finest pictures of French Masters of the 19th Century, or of 
 the Empire and the Restoration. 
 
 Beginning on the left: *188. David, The Sabine women inter- 
 posing between the Romans and the Sabines ; in front Romulus 
 about to hurl his spear at Titus Tatius; the artist's master-piece, 
 painted on the model of an antique medallion (1799). *187, David, 
 Leonidas at Thermopylae, finished in 1814 as the Allies entered
 
 136 2. LOUVRE. Salle des 7 Cheminees. 
 
 Paris; 360. Girodet- Trio son, The Deluge (1814); Prud'hon, 7bi. 
 Empress Josephine, *747. Crime pursued by Justice and Divine 
 Vengeance, a work of tragic earnestness, painted in 1808 for the 
 Criminal Court ; *338. Gericault, Wreck of the Medusa, a French 
 frigate which went down with 400 men on hoard, of whom only five 
 were saved on a raft (1819; this painting created a great sensation, 
 comp. p. xxxix) : ;392. Gros, General Fournier-Sarloveze; *746. 
 Prud'hon, Assumption; *202bis. David, Coronation of Napoleon I. ; 
 *522. Mme. Lebrun, Portrait of the artist and her daughter; *198. 
 David, Portrait of Pope Pius VII. (1805) ; *526. Mme. Lebrun, 
 Mme. Mol^-Raymond, of the Comedie Fran9aise(1786); 343. Geri- 
 cault, Carabinier; *d37. Gerard, Portrait of the Marchesa Visconti. 
 
 *328. Gerard, Cupid and Psyche (1796); No number, Gros, Por- 
 trait of Mme. Lucien Bonaparte; 393. Guerin, Return of Marcus 
 Sextus (an imaginary incident) ; *756. Prud'hon, Rape of Psyche, a 
 work to which the artist largely owes his title of 'the French Cor- 
 reggio'; *362. Girodet- Trio son, Burial of Atala (from a story by 
 Chateaubriand), 1808; *388. Gros, Bonaparte in the plague-hos- 
 pital at Jaffa (1804) ; 332. Gerard, Portraits of Isabey, the painter, 
 and his daughter (1795)'; 396. Guerin, Pyrrhus taking Andromache 
 and her children under his protection (1810). 
 
 Passing through the door to the left of the^entrance (or to the 
 right if we face the entrance), we reach the — 
 
 Salle Henri II, or Room II, a badly-lighted room, with a ceil- 
 ing-painting by Blondel , representing the strife of Pallas and Po- 
 seidon, and Mars and Peace. 
 
 To the right: 834. St. Jean, Fruit; 17. Benouville, The dying 
 St. Francis of Assisi carried. to Sta. Maria degli Angeli; *83. Brascas- 
 sat, Landscape with animals; 125. Chintreuil, R&in ?.nd sunshine; 
 143. Courbet, The burial at Ornans ; .833. St. Jean, Flowers; 420. 
 Ingres, Joan of Arc at the coronation of Charles VII.!; 82. Bras- 
 cassat. Bull; 361. Girodet-Trioson, Endymion; *120. Chasseriau, 
 Tepidarium, one of the finest canvases ever inspired by the revival 
 of the antique ; 359. Giraud, Slave-dealer. — Fineview from the 
 window at the W. end of this room. 
 
 Collection La Caze (Room I). : This collection, which was pre- 
 sented to the museum in 1869, and remains distinct from the others 
 by desire of the donor, forms in several respects a valuable comple- 
 ment to the Louvre galleries. It comprises several French paintings 
 of the rococo period and Dutch masters not otherwise represented. 
 
 Beginning on the left : 2208. Flemish School, Old woman; *2454. 
 Nic. Maes, Grace; 2515. Is. van Ostade, Winter landscape; 2175. 
 Teniers the Younger, Smokers ; 659. Nattier, Portrait of Mile, de 
 Lambesc, with the young Count de-Brionne; 1468. Tintoretto, 
 Susanna at the bath; Teniers, 2177. The smoker, *2170. Rustic 
 festival; 471. Lancret, Boldness rebuked, from Lafontaine ; *491. 
 LargilWere , Portraits of the painter and Ms wife and daughter;
 
 Coll. La Caze. 2. LOUVRE. 137 
 
 Teniers, 2184. Chimney-sweep, 2187. Landscape, 2176. Temptation 
 of St. Antony; Chardin^ 106. Still-life, 103. The house of cards 
 (1737); 1914 (small), Adr.Brouwer, The writer; *1925. J. Brueghel 
 ('Velvet Brueghel'), The bridge ofTalavera; 2179. Teniers, The 
 collector; *2385. Fr. Hals, Portrait of a lady ; *792. Rigaud, Por- 
 trait of J. F. P. de Cre'qui, Duo de Lesdiguieres, as a child; *983. 
 Watteau, Gilles (p. xxxvii); *1041. French School (18th cent.), Por- 
 trait; 2337. Brekelenkamp, The consultation; 2174. Tcnier«, Village 
 fete; 292. Fragonard , Pastoral scene; 2550. Rembrandt, Woman 
 bathing; 2017. Jordaens , Mythological banquet; *548. Le Nain, 
 Rustic meal (1642); 1995. J. Fyt, Game and implements of the 
 chase ; 2121, 2127, 2120. Rubens, Studies; 1311. L. Giordano, Death 
 of Seneca; *2384. Fr. Hals, Gipsy; 488. Largilliere, Portrait of the 
 President De Laage; 376. Greuze, Head of a girl; 115. Chardin, 
 Grapes; 991. Watteau, Jupiter and Antiope. 
 
 105. Chardin, Still-life (other examples farther on); 1979. A. 
 van Dyck, Study of a head; 2402. J. van der Heyden, Landscape; 
 *1916. Adr. Brouwer, The smoker; 2707. Denner, Portrait of an 
 old woman, executed with great delicacy ; 2573. Zorg, Tavern in- 
 terior; 2513. Is. van Ostade, Pig-sty; 791. Rigaud, Portrait of Car- 
 dinal de Polignac ; 46. Boucher, Venus and Vulcan ; 1469. Tintoretto, 
 Madonna and Child, with saints and donor; *986. Watteau, Gay 
 company in a park; 2132. School of Rubens, Portrait of a woman 
 playing the mandoline; 2634. Wouverman, Pilgrims; 987. Watteau, 
 Conjurer; *2551. Rembrandt, Portrait (1651); 2109. Rubens, Por- 
 trait of Marie de Medicis in the character of Gallia; 1735. Velazquez, 
 The Infanta Maria Theresa, afterwards wife of Louis XIV.; 2504, 
 *2505 (farther on), Adr. van Ostade, Reading, The newspaper; 
 2178. Teniers, Guitar-player; *2549. Rembrandt, Woman after the 
 bath (1654); 2406. Hondecoeter, The white turkey ; 2171. Teniers 
 the Younger, The duet; 1946. Phil, de Champaigne, Portrait; 2172. 
 Teniers the Younger, The smokers; 2503, *2502. Adr. van Ostade, 
 The reader, The drinker; 297. Fragonard, The study ; *1725. Spagno- 
 letto, Boy with a club-foot (1642); *2579. J. Steen, The repast; 2393. 
 Heemskerck, Interior. — In the centre two Sevres vases (1878). 
 
 The exit leads to the staircase (Escalier Henri II, p. 97) of 
 the Pavilion de VHorloge or Pavilion Sully, through which we may 
 quit the Louvre. Beyond this staircase, to the left, is the — 
 
 Saloon of the Ancient Bronzes. In the vestibule, in front of the 
 window, is a lifesize gilded bronze statue of Apollo, in good preserv- 
 ation, found near Lillebonne, in Normandy. The saloon, which is 
 entered by a handsome iron doorway, like that of the Galerie 
 d'Apollon, contains a valuable collection of implements, weapons, 
 statuettes, etc. 
 
 Central Glass Case : Etruscan cists, the largest of which were found 
 at Palestrina, near Rome; buckles, collars, and bracelets; sorgical and 
 mathematical instruments; metal ornaments in relief; Greek mirrors, By- 
 zantine bronzes; antique stamps and keys. — Br the Windows: in the
 
 138 2. LOUVRE. Drawings. 
 
 centre, Archaic Apollo, of great historical interest; glass-case containing 
 busts and statuettes of Greek origin, including one of Dionysos, a reduc- 
 tion from the antique after Praxiteles. The large statues are placed on 
 pedestals beside the windows. Glass-cases with Greek and Etruscan mirrors. 
 
 — Glass Cases to the eight, as we return: Statuettes and busts, chiefly 
 of male deities; vases. — Wall Cabinets, beginning on the same side: 
 Mounts, handles, vases in the shape of heads , feet and ornaments of 
 furniture , Eoman balances and weights , domestic implements, platters 
 and stew-pans, antique candelabra of every type, lamps, etc.; then 
 weapons, fragments of statues, gladiator's armour, animals, helmets. On 
 the cabinets are placed busts. — Glass Case to the left, as we return: 
 Greek mirrors with supports, statuettes of female divinities, Cupids, etc. 
 
 The fliglit of steps to the left heyond this hall leads to the sec- 
 ond floor (Musee de Marine, see p. 144). We next enter the — 
 
 Collection of Drawings (Musee des Dessins), rivalling the great 
 Florentine collection in the Ufflzi, and numbering 37,000 in all, 
 among which are 18,200 by Italian masters (358 by Ann. Carracci), 
 87 by Spanish, 800 by German, 3150 by Flemish and Brabant, 1070 
 by Dutch, and 11,800 by French (2389 by Lebrun). Only about 
 2300 of these drawings are exhibited, under glass. 
 
 I. Room. Old Italian masters. Mantegna, Lorenzo di Credi, etc. — 
 Ceiling by Blondel : France victorious at Bouvines, The walls of this 
 and the following rooms are covered with large coloured cartoons by 
 Oiulio Romano: in R. 1, Triumph of Scipio ; in R. 2, Burning of a town 
 and Triumph of Scipio ; in R. 3. The Prisoners. — II. Room. Italian. 
 Drawings by the most celebrated masters : Leonardo da Vinci, Michael Angela, 
 Raphael, Titian, and Andrea del Sarlo. Ceiling- painting by Blondel: 
 France receiving the 'Charte' from Louis XVIII. — By the central window 
 is a sumptuous casket containing an address from the town of St. Peters- 
 burg to 'la nation amie\ — III. Room. Italian. Drawings, two of them 
 in gouache, by 'Correggio: Vice and Virtue. Ceiling - painting by Drol- 
 ling: Justice descends to earth. — IV. Room. Bolognese School. Ceiling- 
 painting by Mauzaisse: Divine Wisdom giving laws to Kings and Lawgivers. 
 
 — V. Room. Flemish, Dutch, and German: Diirer, Holbein, Rubens. Rem- 
 hraiidt, Teniers, etc. On the wall to the left, *56o. Battle of knights, by 
 Rubens, after the celebrated cartoon painted by Leonardo da Vinci in 1504 
 in competition with Michael Angelo (not extant). The ceiling-painting, 
 by Carolus-Duran, represents the Triumph of Marie de Medicis. In the 
 centre is a fine silver vase with reliefs by A. Vechte. Fine vases also on 
 the chimney-piece. — From the passage between this and the next rooms 
 a small staircase ascends to the left to the Mus^e de Marine (p. 144) and 
 Musee Ethnographique (p. 145), on the second floor. On the other side is 
 a room with architectural drawings. 
 
 VI. Room. Chalk drawings, chiefly portraits, by Vivien, Mme. Gu- 
 jard, etc. 
 
 VII-XIV. Rooms. French School. — By the windows are handsome 
 cabinets and fragments of good stained glass. In R. VIII also a very fine 
 collection of '-Miniatures, on a separate stand: portraits byPe/ito< (Louis XIV., 
 Anne of Austria), Dumont, Mme. de Mirbel, Saint, Delacazette, H. J. Hesse, 
 Jean Ouirin (Kleber), Hall, Augustin. Fr. Aubry, L. L. Perrin, etc. ; and 
 paintings in gouache by J. G. Baur. — R. XI contains the coloured 
 cartoons for the stained glass in the chapel of the Orle'ans family at 
 Dreux and in the Chapel of St. Ferdinand (p. 154), by Ingres. — A large 
 •unfinished oil-painting by David (d. 1825) preserved in R. XII represents 
 the Revolutionary meeting at the Jeu de Paume (p. 315). One of the four 
 finished heads is that of Mirabeau. The painting was ordered by the Na- 
 tional Convention in 1790. — R. XIV. Crayons by Chardin (his portrait, with 
 compasses), Vivien, Quentin de la Tour (819. Mme. de Pompadour), Rosalba 
 Carriera, Rob. Nanteuil, etc. The glass-cases contain the greater part of 
 the *Lenoir Collection (Don Lenoir), which includes 204 snuff-boxes and
 
 Mediaeval Objects. 2. LOUVRE. 139 
 
 bonbonnieres, 3 enamels, 74 miniatures, 11 ivories, 66 ornaments^ and 23 
 old plaques. The paintings comprize works by Angustin CNos. 103, 172, 
 181, 188, 189, 20y. 210). Blarenberghe (125-132. 212), Hall (175-177, 223-225), 
 Isahey (227), Fetiiot (79, 155-158, 238-240), Van Pol (249, 250), Van Spaen- 
 donck (251), etc. In tbe centre of the room is a Child with a bird-cage, a 
 small marble sculpture by Figalle. The ceiling is to be painted by Hector 
 Leroux with an Ode to Venus, a Greek subject, and the Union of Greek 
 and Latin poetry. 
 
 A supplementary saloon containing drawings (Salle des Boites)^ on the 
 second floor, is open daily except Sun. and Mon., after 2 o'clock (see p. 146). 
 
 The Collection Thiers, a collection of works of art bequeathed to the 
 Museum by the ex-president of the Republic, occupies two rooms adjoin- 
 ing the last of the Collection of Drawings. Of the 1470 very miscellaneous 
 objects (catalogues) the majority are small, and few are of much importance. 
 They include Antiquities., Terracottas (33-35, in the glass-case to tbe left), 
 Bronzes (113, 110. Busts; 109. Alto-relief; 12. Equestrian statuette; 126. 
 Perseus), Marbles., Carved Ivory (163. Loving-cup; 15. St. Sebastian) and 
 Wood (169. Ecce Homo ; 170. Charles V.), Marquetry (door). Carvings., Ve- 
 netian Glass (209) , Copies of Pictures , Cldnese and Japanese Articles., Por- 
 celain., Snuff-boxes., Enamels., and Miniatures. In the first room is a *Por- 
 trait of Thiers, by Bonnat. 
 
 Adjoining is the Donation His de la Salle., a valuable collection of up- 
 wards of 300 drawings by old masters. This gallery leads to the end of 
 the following collection. 
 
 Adjoining the Collection of Drawings i.s the * Collection of 
 Smaller Medieeval, Eenaissance , and Modern Objects of Art 
 
 (Music des objets d'art du Moyen-Age, de la Renaissance, et des 
 Temps Modernes), which may also he reached by a staircase ascend- 
 ing from R. IV. of the Asiatic Museum (p. 100). 
 
 I. Room (8th from the other end). Glass of the 15-18th cent., 
 chiefly Venetian and German. On the walls, mosaics, including, to 
 the left, the Lion of S. Marco, by Ant. Fasolo of Murano (16th cent.). 
 Ebony Renaissance cabinet. Oaken Gothic door. 
 
 II. Room. *Ivory Carving of the 6-18th cent., some of it very 
 valuable (catalogue by Molinier, 1896; 5 fr.). 
 
 In the four cabinets: Bacchanals by G. van Opstal; several figures of 
 the Madonna; *Coronation of the Virgin (13th cent.); Italian saddle-bow 
 (13lh cent.), with a battle of Amazons; caskets, including one of the 
 9th cent. ; triptychs, including a Byzantine example of the 10th or 11th cent., 
 and a ''Florentine triptych of the 15th (in the last cabinet) ; loving cups 
 and powder-tlasks. Between the cabinets is an Altaic-piece from Poissy, 
 about 7 ft. in height, executed at the end of the 14th cent.: in the centre 
 is the history of Christ, on the left that of John the Baptist, on the right 
 that of St. John the Evangelist, in 71 diflerent reliefs; below are the 
 Apostles. Above is the 'Tapi-«serie du Louvre' represending a miracle of 
 St. (^juentin, by which a robber who had stolen a priests horse escaped 
 the gallows. — In the glass-case in the centre is a Descent from the Cress, 
 of the end of the 13th century. Ihe two table-cases at the sides contain 
 diplychs and parts of diptychs with religious subjects, lids of mirror-cases, 
 combs, etc. 
 
 III. Room. Flemish and German Earthenware of the 16-17th 
 centuries. Pottery by Palissy and in his style. 
 
 IV. Room. French Faience, including specimens of the famous 
 work of Bernard Palissy (d. 1589), which chiefly consists of dishes 
 adorned with snakes, frogs, lizards, fish, and plants moulded from 
 nature. The finest antique French pottery is known as 'Faiences
 
 140 2. LOUVRE. AsicUic Antiquities. 
 
 Henri Deux' or 'd'Oiron' (specimens by the 1st window); it was 
 manufactured in the 16tli cent, at Oiron in Poitou. 
 
 V. and VI. Rooms (temporary arrangement). Fine 18th cent, 
 furniture, collected from different parts of the Louvre; ancient tap- 
 estries, including one representing the Battle of Cassel in 1677, and 
 four others with the twelve 'Hunts of Maximilian', after B. van Orley. 
 
 VIL Room. Oriental Bronzes, vases, and utensils, including a 
 Moorish cup, known as the Baptistere of St. Louis (13th cent.), 
 used at the christening of French princes. Oriental and Hispano- 
 Moorish Faience. The former is recognized by its Oriental designs, 
 yellow metallic background, and blue patterns ; it dates from the 
 i4th and loth centuries. Oriental crystal and glass. 
 
 Vin. Room. Oriental Faience and tiles. 
 
 From this room a staircase ascends to the 2nd floor (p. 144). — For 
 the Remainder of the Renaissance and Modern Objects of Art, see below. 
 
 Leaving Room VIII. by the door at the end we reach the top 
 of the staircase leading to the Asiatic Museum (p. 100). We turn 
 to the right and enter the rooms of the East Wing. 
 
 Asiatic Antiquities (continuation), in three rooms (Salles de la 
 Susiane and de la Chaldee). 
 
 I. Room (6th of this collection; comp. p. 100). Small antiquities. 
 Grseco-Babylonian statuettes and other sculptures ; inscriptions ; cylinders 
 of great delicacy 5 fine Assyrian bronze lion, with a ring in its back (second 
 window on the left), glazed tiles from Babylon; fragments of bronzes; 
 Chaldsean antiquities, inscriptions, and votive bronzes ; Chaldsean cylinders 
 and bas-reliefs. In the middle case, to the left, G-rgeco-Parthian gold 
 ornaments and silver vases from Cyprus ; in the second case to the right, 
 the silver vase of Entemema, with engravings, dating from before the 
 ;30th cent. B.C., from the excavations of Sarzec at Tello (Chaldsea). 
 
 II. EooM. 1st Section: in the middle, plans of the tumuli in Susiana 
 and Chaldsea where the antiquities were found; on tlie entrance-wall, 
 magnificent frieze of glazed and painted terracotta, 40 ft. long and 13 ft. 
 high, representing the archers of the 'immortal guard' of Darius ; to the left, 
 stair-railing from the palace of Artaxerxes Mnemon, also in terracotta; 
 on the partition-wall, the crowning-ornaments of the pylons of this palace, 
 with lions in the same material; on the right side, fragments of a bath 
 and terracotta vases. — 2nd Section: At the back, *Capital of one of the 
 36 columns (each 68 ft. high), which supported the roof of Artaxerxes' 
 throne-room; in the case on the left, fragments of the frieze of archers, 
 etc.; in the other cases, glass, small terracottas, cut stones; cylinders from 
 Susiana, Chaldsea, and Assyria ; rings, medals , including a magnificent 
 silver tetradrachma of Eucratides (second case to the left), etc. 
 
 III. Room. Continuation of the above collection. Reproduction of the 
 throne-room of Artaxerxes Mnemon. which covered an area of over 20 acres. 
 
 IV. Room or Salle du Dome. Continuation of the Renaissance and Mod- 
 ern Objects of Art (comp. above). To the left, *Armour of Henri II of 
 France. 1st Case: caskets, bronzes from churches, and statuettes, includ- 
 ing Geometry and a Venus by Giovanni da Bologna. On the walls and in 
 the other cases are Renaissance tapestries and furniture and small bronzes, 
 notably, Riccio, Arion, Nessus, St. Sebastian, P. Vischer, Portrait of the 
 artist (3rd case), and Barye, various bronzes (4th case). Then interesting 
 armour and weapons. — Cases at the windows : clocks of the 16-17th cent. ; 
 French and German medals ; cutting weapons of the 15-16th cent. ; hunting- 
 horn of Francis I.; Gothic and Renaissance paxes ; Italian medals ; pewter 
 vessels by Briot and Ederlein. — In the glass-cases in the centre: reliefs 
 in metal; locks, keys, etc.; cutlery, spoons, etc.; medallions in coloured 
 wax; watches of the 16th and 18th centuries.
 
 Egypfian Museum. 2. LOUVRE. 141 
 
 V. Room. Italian Majolica or Faience. The finest epecimens, dating 
 from the 16th cent., were made at Deruta, Faenza, Forli, Venice, Gubbio, 
 Pesaro, Urbino, Castel Durante, etc. In the centre is a fine Renaissance chest. 
 
 VI. Room. Portrait of Henri II; silk tapestry of the 16th cent., with 
 scenes from the history of the Judges; fine wnod-carving from the Salle 
 des Sept Cheminees; German, Swiss, and French stained glnss, of the 16th 
 and 17th centuries. — Glass-cases at the windows: medallions and other 
 carvings in box-wood, very delicately executed; carvings in other sub- 
 stances, including a relief in lithographic stone by ^Wegrrerer, representing 
 the Duke of Bavaria and Agnes Bernauer of Augsburg. On the walls are 
 carvings and inlaid panels. The case at the end, to the left, contains a 
 fine collection of statuettes in wood, etc. In the middle of the wall: 
 Charles V., a German relief of the 16th century. Next case: caskets; 
 terracottas by Clodion. In the centre of the room is an alabaster bust oi 
 Otto Heinrich I., Count-Palatine of the Rhine, founder of the castle of 
 Heidelberg, and a handsome marriage-chest. Several interesting chairs, etc. 
 
 VII. Room, with alcove, in which Henri IV breathed his last. The 
 wood-carving is from the rooms of Henri II in the Louvre, and was re- 
 stored in the reign of Louis XIV. The stained glass is Swiss and French, 
 of the 16th and 17th centuries. — The Venetian bed of state (ISth cent.) 
 does not belong to the original furniture of the room. Fine Renaissance 
 chests and stalls. 
 
 VIII. Room. Portraits of Louis XIII. and his queen Anne of Austria, 
 h J Phil, de Champaigne; three large vases of Sevres porcelain; silver statue 
 of Peace, by Chaudet; small bronze group (18th cent.), Jupiter destroying' the 
 Titans; small group in wax, by /. Mene, Stag-hunt. 
 
 On leaving this room we find ourselves at the top of the stair- 
 case of the Mus^e Egyptien, which is continned on the landing and 
 in the rooms to the right (comp. PI. of first floor, p. 87). 
 
 Egyptian Museum (continued). — The rooms which we now 
 enter contain the smaller Egyptian antiquities. 
 
 I. Salle HisTORiQtJE , with a ceiling-painting by G'ros, repre- 
 senting the Genius of France encouraging the arts and protecting 
 mankind (1827-31). 
 
 The objects here are mainly of historical value. On a pedestal 
 with an octagonal glass-shade, Statuette of Psammetichus II., in green 
 basalt. In front, Statuette of a man (new acquisition); behind, ^Bronze 
 statuette of Queen Karomama (22nd Dyn.), richly damascened (restored). 
 — Glass-case: sepulchral statuettes, scarabfei, symbols of immortality; 
 golden *Ornaments coated with coloured vitreou.s paste, cup, mask of a 
 mummy, gold chains, etc. — Case to the left of the chimney-piece: 'Group 
 in gold of Osiris, Isis, and Horns (22ad Dyn.). 
 
 II. Salle Civile, with a ceiling-painting 'by H. Vernet: Bra- 
 mante, Raphael, and Michael Angelo hefore Pope Julius II. (1827). 
 
 On the first column, Statuette of Mesu. In the centre, above the glass- 
 case, *''Stahce of an Egyptian Scribe, painted red, with eyes inserted (5th 
 or 6th Dyn.). In the giass-case: jewels, enamels, toilet-articles in carved 
 wood, articles in bone and ivory. On the second column : *Wooden stanette 
 of Toui, superior of the hermit nuns of Min, the god of Coptos (20th Dvn., 
 i.e. ca. 12th cent. B.C.), acquired in 1F94 for 10,000 fr. — Cabinets and 
 glass-cases to the left, beginning at the entrance: statuettes; model of a 
 building, stools, portions of furniture, mats -, finely-woven •Garments ; 
 bronzes, faience, porcelain; vases; glass; basket-work, toilet- articles, 
 shoes; fruit, grains, implements and scenes of husbandry; emblems and 
 miscellaneous utensils; weapons, musical instruments; more finely-woven 
 'Garments ; statuettes ; box of games, model of a boat, etc. , 
 
 in. Salle Funi^raire, with an allegorical ceiling-painting by 
 Abel de Pujol, Joseph as the saviour of Egypt (1827). The contents of
 
 142 2. LOUVRE. Egyptian M'lseum. 
 
 this room afford an admira"ble insight into the worship of the dead, 
 which, like the whole religions system of the ancient Egyptians, was 
 closely connected with their doctrine of the immortality of the soul. 
 
 It was owing to their peculiar form of belief that they used every 
 endeavour to preserve the bodies of the dead by embalming and other- 
 wise, and constructed the spacious and magnificent tombs with which 
 Egyptian travellers are familiar. Our information regarding the Egyptian 
 notions of the soul's condition after death is chiefly derived from the 
 'Book of the Dead', a collection of hymns, prayers, and instructions for 
 the use of the deceased, and to enable him to answer the questions asked 
 by the judges of the dead. The papyri hung on the walls contain a 
 number of these passages, sometimes illustrated by paintings in wonder- 
 fully good preservation. The finest are in Eoom V. — In the centre, 
 Mummy-cases, covered with paintings; wooden statuettes of the ancient 
 empire (about 3000 B. C.) ; chair inlaid with ivory. — Above the fire-place 
 hangs a large picture, of the Greeco-Roman period, representing a departed 
 soul, supported on the left by Osiris and receive! by Anubis. — In the 
 cabinets and glass-cases (from left to right) : sepulchral figures and cases ; 
 paintings (near the 3rd window), masks, scarabsei, mummies and mummy 
 cases (cabinet between the windows) , implements used by gilders and 
 scribes, 'hippocephali', or talismans placed under the heads of mummies, etc. 
 
 rV. Sallb des Dieux , with a ceiling-painting by Picot, repre- 
 senting Stndy and Genius revealing Egypt to Greece. This room 
 is devoted to objects illustrating Egyptian mythology: statuettes 
 and attributes of the gods (mostly in bronze), etc. 
 
 In the centre, statue of Xut , the lion-headed sun-goddess ; Horus 
 offering a libation to his father Osiris (vase wanting) , a bronze statue. 
 The glass-case contains scarabsei, symbols and attributes of the gods in 
 gilded wood, etc. Above the fire-place, Hobs (?), Sekhet, Ammon, Osiris, 
 and Isis nursing Horus. 
 
 V. Salle des Colonnes , adorned with an allegorical ceiling- 
 painting by Gros (in the centre, True Glory leaning upon Virtue; 
 to the left, Mars crowned by Victory and restrained by Moderation ; 
 to the right, Time placing Truth under the protection of Wisdom). 
 This room contains various objects for which a place could not be 
 found in the preceding rooms. 
 
 Wooden mummy-cases, covered with paintings. In the centre, statue 
 of INesahor, an official under the 26th Dyn., etc. In the glass-cases are 
 mirrors, bronze weapons, and bronze knives. In the cabinets are deities, 
 bronze implements, hawks with human heads , the symbol of the soul, 
 etc. — By the window is the so-called *Eoyal Papyrus , a splendid and 
 well-preserved specinaen of the hieroglyphic 'Book of the Dead', about 
 25 ft. long, and not less than 3(X)0 years old. — In the middle and by the 
 vrindows, three; cases containing recent acquisitions. 
 
 Collection of Antique Pottery (Musee de la Ceramique Antique). 
 — This collection, in the following rooms and the parallel rooms on 
 the side next the Seine (see below), is one of the most complete of 
 its kind. Arranged chronologically , the earliest specimens are at 
 the other end, next the Salle des Sept Cheminees (see p. 143). 
 
 I. Room or Saxle M. Greek Pottery from Cyrenaica, the Crimea, 
 Tarsus, Egypt, and Alexandria. Painted vases, with figures in different 
 colours. Also some' tasteful terracottas. — Ceiling-painting by Picot: Cy- 
 bele saving Pompeii and Herculaneum from total destruction. 
 
 'There is no difficulty in distinguishing the Greek vases from those 
 manufactured in Etruria, which are inferior in form and workmanship, 
 and display designs of a different style. Among the Greek Vases them-
 
 Antique Pottery. 2. LOUVRE. 143 
 
 selves there are also many differences. The earlier are those with black 
 figures on a red ground, the later those with red figures on a black ground. 
 They have of course no pretension to rank as works of art, being mere 
 manufactures. And yet these vase-painters have depicted mythological 
 and everyday scenes with such spirit and poetry, and produced such pleas- 
 ing scenes with the humble means at their disposal, that their vases 
 (though sometimes despised by the ignorant) bear striking testimony to 
 the flourishing condition of the Attic handicrafts, and thus afford us an 
 idea of the great Athenian works of art which these simple artificers 
 must have had before their eyes.' KekuU. 
 
 II. Room (L). Greek Pottery found in Greece. In the centre: *Amphor» 
 with the contest of the gods with the giants. In the glass-case, terracottas 
 from Greek and Etruscan tombs. Eound the room small Greek terracotta 
 articles from Tanagra in Boeotia and other parts of Greece ; lecythi or 
 oil-vases. — Ceiling-painting by Meynier: The Nymphs of Parthenope (Naples) 
 arriving at the Seine. 
 
 III. Room (K). Italo- Greek Pottery. Vases with red figures, some of 
 large size, on a marble table. In the window-cases: Terracotta lamps. — 
 Ceiling-painting by Heim: Jupiter delivering to Vulcan the fire for the 
 destruction of Herculaneum and Pompeii. 
 
 IV. Room. Greek Antiquities. Small sculptures and fragments of others. 
 In the central cases: Antique ivory carvings; Greek terracottas and wood- 
 carvings, etc. — Ceiling-painting after Ingres : Apotheosis of Homer (origin- 
 al, see p. 131). 
 
 The door of exit leads into the Salle des Sept-Cheminees [p. 135), 
 whence we proceed to the left into the first part of the Collection of 
 Pottery, formerly known as the Musee Campana, consisting of the 
 valuable Campana collection purchased from the papal government in 
 1861, and subsequently much extended. The ceiling-paintings were 
 executed when the pictures of French artists were exhibited here. 
 
 I. Room or Salle A. Primitive Pottery, from Phoenicia, Cyprus, Asia 
 Minor, Rhodes, Greece, and Italy. Large archaic cratera and amphora put 
 together from fragments. In the glass-cases in the centre: Golden or- 
 naments, terracottas, and vases. In the other cases, from left to right: 
 Terracottas, statuettes, heads of statues, pottery from Rhodes, etc. — Ceiling- 
 painting by Alaux : Poussin being presented to Louis XIII. by Cardinal 
 Richelieu; to the left Truth, to the right Philosophy. 
 
 II. Room (R). Terracottas from Asia Minor and Italy , and from the 
 necropolis of Myrina, near Smyrna : Statuettes and baa-reliefs ; Cista, or- 
 namented with statuettes and bas-reliefs ; Vases adorned with figures. — 
 Ceiling-painting by Steuhen : Battle of Ivry, with Henri IV as a magnan- 
 imous victor. 
 
 III. Room (C). Etruscan Pottery, beginning with vases of the rudest 
 type, black, with engraved designs. — Ceiling-painting by Euff. Deviria: 
 Louis XIV. inspecting Pugefs marble group of the Milo of Croton (p. 104). 
 
 IV. Room (D). Etruscan Antiquities. In the centre: *Sarcophagu8, on 
 which are two painted lifesize figures of a man and woman on a couch, 
 clumsy in execution, but not vrithout a certain naive humour. Most of the 
 terracottas were found at Cervetri, the Caere of the ancient Etruscans. In 
 the glass-cases, small 'funereal couches', bas-reliefs, vases, and paintings 
 found in a grave. — Ceiling-painting by Fragonard: Francis I. receiving 
 pictures and statues brouu'ht by Primaticcio from Italy. 
 
 In the adjoining passages are antefixsr, heads, and vases. 
 
 V. Room (E). Vases in the Corinthian Style from the Grecian Archipelago 
 and Italy. Greek vases formed an article of export from an early period 
 Similar vases also in the Collection of Greek Antiquities (see above). — 
 Ceiling-painting by Heim: The Renaissance in France. 
 
 Traversing another short passage, with archaic Greek vases, we next 
 enter the — 
 
 VI. Room (F). Older Greek Vases found in Italy. In the centre of the 
 room, vases bearing the name of Nicosfhenes. Vases with white background ;
 
 144 2. LOUVRE. Naval Museum. 
 
 below, black vase with white figures. Most of the scenes are from the myths 
 relating to Hercules and Theseus. — Ceiling-painting by Fragonard : Francis 
 I. knighted by Bayard. 
 
 VII. Room (G). Later Greek Vases, found in Italy, many of which bear 
 the name of the maker and most of which are noteworthy. — Ceiling-paint- 
 ing by Schnetz: Charlemagne and Alcuin, the founder of the university of Paris. 
 
 VIII. E,oom(H). Qraeco-ItaUan Vases. In the centre are Rhyta or goblets 
 in the form of horns, with heads and other ornaments, and other vases 
 of curious shapes. Round the room are black vases, with a greenish 
 glaze, to imitate bronze. — "Ceiling-painting by Drolling: Louis XII. hailed 
 as father of the people by the Estates at Tours. 
 
 IX. Room. Mural Paintings from Eerculaneum and Pompeii. In the 
 glass-cases in the centre: Antique glass objects from Pompeii. — Ceiling- 
 painting by Lion Cogniet: Bonaparte in Egypt. 
 
 The exit-door leads to the staircase of the Musee Egyptien (p. 98), 
 whence we reach the nearest staircase to the second floor by re-traversing 
 the rooms to the left (p. 141). 
 
 C. SECOND FLOOR. 
 
 The second floor of the Louvre, which contains the Marine and the 
 Ethnographical Museums, some pictures for which there is not room on 
 the first floor, and a collection of drawings, is open to the public after 
 11 a.m. (comp. p. 87). There are three staircases ascending to the second 
 floor: — (1) From the 8th room of the collection of smaller Mediaeval, 
 Renaissance, and Modern objects (p. 140), which is reached from the 
 
 groundfloor by a staircase near the Asiatic Museum; (2) From the 
 
 In the Pavilion de THorloge or Pavilion Sully (see p. 137), beside the 
 
 posite end (p. 139), leading to the Galerie des Pirogues (p. 145); and 
 
 tii 
 
 Salle des Bronzes. 
 
 The *MTisee de Marine is a very valuable collection of various 
 objects connected •with ship-building and navigation, such as models 
 of vessels and machines, plans of harbours in relief, drawings, 
 and relics of historical interest. It occupies 16 rooms and 2 small 
 galleries. Most of the exhibits have full descriptive labels. 
 
 Opposite are two Neio Rooms., the first of which contains models illus- 
 trating the French navy from 1789 to 1824. In the second are models of 
 sailing-vessels of the 18-19th cent. ; screw-yacht of 1885. In the centre, 
 model of the 'Oc^an\ a man-of-war of the 18th cent.; the 'Rivoli' leaving 
 the harbour of Venice with the aid of 'chameaux' or rafts to aid it over 
 shallows. Hauling ashore a vessel of the first class; etc. 
 
 Supplementary Room of the Picture Gallery, containing some good 
 paintings of the German, Flemish, and Dutch schools, for which there 
 is no room on the first floor. 2805 (to the left), Bakhuizen, Harbour of 
 Amsterdam; 1930. De Champaigne, Christ; 2146. ^nyders., Dogs in a larder; 
 2038. Van der Meulen, View of Dole: 2.581. Steenwyck, Christ at Bethany ^ 
 2471. Fr. Mieris the Elder, Tea; 2574. Spaendonck, Flowers; 2493. Van Os, 
 Flowers; 1956. Van Duel, Flowers and fruit; 20il. Van der i/ewZe», Louis XIV. 
 before Dinan. — 2310. Beers'raeten, Old harbour of Genoa; *2426. K. du 
 Jardin, Calvary : 2045. Van der Meulen, View of Vincennes ; 2365. A. van 
 Everdingen , Landscape: 2635. Ph. Wouverman, Tour de Nesle at Paris; 
 2409. HontJiorst, Concert; 2044. Van der Meuleii, Palace of Fontainebleau ; 
 2304. Bakhuizen, Dutch squadron. — 2118. Rubens, Landscape ; 2491. Zeeman, 
 View of the Vieux Louvre; 2464. Metsti, Portrait of Admiral Tromp; 2043. 
 Van der Meulen, View of Luxembourg; 2629. Ph. Wouverman, Cavalry 
 skirmish ; 2452. /. Va?iloo, Study of a woman ; 1993. Fyt, G; me in a larder ; 
 2040. Van der Meulen, Louis XIV. before Maestricht. 
 
 I. CoREiDOR, adjoining the staircase. Models of Merchant Vessels. 
 
 Musee de Marine. I. Room (the last coming from the other staircases). 
 Model representing the taking down and embarkation of the obelisk of
 
 Ethnographical Museum. 2. LOUVRE. 145 
 
 Luxor (p. 81); Erection of the obelisk in the Place de la Concorde. Marine 
 steam-engines. — II. Room. Models of sailing-ships. Two marine paintings 
 by Oudin. — III. Room. Models of ship-building; models of steam-packets. 
 
 — IV. Room. Fire-arms of various calibres. 'Orgues' with five and seven 
 barrels. — "V. Room. Weapons. Three marine paintings by Jos. Vemet. 
 
 — VI. Room. Pyramid composed of relics of the frigates 'Boussole' and 
 'Astrolabe', which had been sent on a voyage of discovery under Captain 
 de Lapirouse in 1783, and foundered at sea. Bust of Lap^rouse. Model 
 of a monument erected to the memory of Lapirouse at Port Jackson, 
 with English and French inscriptions. Beacons; buoys; Whitehead torpedo. 
 Relief-plans of the islands of Vanicoro or Lapirouse and Tahiti. Fourteen 
 marine-paintings by Joh. Vernet. — VII. Room (at the end of R. VI). Models 
 of iron-clads, turret-ships, transports, torpedos; submarine boat; planeta- 
 rium moved by clock-work. Marine paintings (corridor, see below). — 
 
 VIII. Room. Models of antique vessels and of transports. Planetarium. — 
 
 IX. Room. Representation of the interior of the turret-ship 'Marengo' 
 (1867). Machine for adjusting the masts of a ship; parts of a ship; cables; 
 rigging; etc. — X. Room. Models of pumps and machinery; captain's chest 
 on board ship. — XI. Room. Large geographical globe in MS. Navigating 
 instruments. Models of xebecs or galleys refitted for sailing. — XII. Room. 
 To the right, small vessel in ivory. Models of galleys and ships of war 
 n the 17th century. The original carving in gilded wood by Paget, on 
 ihe wall, decorated the second of these galleys. 
 
 The Ethnographical Museum (Musee Ethnographique) begins 
 with the two rooms immediately following the Musee de Marine, and 
 also occupies the large saloon at the end. In the former are models 
 of dwellings of savages, scenes of savage life, portraits of American 
 Indians, war-suits, and implements of various kinds. The saloon is 
 devoted almost exclusively to curiosities brought home by French 
 navigators and the spoil captured in the course of military expedi- 
 tions in India, China, and Japan. The various articles are furnished 
 with explanatory labels, but they are placed in cases where it is 
 difficult to inspect them satisfactorily. Better collections of the same 
 kind may be seen at the Musee Guimet (p. 162) and the Trocadero 
 (p. 167). The present collection includes vessels and utensils in 
 gold and silver, in bronze, terracotta, and wood, Indian idols, 
 pictures, statuettes, trophies, stuffs, costumes, figures of warriors, 
 weapons, etc. On the central glass-cases and at the sides are two 
 fine Chinese pirogues and a Turkish caique from Constantinople. — 
 In a glass-case near the end, to the right, is a curious collection of 
 Indian statuettes, and in another, to the left, of the Javanese mario- 
 nettes known as 'Wayang'. — By the central window is the musical 
 clock of the Dey of Algiers (made in London); and by the window 
 to the right is the crown of King Behanzin of Dahomey. 
 
 II. CoREiDOB, the Galerie det Pirogues (staircase, see p. 138), contains 
 models of Arab, Indian, Chinese, Australasian, and American ships and 
 boats, dwellings, etc. 
 
 The Chinese Museum (to the left on leaving the Marine Mu- 
 seum), which may be regarded as a continuation of the Ethnographical 
 collection, is also of secondary importance, being surpassed in interest 
 by the collections at the Musee Guimet (p. 103), while its porcelain 
 is far inferior to that of the Collection Grandidier (p. 146). 
 
 I. Room. Model of the temple of Juggernaut in India; furniture; idols, 
 including a copper-gilt figure of Kouanyin ('virgin-mother'), in a shrine 
 
 Baedekek. Paris. 12th Edit. 10
 
 146 2. LOUVRE. 
 
 of carved wood. — II. Room (to the right). Furniture of various kinds, 
 notably two beds. Model of a Buddhist monastery; statuettes. — III. Room. 
 Porcelain and faience; musical instruments; articles in ivory, lacquer, jade, 
 etc.; statuettes, vases, etc., in bronze. In the centre, antique lacquered 
 table, inlaid with mother-of-pearl. — IV. Room. Carved furniture , with 
 gilded reliefs ; fine cannon from Cochin-China; three handsome teak cabinets 
 and others inlaid with mother-of-pearl and ivory. In the glass-ci'se at 
 the end, 'Cloisonne enamels. On the central table, elaborately carved 
 'Ship in ivory. 
 
 Leaving the last room, "we enter a corridor, ■which is adjoined 
 by the Salle des Soltes on the right. This saloon and the corridor 
 contain the most valuable drawings by Raphael (18; and an au- 
 tograph), Michael Angela (6), Leonardo da Vinci, Titian, Poussin 
 (18), &ni Holbein, preserved in wooden cases (whence the room 
 derives its name). The direct approach to this collection is by the 
 staircase called the Escalier Henri II in the Pavilion de I'Horloge 
 (p. 137), by which we leave the museum. 
 
 Two other collections have recently been arranged in a kind of second 
 entresol on the side next the Seine, viz. the Chalcographie and the Collection 
 Grandidier. The principal entrance to these is by the Porte Jecm-Govjon, 
 opposite the Pavilion Denon, but there is to be another in that Pavilion 
 via the Scilh des Moulages (see p. 89, and the ground-plan). 
 
 The Chalcographie was founded by Louis XIV. in 1660, on the model 
 of the Ccdcografia at Rome. Engravings of most of the great Parisian and 
 foreign works of art, in the provinces of painting, sculpture, and archi- 
 tecture are exhibited and sold here. It was transferred in 1895 from the 
 court of the Vieux Louvre to the gallery on the quay, to the right as we 
 enter. It is open daily, except Siin. and holidays, from 11 to 4 or 5, and 
 contains three Exhibition Rooms and & Sale Roun in which are albums and 
 detailed catalogue,s of over 6000 plates. Farther on are the workshops 
 and stores. 
 
 The Collection Grandidier is a rich collection of Chinese and Japanese 
 porcelain presented to the Louvre by M. Grandidier. It is open daily, 
 except Mon., from 1 to 4 or 5. The collection occupies ten rooms opposite 
 the Chalcographie, of which the first seven are devoted to Chinese porcelain, 
 embracing 3000 specimens, all remarkable for their decoration though many 
 are smiU. The three following rooms are occupied by Japanese porcelain 
 (800 specimens), and other Japanese objects, including a collection of 
 engravings of the 18th and 19th cent., in frames on two stands, statuettes, 
 bronze vases and sword-hilts, combs, caskets, etc. 
 
 III. THE TUIIERIES. 
 Arc de Triomphe du Carrousel. Jardin des Tuileries. 
 
 The open space between the Louvre and the Tuileries, with the 
 exception of the part beyond the Arc de Triomphe du Carrousel, was 
 occupied down to nearly 1840 by a labyrinth of narrow streets, 
 which Louis Philippe, the first monarch who projected extensive 
 city improvements, began to remove. The work of demolition was 
 completed by Napoleon III., and the space thus cleared was divided 
 into three parts (comp. ground-plan, p. 86): the Square du Car- 
 rousel; the Place du Carrousel, which adjoins it on the W. ; and 
 the Cour des Tuileries. 
 
 The Monument of Gambetta, in front of the square, consists 
 of a lofty stone pyramid with a group in high relief representing 
 Gambetta (1838-1883) as organiser of the national defence, in
 
 2. PALAIS DES TUILEKIES. 147 
 
 bronze by Aube. At the sides are decorative statues of less impor- 
 tance representing Truth and Strength, and on the top is Democracy 
 (a maiden seated on a winged lion), also in bronze, by Aub^. The 
 numerous inscriptions are chiefly passages from Gambetta's poli- 
 tical speeches. 
 
 The Place du Cahbousbl (PI. R, 17, 20; //), formerly much 
 smaller than now, derives its name from a kind of equestrian ball 
 given here by Louis XIV. in 1662. On this site Napoleon I. directed 
 his architects Fontaine and Percier to erect the *Arc de Triomphe 
 du Carrousel, in imitation of the Arch of Severus at Rome, to 
 commemorate his victories of 1805 and 1806. The structure, which 
 was formerly the principal entrance to the Tuileries, is 48 ft. in 
 height, 631/2 ft- in width, and 21 ft. in thickness, but in conse- 
 quence of the immense clearance that has taken place since its 
 erection it is now too small to harmonise with its surroundings. 
 (The Arch of Severus is 75 ft. in height and 82 ft. in width.) 
 
 The arch is perforated by three arcades and embellished with Corin- 
 thian columns of red marble with bases and capitals in bronze supporting 
 marble statues representing soldiers of the empire. 
 
 The Marble Reliefs on the sides commemorate the achievements of the 
 Emperor and the French army. In front: on the right, the Battle of 
 Austerlitz ; on the left, the capitulation of the Austrian general Mack at 
 Ulm. At the back: on the right, the conclusion of peace at Tilsit; on 
 the left, entry into Munich. On the N. end, the entry into Vienna; on the 
 S. end, conclusion of peace at Pressburg. 
 
 The arch was originally crowned with the celebrated ancient Quadriga 
 from the portal of St. Mark's in Venice, brought thence as a trophy, but 
 sent back to Venice by Emperor Francis in 1814. It was afterwards re- 
 placed by order of Louis XVIII. by a Quadriga designed by Bosio, and 
 intended to represent the 'Restoration'. 
 
 The Palais des Tuileries, begun in 1564 by Catherine de M^di- 
 cis, widow of Henri II, and the constant residence of the French 
 rulers from the time of Napoleon I., exists no longer. The original 
 plan, by Philibert Delorme, was on a very extensive scale, but little 
 of it was ever carried out. The wings were added by Henri IV and 
 Louis XIV. In 1871 the palace was set on fire by the Communards 
 and the ruins, after standing untouched for 12 years , were finally 
 removed in 1883. The only parts of the building still extant are the 
 wings which connected it with the Louvre. That on the side next 
 the river, containing the Pavilion de Flore, was restored in 1863-68 
 and again after the fire of 1871, in which it sustained little damage. 
 It is at present partly occupied by the Colonial Office. The right 
 wing, in the Rue de Rivoli, with the Pavilion de Maraan, was en- 
 tirely burned down in 1871 and was rebuilt in 1875-78 ; but the 
 interior is still unfinished and unoccupied. 
 
 The palace derived its name from the tile-kilns (tuileriet) that orig- 
 inally occupied its site. It presented no great architectural interest, but 
 was rich in historical associations, especially those connected with the 
 overthrow of the French monarchy in 1791-92. Before the Revolution the 
 Tuileries formed onlv an occasional residence of the French sovereigns. 
 On 5th. Oct., 1789, Louis XVI. was brought by the 'Dames de la Halle' 
 from Versailles to the Tuileries, and in June, 1791, he was again forcibly 
 
 10 •
 
 148 2. TUILERIES. 
 
 installed in this palace after the arrest of his flight at Varennes. On 
 20th July, 1792, the anniversary of the meeting in the Jeu de Paume 
 (p. 329j, the palace of the Tuileries was attacked by a mob of about 
 thirty thousand rioters armed with pikes, but on that occasion they con- 
 tented themselves with threatening and insulting the king. On 10th 
 August the storm at length burst forth in all its fury. At midnight alarm- 
 bells began to ring in the suburbs. Thousands of armed men marched 
 to the palace. The fidelity of the national guard posted in the palace- 
 yard and garden began to waver, and they were deprived of their com- 
 manding officer by stratagem. They might, however, in conjunction with 
 the Swiss guard of 1950 men commanded by Colonel Pfyfl'er, have suc- 
 cessfully defended the palace, had not the king, yielding to solicitations 
 which were in some cases treacherous, quitted the palace with his family. 
 Passing through the garden of the Tuileries, he repaired to the Manigey 
 or riding-school (see p. 83), where the legislative assembly held its meetings. 
 The national guard then dispersed, but the Swiss guard and about 
 120 noblemen who were faithful to the king occupied the palace and 
 refused to surrender it. As the mob pressed forward more vehemently, 
 the colonel commanded his men to fire, and the palace-yard and Place 
 du Carrousel were speedily cleared. The Swiss guard now believed that 
 victory was assured, but the king sent orders to them to discontinue 
 firing and to surrender the palace. Finding that the guard ceased to 
 fire, the assailants renewed their attack and reopened their fire with 
 redoubled vigour. Within a few seconds they inundated the palace, 
 killed every man they encountered, wrecked the furniture and fittings, 
 and stole or carried to the Hotel de Ville numerous objects of value. 
 The retreating Swiss guard were almost all shot down in the garden, 
 and the rest by order of Louis gave up their arms to the national guard 
 in the hall of the national assembly. The Revolution was victorious. 
 Of the hitherto existing state-structure not one stone was left on another. 
 Royalty lay prostrate in the dust, and the legislative assembly continued 
 to exist merely in name. — The king and his family spent the night in 
 a small room in the 3Ianege, and on 13th Aug. he was conveyed as a 
 prisoner to the Temple Tower (p. 213), whence he was only released to 
 be led to the scaflTold on Jan. 21st, 1793. 
 
 From 10th May, 1793, to 4th Nov., 1796, the Convent, and afterwards 
 the Council of Elders down to 1799, held their meetings in the N. wing. 
 On Feb. 1st, 1800, Napoleon, as 'First Consul', took up his quarters here, 
 and the palace also became the official residence of the Restoration and 
 July monarchies. On 24th Feb., 1848, Louis Philippe abandoned the pal- 
 ace to the mob without resistance. Napoleon III. resided here from 
 1852 to 23rd July, 1870, when he quitted Paris to take the command of 
 the army of the Rhine. The history of the Tuileries as a royal residence 
 closes with the departure of the Empress Eugenie after the battle of Sedan. 
 
 On 20th May, 1871, the Communards, aware of their desperate position 
 and the impending capture of the city by the government troops, deter- 
 mined at one of their secret meetings to wreak their revenge by setting 
 all the principal public buildings on fire. The orders which they issued 
 for this purpose, signed by Delescluze, Dombrowski, Eudes, and other 
 ringleaders, professed to emanate from the ' Comiti du Salut Public r 
 Several of these documents still extant show the fearfully comprehensive 
 and systematic character of this diabolical scheme, which also embraced 
 numerous private dwellings, as being 'maisons suspectes'. A beginning 
 was made with the Tuileries, which was prepared for destruction by 
 placing combustibles steeped in petroleum and barrels of gunpowder in 
 the various rooms. It was set on fire at a number of different places on 
 22nd and 23rd May, after the Versailles troops had forced an entrance 
 into the city, but before they had gained possession of the palace. The 
 conflagration soon assumed the most terrible dimensions, and all attempts 
 to extinguish it were fruitless. The whole of the W. side of the palace 
 was speedily reduced to a gigantic heap of smouldering ruins. 
 
 On the pillars outside the large archways leading from the Place
 
 2. JARDIN DES TUILERIES. 149 
 
 du Carrousel towards the Seine, are statues of Naval and Merchant 
 Shipping, by Jouffroy. At the top is a bronze relief , by Mercie, 
 representing the Genius of the Arts. — Pont du Carrousel , see 
 p, 264. The next bridge is the Pont Royal (p. 272), whence the 
 sculptures on the S. facade of the Pavilion de Flore, especially those 
 by Carpeaux, are best seen. 
 
 The *Jardin des Tuileries (PI. R., 18; //), the most popular 
 promenade in Paris and the especial paradise of nursemaids and 
 children, was enlarged in 1889 by the addition of the gardens occu- 
 pying the actual site of the former palace. The older portion retains 
 the same general features as when first laid out by the celebrated 
 landscape-gardener Le Notre in the reign of Louis XIV. ; but the 
 parts between the palace-site and the central basin, formerly the 
 'Jardin Reserve ', are of later origin and the Rue des Tuileries here 
 was made in 1871. 
 
 The greater part of the Jardin des Tuileries is always open ; 
 but the reserved portion closes between 6 and 9 p.m., according to 
 the season, the signal being given by a bell. The gardens may be 
 entered from the Rue des Tuileries, the Rue de Rivoli, the quays 
 or from the Place de la Concorde at the W. end. At the W. end, 
 beyond the flower-beds, is a shady grove of large trees. On the N. 
 and S. sides the garden is enclosed by terraces, called the Terrasse 
 des Feuillants and the Terrasse du Bord de VEau. The first derives 
 its name from a Monastery of the Feuillant Order (reformed Cister- 
 cians), founded here in 1587 (nine years after the establishment of 
 the order at Feuillant near Toulouse), and still existing at the time 
 of the Revolution. The club of the moderate party, founded in 
 July, 1791, by Lameth, Lafayette, and their partizans, in opposition 
 to the more violent Jacobins, used to meet in the monastery, whence 
 they became known as ^Les FeuiUants\ The Alice des Grangers, 
 which skirts the terrace , is adorned in fine weather with two rows 
 of orange-trees in tubs , forty-one of which date from the time of 
 Francis L (1494-1547). 
 
 Entering the garden from the Rue des Tuileries by the broad 
 central walk, we obtain a fine view of the whole garden, with the 
 Obelisk in the Place de la Concorde and the Arc de I'Etoile in the 
 background. On the right and left are grass-plots with two cir- 
 cular basins of water, embellished with marble statues and vases. 
 
 In the new part, on the site of the palace proper, central walk: in 
 the centre the 'Quand-meme', by Mevcii; to the right, The Awakening, 
 by Mayer, and Ganymede, by Barthilemy \, to the left, Elegy, by CailU: 
 The secret, by Maulin. Farther on, to the left: Eve after the Fall, by 
 Delaplanche; Exiles, by if. Moreau; Velleda, by Maindron. On the right, 
 Agrippina with the ashes of Germanicus, by Maillet; Judith, by Lansoii; 
 Penelope, by Maniglier, etc. The six Doric clumns here supporting gilded 
 globes formed part of the railing in front of the palace of the Tuileries. 
 
 In the older part, central walk, on the right: Omphale, by Eude; jEneas 
 carrjring his father Anchises from the flames of Troy, by P. Lepautre; a 
 Bacchante, by Carrier-Belleuse; behind, Venns with the dove, and Nymph 
 with the quiver, by Quill. Couitou; Lion and crocodile, bronze by Cain.
 
 150 2. JARDIN DES TUILERIES. 
 
 In the allee beyond the rondel: Diana and the Nymph of Fontainebleau, by 
 E. LivSque. On the left: a Corybante, by Cugniot; Lucretia and CoUatinus, by 
 Lepautre; New Year's Day, by BeaugeauU; behind, Flora and Zephyr, by 
 Coyzevox; on the lawn, a bronze lion and peacock, by Cain. Near the 
 central basin: to the right and left, Orithyia carried off by Boreas, by Du- 
 quesnoy and G. ifnrsy, Cybele carried off by Saturn, by Regnaudin., then 
 from right to left, Cassandra and Minerva, by A. Millet; Alexander the Great, 
 by Dieudonn^; Prometheus, by Pradier; Soldier tilling the ground (from 
 Virgil), by Lemaire; the Oath of Spartacus, by Barriat; Cincinnatua, by 
 Foyatier; Alexander fighting, by Lemaire; Rape of Dejaneira, by Marqueste; 
 Pericles, by Delay. In the transverse walk to the left: Comedy, byiZoMx; 
 the Grinder, after the Florentine antique; Phidias, hj Pradier. In the walk 
 to the right: Masque, by Cristophle; Aurora, bronze figure by Magnier; 
 XJgolino, in bronze, by Carpeaux; Silence, by Legros. — At the beginning 
 of the Allee des Orangers: Return from the hunt, bronze, by Anf. CarUs 
 (1888) ; at the flight of steps opposite the street leading to the Vendome 
 Column (p. 83), two groups of animals, by Cain; at the end, Hercules sub- 
 duing the Hydra, in bronze, by Botio. Other sculptures are placed in the 
 grove, etc. On the Terrasse du Bord de TEau, near the Orangerie, bronze 
 lion and serpent, one of the principal works of Barye. 
 
 Under the trees of the small grove, on the right and left of the 
 broad central walk, are two marble semicircular platforms called 
 the Carres d'Atalante, constructed in 1793, in accordance with the 
 instructions of Robespierre, for the accommodation of the council 
 of old men who were to preside over the floral games in the month 
 of Germinal (21st March to 19th April). On that to the right is a 
 group of Atalanta and Hippomenes by O. Coustou , and on that to 
 the left, Apollo and Daphne by Theodon. — In summer a military 
 band plays near this spot on Sun., Tues., and Thurs. from 4 to 5 
 or 5 to 6 p.m. Chair 16 c, arm-chair 20 c. 
 
 At the W. end of the grove is an octagonal basin, 200 yds. in 
 circumference , with a fountain in the centre, where children sail 
 small boats (50 c. ; on hire 1 or 2 fr. per hr.). Near this point are 
 a puppet-show, a cake-stall, and a refreshment stall. On the E. 
 side are marble statues of the four seasons : on the right, Summer 
 and Winter; on the left, Spring and Autumn. On the W. side are 
 four groups of river-gods : on the left, the Nile, by Bourdic, and the 
 Rhine and Moselle , by Van Cleve ; on the right, the Rhone and 
 Saone, by 0. Coustou, and the Tiber hy Van Cleve. The Nile is 
 from an antique in the Vatican, the Tiber from one in the Louvre 
 (p. 96). The temporary building to the left contains the Pano- 
 rama of the History of the Century (1789-1889), by Stevens and 
 Gervex. At the ends of the terraces are, to the right a Tennis Court 
 (ball-room), to the left, an Orangery. 
 
 The pillars at the entrance to the garden from the Place de la 
 Concorde are crowned with two handsome groups of Mercury and 
 Fame on winged steeds, by Coyzevox. — Description of the Place 
 de la Concorde, see p. 80,
 
 151 
 
 3. Champs- Ely s^ 6 s and Bois de Boulogne. 
 
 The first part of this excursion should if possible be performed on 
 foot or in a cab hired by the hour. Those who wish to go direct to the 
 Bois de Boulogne may proceed by the Chemin de Fer de Ceinture, with 
 stations at the Porte Maillot (p. 156), at the Avenue du Bois-de-Boulogne 
 (p. 156), at Passy (p. 168), at the Avenue Henri Martin (Trocad(^ro, p. 16B), 
 and at Auteuil (p. 169). Or they may take the tramway or omnibus (see 
 Appx.). On days, however, when races or reviews are held, and even on 
 fine Sundays , it is impossible to secure a place in the omnibuses and 
 tramway-cars bound for the Bois without much waiting. — Luncheon may 
 be taken in the Champs-Elys^es or in the Bois (see p. 13). 
 
 I. FROM THE PLACE DE LA CONCORDE TO THE PLACE DE 
 L'ETOILE. 
 
 Place de la Concorde^ see p. 80. On the W. side of this Place 
 begin the *Chainps-Ely86e8 (PI. R, 15; J7), under which name is 
 now included not only the small park adjoining the Place, about 
 750 yds. long by 400 yds. wide (the Champs-Elyse'es proper) , but 
 also the whole of the avenue , extending from the Place de la Con- 
 corde to the Arc de I'Etoile, IVs M. in length, by which these 
 grounds are traversed. The grounds were originally laid out and 
 planted with elms and lime-trees at the end of the 17th century. 
 
 This magnificent avenue , flanked with handsome buildings , is 
 one of the most fashionable promenades in Paris, especially between 
 3 and 5, 6, or 7 o'clock, when numerous carriages, riders, and pedes- 
 trians are on their way to and from the Bois de Boulogne. Caf^s-cou- 
 certs, see p. 33. Less frequented parts are better avoided after dusk. 
 
 At the entrance to the Champs-Elysees are placed two figures 
 of Horse Tamers, by Coustou. They were removed in 1794 from the 
 palace at Marly (p. 331) to their present position, where they form 
 a suitable counterpart to the winged steeds at the exit of the Jardin 
 des Tuileries (p. 150). The small and tasteful drinking-fountains, 
 which we notice in the Champs-Elys^es and elsewhere in Paris, 
 were erected by the philanthropist Sir Richard Wallace (d. 1890). 
 
 To the right, separated from the Champs-Elvsees by a large garden, 
 is the Palais de lElysee (PI. E, 15; //), erected by Molet in 1718 for th'' 
 Comte d'Evreux, and now the official residence of the President of the 
 Eepublic (no admission). The entrance is at No. 55 Rue du Faubourg 
 St-Honore. During the reign of Louis XV. this mansion was the res 
 idence of Madame de Pompadour, from whose heirs it was purchased 
 by the king to form a residence for the foreign ambassadors. Under 
 Louis XVI. the palace acquired the name of Elijsie Bourbon from its pro- 
 longed occupation by the Duchesse de Bourbon. During the Revolution 
 the palace was oflFered for sale, but, no purchaser offering, it was converted 
 into a government printing-office. At the time of the Directory the rooms 
 were let to keepers of public ball-rooms and gaming-tables. The palace 
 was afterwards occupied in turn by Murat, Kapoleon I., Louis Bonaparte. 
 King of Holland, and his queen Hortense, Emperor Alexander I. of Rus- 
 sia, and the Due de Berry. The building was left uninhabited after the 
 Revolution of 1830, until Napoleon III. took possession of it as President 
 of the French Republic, enlarging and improving it considerably. 
 
 Considerable alterations are about to be made on the S|^de
 
 152 3. PALAIS DE L'INDUSTRIE. 
 
 of the Champs-Elysees, in view of the universal exhibition to be 
 held in 1900. The Palais de I'lndustrie (see below) is to be de- 
 molished to make way for an avenue, to be flanked by two new 
 palaces, which will be continued by a new bridge over the Seine 
 opposite the Hotel des Invalides (p. 275). 
 
 The Palais de I'lndustrie (PI. R, 15 ; 77), erected in 1855 for 
 the first Great Exhibition at Paris, occupies a considerable space on 
 the S. side of the Champs-Elysees. The building is rectangular in 
 form, 270 yds. in length, 118 yds. in width, and 114 ft. in height. 
 The handsomest part is the pavilion in front, towards the avenue, 
 occupying nearly one-third of the whole length. An arcade 48 ft. 
 in width and 98 ft. in height here forms the principal entrance, 
 which is flanked with Corinthian columns and surmounted by an 
 attic with a bas-relief by Desboeuf, representing Industry and the 
 Arts bringing their products to the exhibition. On the summit is 
 a fine colossal group by Regnault, representing France awarding 
 laurel-wreaths to Art and Manufacture. The frieze which separates 
 the groundfloor from the one above it bears numerous names and 
 medallion - portraits of persons who have acquired distinction in 
 the pursuit of art, science, commerce, or agriculture. In the centre 
 is a large glass-covered hall, 210 yds. in length and 51 ft. in height. 
 
 The Palais de I'lndustrie is now used for different exhibitions, 
 the chief of which is the annual exhibition of modern paintings and 
 sculptures, well known under the name of the Salon (derived from 
 the former exhibition-room in the Louvre), lasting from 1st May 
 to 30th June. It is open daily from 8 a.m. (Mon. from 10 o'clock) 
 to 6 p.m., but visitors are not admitted after 5 p.m. Admission 
 1 fr. ; on 'varnishing day' 10 fr. ; on the opening day and on Frld. 
 5 fr. ; on Sun. forenoon 1 fr., on Sun. afternoon 1/2 fr. in May, free 
 in June. The entrance is by the large door facing the avenue, and 
 the exit is at the end looking towards the Place de la Concorde. The 
 pictures are exhibited on the first floor, and the sculptures on the 
 groundfloor. Refreshment room on the groundfloor. Umbrellas, etc. 
 need not be given up. 
 
 An Agricultural Show (animals; implements; produce) is also held 
 here for 10-12 days every spring; followed by a Horse Shoto in the first 
 fortnight in April. 
 
 The S.E. wing of the Palais is now occupied by the Musee des 
 Arts D6coratifs, founded in 1877 on the model of South Kensing- 
 ton Museum. It contains a large number of interesting objects, 
 but similar collections, quite as interesting and quite as rich, may 
 be seen in the Musee de Cluny, the Louvre, the Trocadero, the 
 Garde-Meuble, Sevres, etc., where admission is free. The museum 
 is open daily from 10 to 4, 5, or 6; adm. 1 fr., Sun. and holidays 
 50 c. The entrance is on the side next the Place de la Concorde, 
 door No. 7. No catalogue. Umbrellas and sticks must be given up. 
 
 Staiecases. Casts, similar to those at the Trocadero; to the left, 
 cast of the E. portal of the great Buddhist temple of Sanchi, Central
 
 3. MUSEE DES COLONIES. 153 
 
 India. — Room A. Works in Stone and Metal. Mediaeval sculptures of reli- 
 gions subjects; bronzes of tbe 17- 18th cent., with galvanoplastic repro- 
 ductions of specimens in other museums; fine old tapestries (also in the 
 other rooms), — Room B. Modem Porcelain. Select examples of French 
 and foreign porcelain and glass ; two glass-cases with Sevres porcelain 
 and biscuit -china. — Room C. Ancient Porcelain. French and Venetian 
 glass; terracottas of the 18th cent.; French porcelain 'pate tendre'; Saxon 
 and Sevres porcelain; faience from Rouen, Nevers, Monstiers, and Strass- 
 burg. — Room D. China and Japan. Bronzes, porcelain, textile fabrics, 
 basket-work, drawings, etc. — Room E. Asia. Persian faience and glass, 
 tiles, articles in iron, copper, and chased bronze ; niello and damascened 
 work; textiles, embroideries, book-bindings, etc. — Room F. Audioud 
 Collection. Costumes, headdresses, fans, lace, trimmings, coloured engrav- 
 ings of the 18th cent. ; large dnor ornamented in bronze and enamel, by 
 Fourdinois. — Room G. Textile Fabrics of the 15-19th cent. ; lace, em- 
 broideries, trimmings. — Rooms H, I, J, & K. Furniture and Wood Carving 
 of the reigns of Louis XIV., Louis XV., and Louis XVI., and of the middle 
 ages. To the left of Room I is a modern library-door by Fourdinois ; to 
 the left of Room K, reconstruction of an 18th cent, salon. — Room L. 
 Decorative paintings, drawings, etc. — Room M. Large frame of the reign 
 of Louis XV., with tapestry; to the right and left, casts of the small ca- 
 binet of Louis XVI. at Versailles and of the boudoir of Rambouillet (18th 
 cent.). — Room N. Decorative paintings, etc. — Room 0. Modern furni- 
 ture, etc. — Room P. Reproduction of the salon of an 18th cent, mansion. 
 — Labge Galleey. Antique Furniture. Wood-panels, tapestry, stained 
 glass and drawings of the 16-18th cent.; portion of a modern stair-ban- 
 nister (Chantilly); design for a cascade (Cain), etc. 
 
 The Palais de rindustrie also contains a Musee des Colonies, 
 i.e. an exhibition of colonial produce and of goods suitable for ex- 
 port to the colonies. It is open daily, except Mon., from 12 to 4 
 or 5, gratis (entrance by door No. 8, in the middle of the S. side). 
 
 At the entrance are boats, carriages, and specimens of nainerals. On 
 the staircase, specimens of wood, etc. — Above the doors of the four 
 large rooms are inscriptions, denoting the colonies to which each is de- 
 voted. Raw and manufactured articles and curiosities of various kinds 
 (descriptive labels) are here exhibited. A fifth room contains specimens of 
 foreign goods imported into the colonies, with labels indicating their source 
 and price. The sixth room contains French goods of the same character. 
 
 Between the Palais de I'Industrie and the Cours-la-Reine is the 
 Pavilion de la Ville de Paris (PI. R, 15 ; II), an iron and brick 
 structure from the Exhibition of 1878, which, however, is to be 
 demolished before the exhibition of 1900. In 1895 part of the Art 
 Collections of the City of Paris was arranged here. Admission on 
 Sun. and Thnrs. , 12-4. 
 
 I. Room or Bay. Competitive models and sketches for the decoration 
 of the Hotel de Ville. To the left in this room and in the following rooms 
 are similar works for the mairies of Paris and its environs. — II. Room. 
 Sketches and designs of the works of art executed for the old Hotel de 
 Ville and for the churches of Paris. The latter, to the right, are continued 
 in the following rooms. To the left is a painting by L. Cogniet, Coronation 
 of Bailly. In the centre, a bronze statue of Francis I. by Caielier, and a 
 marble group of War, by Houdain. — III. Room. Paintings and other earlier 
 works. To the right: A. Schejfer, St. Thomas Aquinas stilling a tempest; 
 Vien, St. Frou; Guillemot Descent from the Cross; to the left of the en- 
 trance, Bob. Xe/^prtJ, Portraits of Ni.poleon I. and Louis XVIII.; Gvereitio, 
 Death of Mary Magdalen; on the other side, Be Grayer CO? Madonna; Xaioire, 
 Expulsion from the Temple; Le Nain (?), St. James; Ph. de Champaigns, 
 St. Isabella; Retiout, Nativity of tbe Virgin; Callot, Temptation of St. Antony 
 (drawing); Jonvenet, The plague-stricken appealing to Christ. In the middle :
 
 154 3. ARC DE L'ETOILE. 
 
 Gauiherin^ The Republic (model); Labaiut, Cato of Utica; Peyrol, Contest, 
 both in marble. — IV, Room. Modern works. To the left: Courbet^ Siesta; 
 A. Brouillet^ Inoculation for croup; Gilbert, Dyeing-room at the Gobelins; 
 at the end, /. P. Laurens, St. Bruno refusing gifts ; Bonnat, St. Vincent de 
 Paul ransoming galley-slaves ; L. Cogniet, St. Stephen distributing alms, etc. 
 In the middle: Dalou's model for the monument in the Place de la Nation; 
 Vital Cornu, Archimedes : Demaille, Love, both marble. — V. Room. Modern 
 works, chiefly landscapes and other paintings. To the left: Roll, Festival 
 of July lith; to the right: Heim, Martyrdom of St. Hippolytus, St. Hyacinths 
 resuscitating a young man. In llie centre: Idrac , Equestrian statue of 
 Etienne Marcel (p. 64); Valton, Wounded lioness; Ricard, Protection and 
 Future, etc. 
 
 A little farther on is the Jardin de Paris, in which concerts and balls 
 are given in summer (p. 34). To the left of it are the Bridge, Esplanade, 
 and Hotel des Invalides (p. 275). 
 
 To the N.W. of the Palais de I'lndustrie is the former Panorama 
 des Champs-Elysees, with a hall 125 ft. in diameter, converted into 
 a Palais de Olace, with a floor of real ice for skating (p. 34). On 
 the other side of the avenue are the Cirque d'Ete(jp. 83) and another 
 old panorama, now converted into the Theatre Marigny. 
 
 The park or Carre des Champs-Elysees extends as far as the 
 Rond-Point des Champs-Elysees (PI. R, 15; II'), a circular space 
 adorned with beds of flowers and six fountains, situated about half- 
 way between the Place de la Concorde and the Arc de I'Etoile. 
 Two avenues descend hence to the Seine : the Avenue d'Antin, 
 leading to the Pont des Invalides (p. 161), and the Avenue Mon- 
 taigne, leading towards the Pont de I'Alma (p. 161). 
 
 To the N. of the Rond-Point the Avenue d'Antin is prolonged to the 
 church of St. Philippe du Roule (PL B, 15; IT), in the Rue du Faubourg- 
 St-Honor^, an edifice in a Greek style, by Ckalgrin (1769-84). The cupola 
 is adorned with a Descent from the Cross, by Chassiriau. 
 
 Farther on, to the left of the Champs-Elysees, extends the mod- 
 ern Quartier Marbeuf, consisting of handsome private residences. 
 The Trocadero, about 3/^ M. from this point, may be reached by an 
 omnibus traversing the Rne Pierre-Charron. 
 
 The Avenue des Champs-Elysees ends at the *Place de l'Etoilb 
 (PI. B, 12 ; i), so named from the star formed by the twelve differ- 
 ent boulevards or avenues which radiate from it (see p. 155). This 
 Place occupies a slight eminence, on the summit of which rises the — 
 
 *Arc de Triomphe de I'Etoile, the largest triumphal arch in exist- 
 ence, and visible from almost every part of the environs of Paris. 
 Begun by Napoleon I. in 1806, it was completed by Louis Philippe 
 in 1836, from designs by Chalgrin (d. 1811). It consists of a vast 
 arch, 67 ft. high and 46 ft. wide, intersected by a lower transversal 
 arch. The whole structure is 160 ft. in height, 146 ft. in width, 
 and 72 ft. in depth. The arch conveys a somewhat heavy impres- 
 sion when approached. The huge pillars of masonry on which 
 it rests are adorned only with colossal trophies, 36 ft. high, with 
 figures 16 ft. high. The final top member is still wanting. 
 
 The following groups adorn the E. fa?ade: on the right. Departure 
 of the troops to the frontier in 1792, by Rude, the finest of the four groups ;
 
 3. NEUILLY. 155 
 
 above it, the Obsequies of General Marceau , hy Lemaire. On the left, 
 Triumph of Kapoleon after the Austrian campaign, and the Peace of 
 Vienna (1810), by Cortoi (A. 1843); above it, the Pasha Mustapha surren- 
 dering to Murat at the battle of Aboukir (1799), by Seurre the Eldev. 
 — The bas-reliefs on the frieze surrounding the monument represent 
 the departure and the return of the troops, by Brun, Jacquot, Seurre, 
 and Rude. 
 
 On the W. facade: on the right, Resistance of the French to the in- 
 vading armies in 1814, by Etex; above it, Passage of the bridge of Ar 
 cola (I7965 death of JIuiron, Bonaparte's adjutant), by Feuchh'et. On the 
 left, the Blessings of Peace (1815), by Etex; above it, the Taking of Alexan- 
 dria (1798; Kl^ber, who has received a wound on the head, points out the 
 enemy to his troops), by Chaponnih'e. 
 
 The reliefs on the N. side, by Oechter, represent the battle of Auster- 
 litz (1805). On the S. side is the Battle of Jemappea (1792), by Marochetti. 
 The figures of Victory in the spandrels are by Pradier. A series of 
 30 shields on the cornice above the entablature are inscribed with the 
 names of different victories, while the names of 142 other battles appear 
 on the vaulting of the principal arch. On the vaulting of the transversal 
 arch are recorded the names of officers of the Republic and of the Em- 
 pire , the names of generals who fell in battle being underlined (656 
 in all). The figures of Victory in relief under these names relate to suc- 
 cesses gained in the East, North, and South. 
 
 The Platform, to which a spiral staircase of 261 steps ascends, 
 commands a noble *Prospect (adm. free). Best view in a west wind 
 after rain. 
 
 The following are the chief of the twelve avenues which radiate 
 from the Place de I'Etoile : the Avenue des Champs-Ely sees, described 
 at p. 151 ; then, to the left, the Avenue Hoche, leading to the Park 
 Monceaux [770 yds.; see p. 201); the Avenue de la Grande- Armee 
 (p. 166), continuing the Avenue des Champs-Elyse'es towards Neuilly 
 (see below); the Avenue du Bois-de-Boulogne (p. 156); and the 
 Avenue Kleber, leading straight to the Trocade'ro (tramway) and pass- 
 ing the pretty Palais de Castille (No. 19), the property of Queen 
 Isabella of Spain. 
 
 Neuilly, which lies to the N. of the Bois de Boulogne (Jardin d'Accli- 
 matation; p. 159), and is traversed by the wide avenue of the same name, 
 forming a prolongation of the Avenue de la Grande-Armce, is now a suburb 
 with 29,444 inhabitants. The chateau of Xeuilly, once the favourite resi- 
 dence of Louis Philippe, was totally destroyed by the mob on 25th Feb., 
 1848, and the park was afterwards parcelled out into building-sites,^ on 
 which numerous tasteful villas have been erected. — The Fair of Neuilly, 
 beginning about June 24th and lasting two or tliree weeks, is verj' 
 characteristic and attracts large crowds from Paris. 
 
 In Neuilly, near the line of fortifications, on the right side of the Route 
 de la Revolte. is the Chapel of St. Ferdinand (PI- B, 9), » cruciform 
 mausoleum in the Romanesque style, erected on the spot where Ferdinand, 
 Duke of Orleans, the eldest son of Louis Philippe and father of the Comte de 
 Paris, breathed his last on I3th July, 1842, in consequence of a fall from 
 his carriage. Admission daily; visitors ring at No. 13, nearly opposite the 
 chapel (fee). Over the high-altar is a Descent from the Cross, in marble, 
 by Triqueti. To the left is the Monument of the Duke, also by Triqueti, 
 from a design by A\^ Scheffev, with a fine praying angel by the prince's 
 sister, Marie cT OrUans (d. 1839). The windows are filled with good stained 
 glass designed by Ingres. The sacristy contains a picture by Jacquand 
 representing the death of the prince. 
 
 In the N. part of Neuilly, not far from the above-mentioned chapel ami 
 in front of the Justice de Paix, Rue Montrosier (P1.B,6) is a bronze Statue
 
 156 3. BOIS DE BOULOGNE. 
 
 of Panne7itier (1737-1813), who made his first experiments in the cultivation 
 of the potato at Neuilly. Farther to the W., at the Rond-Point d'lnker- 
 mann, is the new Romanesque Church of St. Pierre (PI. B, 5). Close hv 
 is a handsome Maine (PL B, 5), built in 1882-1885. From Neuilly a hand"- 
 some Bridge (1766-1772) crosses the Seine to the N.E., 2 M. from the Arc 
 de Triomphe (p. 154). On the opposite side of the river, to the right, is Cour- 
 hevoie (p. 293), and to the left is Puteaux (p. 294), which are connected by 
 another avenue, V2 M. in length, continuing those above mentioned as far 
 as the Monument de la Defense (p. 294). 
 
 II. FEOM THE PLACE DE L'ETOILE TO THE BOIS DE BOULOGNE. 
 
 Hippodrome de Longchamp. Jardin d'Acclimatation. 
 
 Visitors who wish to see the Bois de Boulogne with the least pos- 
 sible expenditure of time should engage a cab by the hour (special tariff, 
 see Appx., p. 33). The principal points may thus be visited in 2-3 hrs. 
 Those who do not wish to keep the cab waiting for the retum-joumey should 
 finish their drive in the Bois before visiting the Jardin d'Acclimatation. — 
 Stations on the Chemin de Fer de Ceinture and tramways , see p. 151. — 
 Cafes and Restaurants, see pp. 13, 15. 
 
 The Avenue de la Orande-Armee, prolonging the Avenue des 
 Champs-Elysees beyond the Arc de I'Etoile (p. 155), leads to the 
 Porte Maillot (which is named from the 'Jeu de Mail' formerly 
 played here), at the beginning of Neuilly (p. 156) and near the 
 Jardin d'Acclimatation, the nearest entrance to the Bois de Boulogne. 
 
 The Avenue du Bois-de-Boulogne (PI. B, R, 9, 6), leading from 
 the Arc de I'Etoile to the W. , is the usual route foUowed by the 
 fashionable crowds in carriages, on horseback, or on foot proceeding 
 from the Champs-Elys^es to the Bois de Boulogne. The avenue is 
 about 140 yds. in breadth (including the side-alleys) and is 3/^ M. 
 long to the Porte Dauphine (PL R, 6). It consists of a carriage-way 
 in the centre, flanked on one side by a riding-path and on the other 
 by an alley for pedestrians, beyond which again are side carriage- 
 ways. On both sides are plots of grass and trees. In the distance, 
 the Mont Valerien (p. 294) is seen rising above the Bois. To the 
 left of the entrance is a station of the Chemin de Fer de Ceinture. 
 
 The *Bois de Boulogne is a beautiful park covering an area of 
 2250 acres, bounded by the fortifications of Paris on the E. (see 
 p. xiviii), the Seine on the W., Boulogne (p. 295) and the Boulevard 
 d'Auteuil on the S.» and Neuilly (p. 155) on the N. It is a fragment 
 of the extensive old Foret de Rouvray (from Lat. Wovereturri', the 
 chene rouvre, i.e. holm-oak), which also comprised the Park of 
 St. Ouen (p. 212). This forest was long in evil odour, being the re- 
 sort of duellists, suicides, and robbers. On its skirts, however, were 
 several princely residences — the Chateaux de Madrid (p. 158), de 
 la Muette (p. 169), and de Bagatelle (p. 158) — as well as the fa- 
 mous Ahbaye de Longchamp, founded in 1256 by Isabella of France, 
 sister of St. Louis, at one time a pilgrim-resort, but afterwards more 
 notorious for the fashionable and luxurious 'concerts spirituels' given 
 in Holy Week towards the end of the 18th century. Down to 1848 
 the forest belonged to the crown-domains and received little attention. 
 In 1852 it was presented to the municipality, on condition that a sum
 
 3. BOIS DE BOULOGNE. 157 
 
 of two million francs should be expended on it within four years, 
 and that it should be maintained in future at the municipal expense. 
 The authorities accordingly converted it into a park, and it has be- 
 come a favourite promenade of the Parisians. The Bois is still 
 somewhat formal and monotonous in spite of the care that has been 
 taken to introduce variety into its grouping. — The annexed plan 
 will enable the visitor to find his way without difficulty. 
 
 The Bois de Boulogne is most frequented in the afternoon 
 between 3 and 5 o'clock, the favourite routes being those leading 
 from the Avenue du Bois-de-Boulogne to the lakes, where the hand- 
 somest carriages and most elegant toilettes are to be seen. In the 
 morning it is crowded with cyclists of hoth sexes. 
 
 We enter the Bois by the Porte Dauphine (p. 156), in the En- 
 ceinte, or lines of fortifications (p. xxviii), which are, however, more 
 or less disguised. The broad Route de Suresnes or du Lac^ which 
 diverges to the left, leads in about 10 min. to the Carrefour du 
 Bout des Lacs (see below). The Route de la Porte des Sablom, to 
 the right, leads to (V3 M.) the Jardin d'Acclimatation (p. 159), 
 crossing the large Allee de Longchamp or des Acacias, which leads 
 to the left to the race-course (p. 158). This allee has been the 
 chief scene, during the last few years, of the Fete des Fleurs, held 
 for a benevolent object about the same time as the 'Grand Prix' at 
 Longchamp (p. 158). 
 
 The Carrefour du Bout des Lacs is one of the finest points in 
 the Bois de Boulogne. It lies at the lower end of two artificial lakes, 
 the Lac Infirieur (2/3 M. in length and 100 yds. in width), and the 
 Lac Supirieur (1/4 M. in length and 60 yds. in width), which are 
 fed by the Canal de I'Ourcq (p. 204) and the Artesian Well of Passy 
 (p. 169). Two brooks issue from the Lac Inferieur, one of which 
 flows to the Jardin d'Acclimatation, the other, or 'Riviere de Long- 
 champ', to the cascade (p. 158). We walk round the lakes, begin- 
 ning at the left side. — The Fieuriste de la Ville (p. 169) is to be 
 transferred from LaMuette to a site here, between the lake and the 
 fortifications. 
 
 In the Lac Infe'rieur are two islands (ferry there and back 10 c; 
 boat on the lake 2-3 fr.), on one of which is a cafe-restaurant in 
 the form of a Swiss Chalet. As cafes are one of the chief characteristics 
 of every Parisian resort, the wayfarer will find other places of re- 
 freshment in various parts of the park, especially at the Carrefour 
 du Bout du Lac and near the Grande Cascade (p. 158). 
 
 Between the two lakes is the Carrefour des Cascades, and at the 
 S. end of the Lac Supirieur is the Butte Mortemart, whence there 
 is a fine view of St. Cloud and Meudon. The vacant space here has 
 been converted into the Champ de Courses d'Auteuil, with three 
 race-courses (comp. the Plan), for steeplechases and hurdle-races. 
 The race-stands are situated on the 'butte' ; adm. as at Longchamp 
 (see p. 158). The Grand Steeplechase (value 4800i.) is run at the
 
 158 3. HIPPODROME OF LONGCHAMP. 
 
 end of May or beginning of June and the Prix du Conseil Municipal 
 (4000;.) in October. — Auteuil, see p. 169. 
 
 On arriving at the upper extremity of the Lac Sup^rieur we turn 
 to the right and walk along the margin of the lake to the Carrefour 
 des Cascades (p. 167). Hence we follow the Avenue de VHippo- 
 drome to the left or, if on foot, the walk at the side (see Plan), 
 both of which cross the wide Allee de la Reine Marguerite and 
 lead in 15-20 min. to the *Grande Cascade, an artificial waterfall 
 issuing from a grotto. After viewing the waterfall, we may ascend 
 the eminence a little before it, which affords a fine view of the 
 valley of the Seine; to the left on the opposite bank lies St. Cloud 
 with its modern church ; nearer is the Hippodrome de Longchamp 
 (see below) ; opposite us are a mill with two towers and the remains 
 of the ancient Abbey of Longchamp (p. 156), with the village of 
 Suresnes beyond them ; to the right, a little farther off, is Mont 
 Valerien (p. 294). A path descends the hill to the interior of the 
 grotto and the foot of the fall. 
 
 The Hippodrome de Longcliamp is the principal race-course for 
 flat races in the neighbourhood of Paris (see p. 35). The races (courses 
 or reunions) at Longchamp take place in spring, summer, and autumn, 
 the days being advertised in the newspapers and handbills. The 
 races attract vast crowds and are worth seeing. The 'Premiere de 
 Longchamp', at the beginning of April, opens the spring season, 
 and the new spring fashions then appear in all their glory. The 
 principal race at this meeting is the 'Cadran', worth 1200i. The 
 Grand Prix, of 200,000 fr. (80000, is competed for at the begin- 
 ning of June, and may be styled the 'French Derby'. It may also 
 be said to inaugurate the summer season, as after it the fashionable 
 world of Paris prepares for its annual migration to the country or the 
 sea-side. Charges for admission to the hippodrome : for a carriage 
 with one horse 15, with two horses 20 fr. ; each rider 5 fr. ; pedestrian 
 1 fr. ; pavilion 5 fr. ; weighing-place (pesage) 20 fr. There are three 
 circular race-courses (1, IV2, and 1^/^ M.) and one straight course 
 (5 furlongs). — Reviews take place here occasionally. 
 
 Behind the race-stands are the Chalet* du Cycle, a cafe much freqnented 
 by cyclists. 
 
 The Seine may be crossed here either via the Pont de Suresnes 
 (p. 294), or by a Footbridge (Passerelle de VAqueduc de VAvre), constructed 
 in 1393 near 'the race-stands, on the side next Boulogne and St. Cloud. 
 
 The Route de Neuilly (p. 155), at the opposite end from the race-course, 
 passes between the Champ d'Entrainement and the park of the little chateau 
 of Bagatelle, constructed in one month by the Comte d'Artois (Charles X.) in 
 consequence of a wager with Marie Antoinette; it is now the property of 
 the heirs of Sir Eichard Wallace (d. 1890). The pretty park and the val- 
 uable collections of art may be visited only by permission. — The part 
 of Keuilly adjoining this side of the Bois de Boulogne is known as Madrid, 
 a name derived from a chateau which once stood in this neighbourhood, 
 bailt by Francis I. after the Battle of Pavia, and thus named as a remi- 
 niscence of his captivity in Spain. The chateau, which was destroyed after 
 the Revolution, was remarkable for the external decorations of the walls, 
 consisting of terracottas by Girolamo della Eobbia, and works in enamel;
 
 3. JARDIN D'ACCLIMATATION. 159 
 
 the former no longer exist, but the latter are Btill to be Been in theMusce 
 de Cluny (p. 235). Bridge to Puteaux, see p. 294. At the Porte de Madrid 
 is a Restaurant. To the right of the Route de Madrid is the Skating Club 
 (see below); to the left lie the Mare de St. James and, a little farther on, 
 the Jardin d'Acclimatation (see below). 
 
 The wide Allee de Longchamp (side - alleys preferable) leads 
 straight from the Hippodrome, passing the Cascade on the right, 
 to the (2 M.) Porte Maillot (p. 156). To the right, a little way on, 
 is the Pre Catelan, an enclosed space where fetes used to be given 
 in summer, but now a 'dependance' of the Jardin d'Aoclimatation. 
 Farther on, to the left, is the Cercle des Patineura, a pond and pigeon- 
 shooting grounds belonging to the Skating Club. Near the end of 
 the Allee a path to the Jardin d'Acclimatation diverges to the left. 
 
 The *Jardiii d'Acclimatation is an enclosed part of the Bois 
 de Boulogne adjoining the Boulevard de Maillot, situated to the S. 
 of the Avenue de Neuilly, and between the Porte des Sablons and 
 the Porte de Madrid, and affords one of the most attractive prome- 
 nades in the environs of Paris. It was founded by a company 'in 
 order to introduce into France and acclimatise foreign plants and 
 animals suitable for domestic or ornamental purposes', and covers 
 an area of 50 acres. It suffered severely during the second siege of 
 Paris in May, 1871. 
 
 Visitors who hire a cab in Paris may dismiss it at the Porte Maillot, 
 before the line of the fortifications is crossed; otherwise, the fare to the 
 Jardin is higher, and 1 fr. additional must be paid as 'indemnite de re- 
 tour' (see Appx.). Miniature tramway from the Porte Maillot to the (Vz M.) 
 entrance of the Jardin 20 c., to the lake in the Jardin 35 c. 
 
 The Jardin d'Acclimatation is open the whole day. Admission 
 1 fr. (greenhouses included); on Sundays and holidays ^/^ fr.; carriage 
 3 fr., in addition to the charge for each person in it; no charge for 
 coachman. Children under seven enter free. 
 
 The principal entrance is on the E. side, near the Porte des Sa- 
 blons, but there is another at the opposite end, near the Porte de 
 Neuilly. — The following itinerary includes most of the objects of 
 interest. All the houses are open to visitors, but the monkey-house 
 and some of the smaller stables are somewhat close and ill-ventilated. 
 Comp. the Plan, p. 156. 
 
 On entering, we find ourselves in a handsome walk, 11 yds. 
 wide, which runs round the whole garden. On the left is the 
 OrandeSerre(?l. 15), or winter-garden, and the * Palmar ium (PL 14), 
 a handsome structure opened in 1893, in which the orchestra plays 
 in bad weather (seats 1 fr., 50, 35c.). The building includes a Cafe- 
 Restaurant; and the sunk floor is to be fitted up for the Aquarium. 
 Some of the Birds are also kept here. 
 
 Opposite, or to the right as we enter, are two <5maZZ Hothouses, 
 the Offices (PI. 1) of the company, to which purchasers address their 
 orders, a Museum adjoined by the Oaleries de Vente (sale rooms), 
 and the Vivarium (PI. 2).
 
 160 3. JARDIN D'ACCLIMATATION. 
 
 The Museum (Musie de Chaise et de Peche) illustrates hunting and fish- 
 ing, in five divisions ; «t>., Weapons, Traps, Accessories, Sporting animals, 
 Symbols. On the vrall are paintings of different kinds of sport. The glass- 
 cases contain a small collection of natural history and a stuffed orang- 
 outang that died in the gardens. 
 
 The ViVAEiuM is a small room reserved for rare animals ; in 1896 
 several hamadryad monkeys -were shown here. 
 
 Farther on, to the right, is the Singerie, or monkey-house (PI. 3), 
 which is entered from the rear. To the left are the Storks, Flamingoes, 
 Cranes, Herons, Ostriches, Marabouts, and other long-legged birds. 
 Behind are Aquatic Birds (^Swans, Geese, Ducks of all kinds) and the 
 Pigeon House, in which carrier-pigeons are reared. Then, a pavilion 
 ■with caymans , turtles, a python and other serpents. To the right 
 of the walk is the Faisanderie (PL 4), in front of which is a statue 
 in white marble of the naturalist Daubenton (d. 1799), by Godin. 
 This building contains parroquets, herons, ibises, mandarin ducks, 
 and several other kinds of birds, besides the pheasants. Next follow 
 the Antelopes; Llamas; Yaks; various kinds of foreign Ooats ; and, 
 behind, the Poulerie (PI. 5), a semicircular concrete building and 
 the Ecuries, near which diverges the walk leading to the entrance 
 on the side next the Porte de Neuilly. 
 
 At the end of the garden are the Ecuries (PL 6), or stables, and 
 enclosures connected with them, containing quadrupeds trained for 
 the purposes of the garden or the amusement of visitors. A great 
 source of delight to children here is a ride on the back of an el- 
 ephant or dromedary, or a drive in a carriage drawn by ostriches, 
 llamas, etc. (Charges fixed by tariff : dromedary 50c., elephant 25 c. , 
 ostrich-carriage 50 c, small carriage 25 c, pony 50 o.) During 
 summer the adjoining lawn is generally occupied by encampments 
 of natives of various savage tribes. Beyond this lawn is a small 
 lake, on the bank of which rises a Tower. 
 
 Farther on are the Quagga, Zebra, and Giraffe Houses. To the 
 side, the Porcupines, Agoutis, Blue Foxes, and various other animals. 
 Then, to the right, is the Panorama du Monde Antediluvien (PI. 7; 
 adm. 50 c), by Castellani, and beyond that again the Antelopes, 
 Kangaroos, and Llamas, to the left, and the Reindeer and the Cattle- 
 Shed, to the right. Farther on, to the left are the basin of the Ottaries 
 or sea- lions (PL 8), which are fed at 3 p.m., and a rocky enclosure 
 for Chamois (PL 9), Mountain Goats, and other climbing animals. 
 Behind are Antelopes, Llamas, and Alpacas. To the right of the 
 circular walk is the Laiterie, or dairy (cup of milk 40 c). The 
 Aquarium (PI. 10) is to be removed to the Palmarium (p. 159). Be- 
 hind are a Seal, the Penguins, the fish-ponds, and the Myopotami. 
 
 Farther on is the Buffet (PL 11), opposite which is the summer 
 Kiosque des Concerts, where the band plays at 3 p. m. on Sundays. 
 Then come the Deer Paddocks, and (in summer) the Parrots. Finally, 
 to the right, is the Kennel (PL 13), containing thorough-bred dogs, 
 whose pedigrees are carefully recorded. Beyond this, to the right, 
 are the Palmarium and the Grande Serre already mentioned.
 
 4. MAISON DE FRANCOIS I. 161 
 
 We may return to the town by the same route to view the crowd 
 in the Bois and the Champs- Ely sies,, but if the day be unfavourable for 
 this we may take the Chemin de Fer de Ceinture (p. 2i), or we may return 
 via the Trocadiro (p. 165). 
 
 4. The Trocadero, Passy, and Auteuil. 
 (Bois de Boulogne.) 
 
 The following public vehicles ply in this direction from the Place 
 de la Concorde: the Tkamwats from the Louvre to Passy (TJ), to the 
 Point-du-Jour (TA), and to St. Cloud, Sevres, and Versailles (TAB); the 
 Omnibus from the Madeleine to Auteuil (A). The tramway from the Rue 
 Taitbout to La Muette (TIT) and the omnibus from the Gare de TEst to 
 the Trocadero (B) are also convenient. The Steamboats on the Seine may 
 also be used. 
 
 I. FROM THE PLACE DE LA CONCORDE TO THE TROCADERO. 
 Musee de Galliera. Musee Cruimet. Musees du Trocadero. 
 
 The Mus^e Galliera, the Musee Guimet, and the two Musees at the 
 Trocadero are open at the same hours only on Sun. and Thurs. ; though 
 admission may be obtained to the Ethnographical Museum daily except 
 Monday. Luncheon may be taken at one of the cafes near the Trocadero 
 or in the Place de TAlma, or at the cafe in the Trocade'ro. 
 
 Place de la Concorde, see p. 80. The direct route to the Tro- 
 cadero is by the Cours-la-Reine, a fine avenue formed by Marie de 
 M^dicis in 1610, and traversing the Quai de la Conference from end 
 to end. The quay derives its name from an old gate through which 
 the Spanish ambassadors entered Paris in 1660 , to confer with 
 Mazarin on the betrothal of the Infanta Maria Theresa with Louis XIV. 
 To the right is the Palais de I'lndustrie (p. 152). To the left is the 
 Pont des Invalides (PI. R, 14, 15 ; //), adorned with Victories by 
 Dieboldt and Vilain. Hotel des Invalides, see p. 275. 
 
 To the right, at the corner of the Cours-la-Reine and the Rue Bayard, 
 is the house known as the *Maison de Frangois I^f (PI. R, 15; II), a 
 very pleasing example of the domestic architecture of the Renaissance. 
 Francis I. caused this building to be erected at Moret, near Fon- 
 tainebleau, in 1527, for the reception of Diane de Poitiers, or ac- 
 cording to others for his sister Margaret of Navarre, and in 1826 it 
 was transferred to its present site. The facade, the style of which 
 is quite unique and very unlike that of contemporary buildings, 
 finds its closest parallel in the palaces of Venice. On the ground- 
 floor are three large arched windows, to which the three square- 
 headed windows of the upper floor correspond. The ornamentation 
 on the pilasters between the windows and at the corners is singu- 
 larly rich and elegant. Many of the medallion-portraits (including 
 that of Margaret of Navarre, between the arms of France and Na- 
 varre) have been restored. The back is also worthy of inspection, 
 but the sides have been modernised. 
 
 The Pont de tAlma (PI. R, 11, 12; 7), at the end of the quay, 
 was constructed in 1856 and named in memory of the Crimean cam- 
 
 Baedeker, Paris. l'2th Edit. H
 
 162 4. MUSEE DE GALLIERA. 
 
 paign. The buttresses are embellished with handsome figures of a 
 zouave and a private of the line by Dieboldt, and an artilleryman 
 and a chasseur by Amaud. From the Place de I'Alma the Avenue 
 Montaigne leads N.W. to the Rond-Point des Champs-Elysees 
 (p. 154). In a garden in this avenue is the bronze statue of a 
 wounded warrior repairing his sword, by Chretien. 
 
 The next quay, the Quai Debilly, leads to the foot of the Tro- 
 cadero Park ; the Avenue du Trocadero, to the right, is, however, a 
 preferable approach. To the left is the Pompe ti Feu de Chaillot, 
 supplying the city-reservoirs from the Seine. 
 
 Farther on in the Avenue du Trocadero, on the right, is the 
 *Musee de Galliera (PL R, 12 ; /), in the Italian Renaissance style, 
 by Oinain, built by the munificence of the Duchesse de Galliera 
 (d. 1888), who also erected the orphanage at Fleury (p. 301) and the 
 hospital at Clamart (p. 298). The facade towards the avenue is em- 
 bellished with statues of Sculpture, Architecture, and Painting, by 
 Cavelier, Thomas, and Chapu. The entrance, which is in the Rue 
 Pierre-Charron, is preceded by a small square in which is a bronze 
 group representing 'Wine', by Holweck. The museum was originally 
 intended for the collections of the Duchesse de Galliera, but these 
 having been bequeathed to the city of Genoa, it now contains the 
 nucleus of a municipal museum of art and industry (comp. p. 153). 
 Admission daily, except Mon., 12-4. 
 
 Vestibule. Five marble statues : Sorceress, hjBdguim; Oh. Youth 1 by 
 Fdzieux; The Future, by M. Moreau ; Primroses, by Eercule'; The first 
 thrill, by Roufosse. — Large Saloon. This and the following rooms contain 
 chiefly Tapestries. The best are the five tapestries of SS. Gervais and Protais, 
 hung above the others. These were executed in the studios of the Louvre 
 about 1650-1655, i.e. f-hortly before the establishment of the Gobelins (p. 270), 
 and represent the flagellation of the saints, after Lesueur; their execution, 
 after S. Bourdon; the translation of their relics, their appearance to St. 
 Ambrose, and the discovery of their relics, after Ph. de Champaigne. Below, 
 from right to left: Achilles armed and consoled by Thetis (Brussels; 
 ca. 1775)5 Gipsy camp, The falconer (Beauvais ; 1770 and 1774); Bivouac, 
 Breaking up camp (Gobelins ; 1763) ; Snares of Marriage, Repast (work- 
 shops of the Faubourg St. Marcel; ca. 1600); Swoon of Armida (Gobelins, 
 1739)._ — In the centre, statue of Diana, by A. Boucher. The glass-cases 
 contain modern articles : porcelain and earthenware ; enamels ; damascened 
 casket; Renaissance goblet; pewter articles. — Next Gallery. Ancient 
 Tapestry; over the doors, The perilous slumber and Pan and Amymone 
 (Gobelins); then March and (opposite) August, after the 'Hunts of Maximil- 
 ian'' (p. 140; Faubourg St. Marcel); Rape of Helen. Ulysses recognizing 
 Achilles among the daughters of Lycomedes (Brussels). Sculptures: 
 Oaudez, Lulli as a boy; Gardet and Foiiques, Dogs; Valton, Wolf:, ffercule, 
 Turenne as a boy. — The Small Rooms at the ends' contain two Tapestries: 
 Autumn (Gobelins) after a painting bv Mignard, destroyed with the palace 
 of St. Cloud; The Earth (Gobelins, 1880) after one of the 'Elements' by Le 
 Brun. — Last Room, next the vestibule. Tapestries: Return from the hunt 
 (Beauvais); Summer (in silk and wool) and a Pastoral Scene (Gobelins). 
 Marble sculpture representing Ivy, hj A. Moncel. Pewter fountain ; modern 
 commemorative medals, etc. 
 
 In the Place d'l^na, a few yards farther on, rises the handsome 
 Mus6e Guimet (PI. R, 12; i), a classical building, less richly de- 
 corated but not devoid of originality, with a rotunda at the angle, sur-
 
 4. MUS^E GUIMET. 163 
 
 mounted by a colonnade and cupola. It contains the extensive and 
 valuable collections presented to the state in 1886 by M. Em. Gui- 
 met of Lyons , consisting mainly of a Museum of the Religions oj 
 India and Eastern Asia, but including also a Library and collec- 
 tions of Oriental Pottery and of Antiquities. Admission, see p. 54. 
 
 — The Galeries d Una and the Oaleries Boissiere are open on altern- 
 ate days, Sun. and Tues. being counted as one day in order to secure 
 also an alternation in the days of the week for each half of the 
 museum. The chief objects only are noticed here. Explanatory 
 labels are attached to the exhibits. Short illustrated catalogue, 1 fr. 
 Sticks and umbrellas must be given up (no fee). — Public Lectures 
 are given here on Sun. in winter. 
 
 Ground Floor. The Rotdnda contains a few Roman sculptures. 
 
 Galerie dIena, to the right : * Chinese fottery. The inscriptions above the 
 glass-cases refer to the sections. — 1st Section: Modern ware from Nankin 
 (right) and Cantun (left); Chinese enamels, turquoise-blue, violet, etc.; 
 pale-green from Nankin (15th cent.). — 2nd Section: to the right, porcelain 
 with European patterns, 'East India Company's ware' ; earthenware ('boc- 
 caros'), white Chinese porcelain, old blue porcelain; to the left, as we 
 return, blue, red, green, yellow, and pink varieties. — 3rd Section, from 
 right to left: Faience and porcelain from the 10th cent, to the present 
 day, the finest dating from the time of Khien-Long (1736-1769). 
 
 Galerie Boissi&ke. "Japanese Pottery and ^Bronzes, for which there 
 is no room on the first floor. 1st and 2nd Sections : modern faience, 
 porcelain, and stoneware from Yokohama; bronze temple -lamp; large 
 lacquered vase in faience. — 3rd & 4th Sections (continuation of the same) : 
 'dagoba' or bronze reliquary, of the 16th cent. ; lamps of the same period ; 
 large modern vases in Avata faience. — 5th Section : various kinds of 
 porcelain , ancient and modern ; large lacquered vase in faience. — 6th 
 Section: modern ware from Kioto ; Bizen stoneware in imitation of bronze. 
 
 — 7th Section: faience made by ladies and other amateurs; Kioto ware 
 and works by the potter Ninsei (18th cent.); bronze lamp. 
 
 To the right is a Galerie de VAsie Centrale^ not yet open to the public. 
 
 First Floor. In the Rotunda is the Library. At the entrance are sta- 
 tues of Mondshu and Fughen, the two chief disciplos of Buddha, upon a 
 lion and an elephant; and two reliquaries. The Paintings in the Rotunda 
 and following galleries, by Regamey, represent Oriental scenes, religious 
 ceremonies, priests, etc. 
 
 A small room to the left of the entrance to the Galerie d'lena con- 
 tains additional porcelain, less important objects of the kind already 
 noticed, a large model in aloe-pith of an Indian temple , paintings of 
 curious phases of American Christianity, etc. 
 
 Galerie D'IftNA, to the right, as we face the staircase: ''Religions of 
 India and China. — Room I. Cult of Brahma, Vishnu, and Siva, the 
 triad representing the creating, preserving, and destroying principles. 
 Wood-carvings from chariots of Brahma ; articles used in religious serv- 
 ices; representations of temples. In the centre are bronze figures of 
 Lakshmi, the Indian Venus (16th cent.), Siva, and Vishnu. On a stand 
 are some attractive small paintings and Persian MSS. — Room II. Buddhism, 
 the worship of Sakya-Mooni or Buddha, the 'perfect sage\ a cult with 
 four sects. Ist Section: Six glaas-cases, devoted to India and Java (to the 
 left), Cambodia, the kingdom of Siam and Burma. Statues and statuettes, 
 vases, etc., some notable as works of art; coins; sacred books; bronze 
 bell. — 2nd Section: to the right and left. Buddhism continued. Buddha in 
 his three states: birth, penitence, transfiguration ; transformations and cult 
 of Kouanyin, goddess of charity ; drawings extending back to the 11th cent. ; 
 statuettes and portraits of the propagators of Buddhism in China. To the 
 left: Taoism, or Chinese pantheistic idolatry; statuettes (two of the philo- 
 sopher Lao-Chu mounted on a buffalo, at the foot of the first glass-case) ; 
 
 11*
 
 164 4. MDS^E GUIMET. 
 
 MSS., coloured drawings, geomantic compasses (for soothsaying), votive 
 sabres from Cochin China. In the centre, large model of a Buddhist 
 temple. — 3rd Section: Taoism continued; idols of various kinds; MSS. 
 The following glass-cases, devoted to Lamaism (religion of Tibet and 
 Mongolia), contain a number of small statuettes in bronze and gilded 
 copper, etc.; also, to the left, fly-flapper of a lama, made of a yak's tail in 
 a valuable jade handle (see below), adorned with precious stones and silver; 
 fine bronze figure of the goddess of destruction. In the centre, wooden 
 female statue from Annam, and a large model of a Buddhist temple. — 
 3rd Section: Taoism continued. Idols of all kinds; MSS. In the centre, 
 large bronze gong. To the left, *Eleven fine boxwood statuettes (18th 
 cent.), representing celestial deities; paintings on silk; Chinese coins, the 
 most ancient, in the shape of bells, dating from 2000 B. C. On. the wall : 
 Dharma, the apostle of Buddhism in China. In the glass-cases at the end: 
 Confucianism, the imperial religion in China, involving ancestor-worship; 
 here represented by statuettes, sepulchral urns, etc. — Room III. ''Salle de 
 Jade or Gem Room, with numerous articles of jade, a stone highly prized 
 in China, many of which come from the imperial Summer Palace in Pekin. 
 The glass-cases at the back contain sceptres of mandarins, etc. 
 
 Galebie BoissifiBE: '^Religions of Japan. — Room I. 1st and 2nd Sec- 
 tions: fine statue of Ida-Ten, god of the grace before meat; Shintoism (to 
 the left), the national religion, which has no idols but only symbols of 
 the Supreme Being, and the temples of which are always closed; Buddhism, 
 six different sects; statues, statuettes, tissues, priests' vestments; fine bronze 
 statuettes; books. At the end of the 2nd section are two bronze statues of the 
 god of travellers, and two bronze vases, with representations of the death 
 and ascension of Buddha. — Room II. Model of a 'Mandara or pantheon, 
 with nineteen personages. The central group represents Dainiti, the 
 highest perfection, and beings who have become 'buddhas', with the eye 
 of wisdom in the centre of their foreheads; those to the right and left 
 represent his transformation into beings whose end is the salvation of 
 souls by gentleness or by violence. Around are brasiers, fountains, gongs, 
 statue of Sakya-Mooni dying, other figures of deities, etc. — Room III. 
 1st Section: Japanese and Chinese legends; curious statuettes, often of 
 admirable execution (in the glass-case to the right, in front, the devil 
 grown old becomes a. monk). — 2nd Section: bronze statue of Jiso, the 
 guardian deity of children; historical articles, very interesting statnettes; 
 lacquer work; weapons; two palanquins belonging to princes; travelling 
 trunk; Chimseras of the 12th cent ; wooden statue of a pilgrim (to the 
 left). — Room IV. Chapel in gilded wood; three statues of priests; three 
 statues of Amida, one of the immortal 'buddhas' ; figure of the philosopher 
 Dharma rising from his tomb. Behind, bronze groups illustrating Japanese 
 legends : gods of wisdom (soul wandering through the world), strength, 
 water (with long legs) fishing (with long arms), hunting, and war. Behind 
 are several fine large paintings. To the left, temple-drum in antique 
 eloisonne-work ; figures of priests ; bronze lamps. Painting of the 16th cent., 
 representing St. Francis Xavier landing in Japan. 
 
 To the right is another Galerie de PAsie Centrale^ not yet open to the public. 
 
 Second Floor. The Rotdnda, supported by caryatides, contains Paint- 
 ings of religious scenes in China, Coylon, etc., by Regamey. 
 
 Galerie D'lfiNA: Japanese Paintings. Paintings, drawings, albums, and 
 engravings (chiefly 17th and 19th cent.) ; also some interesting sculptures. 
 Graeco-Roman Antiquitiet. Statuettes of ..Esculapius, Bacchus, Apollo, and 
 Juno; busts; terracottas; black Etruscan pottery; Greek vases; bronze, 
 statuettes and helmets; paintings; glass; jewels; "votive statuettes; etc. 
 
 A gallery to the left (closed at present) contains the Collection Varat, 
 an interesting but not intrinsically valuable collection of articles from 
 Corea: furniture, costumes, agricultural implements, utensils, musical in- 
 struments, weapons, etc. 
 
 Galekie BoissiftBE: Egyptian Antiquities. Coffins with mummies; ob- 
 jects found in graves; reproductions of sepulchral paintings (6th cent. 
 B.C.); marble statue of Diana of Ephesus ; small bronzes; historical ar-
 
 4. TROCADltRO. 165 
 
 tides i figures of kings, etc.; textile fabrics; statue of lais ; Assyrian cylin- 
 ders and seals. To the right, sacrificial table; Alexandrian deities; etc. 
 
 A little to the right of the Musee Guimet the Aveime d'l^na 
 passes the Place des Etats-Vnis (PI. R, 12; i), at the other end of 
 which is a fine bronze * Group of Washington and Lafayette, by 
 Bartholdi, presented by several Americans in 1895 in commemora- 
 tion of the assistance rendered by France in securing the independ- 
 ence of the United States. The Rue Galilee, passing in front of the 
 group, leads to the left to the Avenue Kleber, near the Trocadero. 
 
 The *Trocad6ro (PL R, 8 ; /), which bears the name of one of the 
 forts of Cadiz captured by the French in 1823, was down to 1866 a 
 piece of waste ground descending rapidly to the Seine. Napoleon I. 
 entertained the idea of building a marble palace here for the King of 
 Rome. In 1867, when the Great Exhibition was held in the Champ- 
 de-Mars , the undulating ground of the Trocadero was laid out in 
 terraces; and in 1878 these were added to the exhibition-grounds 
 of that year, and the present park and palace were constructed. 
 
 The Avenue du Trocadero ends on the height behind the palace, 
 at the Place du Trocadero (PI, R, 8, 9 ; /; tramways D and J, om- 
 nibus-lines A and B'), in which is a fountain. Here also converge 
 the Avenue Kleber, leading to the Arc de I'Etoile (p. 164), the 
 Avenue Malakoff, leading to the Avenue du Bois -de -Boulogne 
 (p. 156), and the Avenue Henri Martin, leading straight to the Bois 
 (p. 156). We may reach the park in front of the Trocadero palace 
 by taking the Avenue d'lena, to the left at the Place of that name, 
 which leads past the Depot des Phares. 
 
 The Palais du Trocadero (PL R, 8; I), which occupies the 
 summit of the plateau, is a huge building in the Oriental style, de- 
 signed by Davioud and Bourdais. The central portion consists of a 
 circular edifice 63 yds. in diameter and 180 ft. in height, sur- 
 mounted by a dome, and flanked with two minarets 270 ft. high. 
 On each side is a wing in the form of a curve, 220 yds. in length, 
 so that the whole edifice presents the appearance of an imposing 
 crescent. On a level with the spring of the dome is a gallery adorn- 
 ed with thirty statues representing the arts, sciences, and various 
 industries. The dome itself is surmounted by a colossal statue of 
 Fame, by A. Mercie. The balcony in front of the central building is 
 embellished with six figures in gilded bronze : Europe, by Schoene- 
 werk, Asia by Falguiere, Africa, "by Delaplanche, N.America hyHioUe^ 
 S. America by Millet, and Australia by Moreau. Below the balcony 
 gushes forth a large *Cascadb, which descends to a huge basin, 196 ft. 
 in diameter, surrounded by a bull, a horse, an elephant, and a 
 rhinoceros in bronze, by Cain, Rouillard, Fremiet, and Jacque- 
 mart, Under the arches flanking the cascade are allegorical figures 
 of Water, by Cavelier, and Air, by Thomas. At the upper basin is 
 a group, by Falguilre, of the Seine and its tributaries, the Yonne
 
 166 4. PALAIS DU TROCAD^RO. 
 
 and the Marne . Concerts are often given in the elaborately-decorated 
 Salle des Fetes^ which contains an immense organ "by Cavaill^-CoU 
 and has seats for 6000 persons (adm. at other times by order from 
 the secretary of the Beaux- Arts, Rne de Valois 3). The galleries and 
 balconies command an admirable *Vlew of Paris (best at snnset). 
 Visitors may ascend by a lift (50 c, on Snn. 25 c). 
 
 The Palais du Trocadero contains important museums of Com- 
 parative Sculpture (casts) and of Ethnography. 
 
 The *MusEB DB ScuLPTUEB CoMPAEEB, Or MusSe des MoulageSj 
 occupies the right wing and part of the left wing of the building. 
 The casts are mainly illustrative of the chief types of monumental 
 sculpture since the middle ages, but, for the sake of comparison, 
 there are a few casts of ancient and other works of a different class. 
 The sculptures are arranged chronologically. Explanatory labels 
 are attached to each cast. Admission, see p. 54. 
 
 Rooms I & II (Salles A & B). The finest examples here are from 
 French churches , enabling the visitor to form a tolerable idea of works 
 of art in towns that he may never have an opportunity of visiting. The 
 cathedrals of Chartres, Amiens, Paris, and Rheims are well represented; 
 but there are also casts from the less-known cathedral of Autun, the church 
 of the Madeleine at Vezelay, St. Lazare d'Avallon (Yonne); and the portal 
 of INotre Dame-du-Port at Clermont-Ferrand. In R. 2 are casts from the 
 cathedrals of Sens, Laon, and Strassburg; the statue of Mausolus from Hali- 
 carnassas (4th cent. B.C.); a caryatid from the temple of Athena Polias at 
 Athens : and sepulchral statues from St. Denis, Amiens, etc. — R. III. 
 Pier (reduced) from the cathedral of Rheims. Photographs of monuments 
 and sculptures, of which no casts have yet teen made. St. George, from 
 the cathedral of Bale. — R. IV (C). Sculptures from the cathedrals of 
 Strassburg and "Naumburg; pediment from the cathedral of Bourges ; 
 tomb of St. Stephen, from the abbey-church of Aubazine, in the depart- 
 ment of Correze ; portal of the cathedral of Bordeaux. — *R. V (D). Portals 
 of St. Maclou at Rouen; gate of the ducal chateau at Nancy. In the 
 middle: St. George, byDonatello; fountain with figure of Moses at Dijon, 
 by Claux Sluter; tomb of the children of Charles VIII. at Tours: tomb 
 of Francis II. of Brittany at Nantes ; statues from the tombs of Henri II and 
 Catherine de Medicis at St. Denis. At the end of the room, screen from the 
 cathedral of Limoges. To the right, in returning: Bas-reliefs from the 
 Fontaine des Innocents (p. 172), by Jean Goujon ; Tomb of Duke Louis de 
 Breze (cathedral of Rouen) ; statues, by Sluter, from the Carthusian convent 
 at Dijon; bas-reliefs from the chateau at Ecouen (p. 351); pulpit from the 
 cathedral of Coimbra (Portugal) ; monks from the tomb of the duke of Bur- 
 gundy at Dijon, by Sluter; reliefs from St. Nicholas, at Troyes ; group of 
 children with musical instruments, by Luca della Robbia (Florence) ; angel 
 from the chateau of Lude (Sarthe); SS. Anna and Mary from the cathe- 
 dral of Bordeaux ; high-reliefs, from the cathedral of Siena, by Nic. Pisano. 
 — In the front row : Madonna from Notre Dame at Bruges ; Female figure 
 from the Rathhaus at Nuremberg. — On the other side : Numerous Italian 
 busts; the Fall, by L. A. della Eobbia; reliefs by Mino da Fiesole, from 
 the tomb of Paul II. at Rome; door-panels of the Baptistery at Florence, 
 by A. Pisano ; Visitation, by Andrea della Robbia, from Pistoja. In front 
 of the busts: Tomb of Gaston de Foix at Milan. Then, choir-stalls from 
 the cathedral of Amiens; Visitation, from St. Jean at Troyes ; bas-reliefs 
 from the Hotel du Bourgthe'roulde at Rouen; sepulchral slab from Rom- 
 hild near Meiningen in Saxony. In front: David, by Verrocchio, and the 
 tomb of Soccino, at Florence. Then, on the wall, bas-reliefs from the tomb 
 of Cardinal Duprat, at Sens; other statues from tombs; stall from the old 
 chateau of Gaillon in Normandy; tomb of Guillaume du Bellay, at Mans •
 
 4. PALAIS DU TROCAD^RO. 167 
 
 etc. — R. VI (Dbis). Fountain of the 16th cent., from the tomb of St. Just, 
 atNarbonne •, bas-reliefs from the Hotel du Bourgth^roulde, at Rouen; Her- 
 mes with the child Bacchus, by Praxiteles, from the temple of Juno at 
 Olympia; dying Adonis, by Michael Angelo. — R. VII fE). Torch-stands, 
 vases, statues, busts, groups, and bas-reliefs from Versailles. To the right, 
 St. Bruno by Houdon, at Rome; portal of the town-hall of Toulon, by 
 Paget; bas-reliefs from the fountain in the Rue de Grenelle and from 
 old Parisian mansions. — R. VIII. Pinnacle from St. Pierre at Caen; orna- 
 mental sculptures and photographs ; chimney from the chateau of Ecouen ; 
 Romanesque portal of Ste. Marie-des-Dames, at Saintes (12th cent.). Finally 
 a Library^ including numerous photographs. 
 
 The rest of the collection is in the other wing of the palace beyond 
 the Rotunda. — Room I. Inside the entrance, Portal from the chateau of 
 La Fertd-Milon; to the right and left, and behind, portals from the churches 
 of Carennac (Lot), Aulnay (Charente-Infe'r.), and St. Pierre de Moissac (Tarn), 
 and fragments from the churches of St. Trophime at Aries, Souvigny (Allier) 
 and Souillac (Lot). — R. II. Sculptures from the cathedral of Chartres and the 
 church of Souillac ; portal of the abbey-church of Charlieu (Loire). — R. III. 
 Pediment from St. Urbain at Troyes ; church-portal from St. Gilles (Gard). 
 Reproductions of decorative paintings. — R. IV. More decorative paintings. 
 Doors of the cathedral of Aix, in Provence; doors of the sacristy of the 
 cathedral of Bourges; Holy Sepulchre from the abbey-church of Solesmes 
 (Sarthe); vaulting of the bell-tower at Rouen. — R. V. Chimney, at Bruges ; 
 mausolea of Charles the Bold and Marie of Burgundy, also at Bruges; 
 choir-screen from the cathedral at Rodez; statues from the Hotel d'Escou- 
 ville (Exchange) at Caen; chimney from the Musee Historique at Orle'ans ; 
 door of the church of Oiron (Deux-Sevres); chapel-screens from the cathe- 
 dral at Evreux; fragments from the old Hotel de Bernuy (now the Lyc^e) 
 at Toulouse. — E. VI. Cross from Auvergne ; model of the interiors of St. 
 Denis (tombs) ; models of Notre-Dame at Paris and part of the abbey-church 
 of Mont St. Michel. — R. VII. Fountain from the bell-tower at Rouen. 
 Casts of modern sculptures. Fountain of Neptune at Nancy. 
 
 The Mus^e Camhodgien or Musee Khmer, which occupies the following 
 rooms, is closed at present. 
 
 The Ethnographical Museum is on the first floor, behind the 
 rotunda of the Salle des Fetes. To reach it we ascend the staircase 
 nearly opposite the entrance to the Museum of Casts. Explanatory 
 labels. Admission, see p. 54. 
 
 The Staikcase is embellished with fine paintings on glass, as is also 
 the corresponding staircase by which we descend (inscriptions). — Vesti- 
 BDLE I. Native hut from Tierra del Fuego. Figures and other objects 
 from various parts of Oceania. Models from the New Hebrides, Maday Ar- 
 chipelago , Philippine Islands, Borneo, Sumatra, Java, the Moluccas, Ce- 
 lebes, etc. — Room to the left of the staircase (to the right as we re- 
 turn). Africa. Articles of all kinds, from the rich costumes etc. from the 
 N. (Algeria; Tunis) to the rude sculptures and primitive implements of 
 the almost unknown tribes of central and S. Africa. The first-named are 
 to the right. In the centre : relief-plans of Roman tombs in Algeria, tomb 
 of a Berber chieftain and a subterranean palace at Tunis, of the plain of 
 Gizeh (Egypt) with the pyramids, etc. 
 
 Galleries on the other side (to the right as we enter). America. Left 
 Galleey: Indian boats from the Orinoco; twenty-one figures of Indians, 
 etc.; sculptures and other large objects, interesting merely as illustrating 
 the history of civilization among the primitive races that created them; a 
 remark that applies also to the works of art on the other side. Relief- plans; 
 textiles, implements, vases, etc. — Main Gallekt. 1st Section : Figures, 
 arms, utensils, and ornaments of the natives of Guiana. Sec. 2, 3, 4: Mummies, 
 vessels, ornaments, and cloth from Peru and Ecuador. Sec. 5: Objects 
 from New Granada, Venezuela, Columbia, and Central America. Sec. 6: 
 Mexican sculptures. Sec. 7: Mexican antiquities, including a curious 
 terracotta idol; articles in obsidian. Sec. 8: Flint weapons and vessels
 
 168 4. PASSY. 
 
 from New Mexico and California ^ grave of a Californian chief; modern gold 
 monument, made at the centenary of the French Revolution. Sec. 9: 
 Figures, cloth, etc. made by Indians of the United States and Canada. 
 
 Vestibule II. Europe. Various curiosities from N. Europe and Rus- 
 sia, and some also from central and S. Europe. — In the next room : 
 France. Interesting *Costumes , ornaments , and implements. Shepherd 
 from the Landes (to the right); vfoman from Aube; Breton interior (12 
 figures), Breton head-dresses; group from Ariege (to the left); head-dresses 
 and implements from Lorraine and Alsace (to the right) ; group of Savoy- 
 ards; woman from the neighbourhood of Bourges; objects from Auvergne; 
 Auvergnat interior, mountaineer from the Aveyron; Norman group and 
 head-dresses; mason from St. Claude and woman of Besancon; Burgundian 
 interior (7 figures); groups from the Pyrenees (7 figures) and the Alpes 
 Maritimes. 
 
 At the foot of the staircase on this side are reliefs from Yucatan and 
 casts of Mexican statues. 
 
 The Pabc du TROCADEao is not large , but it is tastefully laid 
 out and well kept up. It contains, to the left in descending from the 
 palace, beyond the broad walk below the Cascade, a subterranean 
 *Aquarium, stocked with fresh-water fish (adm., see p. 54). The 
 two buildings a little higher and a little lower are respectively 
 an Jnstitut du Progres (formerly a restaurant) and the former Pa- 
 vilion des Travaux Publics, both dating from the exhibition of 
 1889. The former is connected with an Observatoire Populaire, in 
 the Palais, where public lectures and meetings are held (free). 
 
 Below the middle of the park the Seine is crossed by the Pont 
 d'lena (PL R, 8 ; /), constructed in 1809-13 to commemorate the 
 victory of that name (1806). It is adorned with eagles and with four 
 colossal horse-tamers (Greek, Roman, Gaul, and Arab). Beyond the 
 bridge is the Champ - de - Mars (p. 283), with the famous Eiffel 
 Tower and other buildings dating from the exhibition of 1889. 
 
 II. PASSY AND AUTEUIL (BOIS DE BOULOGNE). 
 
 Passy, in which the Trocadero is situated, is one of the com- 
 munes annexed to Paris in 1860, and now forms, with Auteuil 
 (p. 169), the 16th arrondissement. Its lofty and healthy situation 
 has long made it a favourite place of residence, and it contains 
 numerous handsome private mansions near the Bois and the Troca- 
 dero, many of them built since the last two exhibitions here. 
 
 The Avenue Henri Martin (3/4 M. ; tramway N), continuing the 
 Avenue du Trocadero, leads straight from the Trocadoro to the Bois. 
 
 On the height to the left, near the palace, is the Cemetery of Passy 
 (PI. R, 8; /j, with some fine monuments. Entrance in the Rue des Re'- 
 servoirs, reached by ascending a flight of steps from the Place du Trocadero. 
 Immediately to the right, inside, is the mansoleum of Marie Bashkirtseff 
 (d. 1884), by Emile Bastien-Lepage, the exterior of which is covered with 
 allegorical and other details in doubtful taste. Within is a good bust of Mile. 
 Bashkirtseff, with a MS. vol. of her diary, her palette, and other relics. 
 
 The Avenue Henri Martin passes near the Lycee Janson de Sailly 
 (on the right) and, a little farther on, the Mairie of the 16th Arron- 
 dissement (on the left), two handsome modern buildings, the latter
 
 4. AUTEUIL. 169 
 
 of which contains paintings by Ch. Chauvin. Farther on, to the 
 right, between this Avenue and the Avenue Victor Hugo, is a square 
 with the copious Artesian Well of Passy (covered), adjoining which 
 is a <Stat«e o/Lamartme (1792-1869), in bronze, by Vasselot. At 
 the point where these avenues meet, a few yards farther on, is a 
 station of the Chemin de Fer de Ceinture. 
 
 At No. 145 Avenue Henri Martin is the Fleuriste de la Ville (public 
 hothouses ; PI. R, 5), not usually shown to visitors without a permis- 
 sion from the prefecture (office of public works), but open from 1 to 
 6 for a fortnight in April, when the magnificent azaleas are in bloom. 
 These houses are to be removed to the Bois de Boulogne (p. 157). 
 
 The Porte de la Muette, not far from the great lake (p. 158), is 
 one of the chief entrances to the Bois de Boulogne on this side. La 
 Muette (PI. R, 5) is a relic of a former royal hunting-lodge, where 
 there was perhaps a kennel of hounds ('muette' for 'meute'). Its 
 pretty park is now private property and closed to the public. 
 
 To the S.E. is the Ranelagh^ a triangular grass-plot occupying 
 the site of the public establishment of that name, which, like its 
 London namesake , was famous at the end of last century for its 
 banquets, masquerades, and fetes. Adjacent are the station of the 
 Chemin de Fer de Ceinture and the office of the tramways, near 
 which is the handsome Monument of La Fontaine (1621-1696), with 
 his bust, a statue of Fame, and figures of the fabulist's favourite 
 animals, in bronze, by Dumilatre. Adjacent, to the left, a statue 
 of Cain by Caille; to the right, a Fisherman, with the head and the 
 lyre of Orpheus, by Longepied -^ 'Fugit Amor', by Dame, etc. 
 
 Auteuil, annexed, like Passy, to Paris in 1860, a quiet suburban 
 district with numerous villas, lies to the S.E., between the Seine 
 and the Bois de Boulogne. A pleasant route leads thither from the 
 Ranelagh, passing between the lakes in the Bois de Boulogne (p. 158) 
 and the race-course of Auteuil (p. 157 ). From the station of Auteuil, 
 near the Bois (PI. R, 1), tramways run to St. Sulpice and Boulogne 
 (p. 295) and an omnibus line to the Madeleine. At this point also 
 begins the immense * Viaduct of the Chemin de Fer de Ceinture, 
 11/4 M. long, constructed throughout of masonry, with several gal- 
 leries for foot-passengers beneath the line, and 234 cross-arches. 
 It ends with the *Pont-Viaduc du Point-du-Jour, where the viaduct 
 proper rises between two carriage-roads. 
 
 In the Rue d' Auteuil rises the Romanesque church of Notre 
 Dame d' Auteuil, restored in 1877-81 by Vaudremer, in front of 
 which is the modest monument of the Chancelier d' Aguesseau (1668- 
 1751). To the right is the Maison Chardon-Lagache, and behind are 
 the handsome Institution Ste. Perine and the Maison Rossini, three 
 charitable houses. A new iron bridge, the Pont Miraheau (PI. R, 4), 
 crosses the Seine at the end of the Rue Mirabeau. 
 
 We may return from Auteuil either by the Chemin de Fer de Cein- 
 ture (see the Appx., p. 24), by tramway (p. 161), or by steamer (Appx. 
 p. 32). — At the lower end of the lie des Cygnes, on the Pont de Grenelle
 
 170 5. BOURSE DE COMMERCE. 
 
 (PI. R, 4, 7), is a reduced copy in bronze of the statue of Liberty en- 
 lightening the Worlds by Bartholdi, which stands at the entrance of New 
 York harbour. At the other end of the island is the Passerelle de Passy (PI. 
 R ; 8, 1), a foot-bridge near the Champ-de-3Iars (p. 283), where the steam- 
 ers also touch. 
 
 5. Hallos Centrales, Arts et Metiers, and F^re- 
 Lachaise. 
 
 The best time to visit the Halles Centrales is early in the morning. 
 For this walk a day should be chosen on which the Conservatoire des 
 Arts et Metiers is open (i.e. Sun., Tues., or Thura.). — Luncheon may 
 be taken near the Conservatoire des Arts et Metiers, in the Boul. St. Denis 
 or the Boul. St. Martin, or near the Place de la Republique, in the Boul. 
 St. Martin or the Boul. du Temple (see pp. 13, 15). 
 
 I. FROM THE PALAIS-ROYAL TO THE HALLES CENTRALES. 
 ST. EUSTACHE. 
 
 Palais-Royal, p. 58. Following tlie Rue de Rivoli or the Rue 
 St. Honore to the E. , we soon reach the newer part of the Rue du 
 Louvre (PL R, 20, 21; 777), constructed in 1888, which is to be 
 continued to the Rue Montmartre. 
 
 To the right rises the Bourse de Commerce (PI. R, 20 ; 777), 
 formerly the Halle au Ble or corn-exchange, converted to its pre- 
 sent use in 1888-89 by Blondel. The nucleus is a rotunda, 46 yds. 
 in diameter, 106 ft. high, with an iron roof, originally built in 1662, 
 burnt down in 1802, and rebuilt in 1811. Fronting the Rue du 
 Louvre is a new facade , with four Greek columns, 65 ft. high, 
 above which is a pediment with sculptures, by Croisy, representing 
 Paris , Trade , Industry, Art, and Architecture. The interior of 
 the dome is embellished with frescoes of the East and West , by 
 Clairin and Luminais, the North and South, by Laugee and Lucas. 
 The exchange is open daily, except Sun. , from 9 to 6 (to 7 on Wed.; 
 business-hours 1-3). — In front, on the other side of the street, is 
 a fluted Doric column, 100 ft. high and 10 ft. in diameter, erected 
 in 1572 by order of Catherine de Medicis, for the purpose, it is said, 
 of astrological observations. — Behind the Bourse de Commerce 
 are the Halles Centrales (p. 171). 
 
 The Hotel desPostes et TeUgraphes (PI. R, 21 ; 777), rebuilt in 
 1880-1884, to the right of the Rue du Louvre, a little farther on, 
 cannot lay claim to great architectural importance. It is, however, 
 of immense size . occupying the whole of the area enclosed by the 
 Rue Etienne-Marcel on the N. , the Rue du Louvre on the W. , the 
 new Rue Gutenberg on the S. , and the old Rue Jean -Jacques- 
 Rousseau on the E. The main public entrance is in the Rue du 
 Louvre. All the different offices in direct communication with 
 the public are united in the same colonnade or hall. Behind is 
 the loading-yard, used by the post-vehicles; the sunk floor ac- 
 commodates the stamping offices, the apparatus for the pneumatic 
 post, and the stables. On the first floor are the sorting and distrib-
 
 5. HALLES CENTRALES. 171 
 
 uting offices; on the second, the diligence offices and official dwell- 
 ings; and on the third, the archives and stores. — The Poste 
 Restante and enquiry offices are at the end of the main hall, to the 
 right from the Rue du Louvre entrance. — Postal regulations, etc., 
 see p. 25. 
 
 In the adjacent Rue Gutenberg is the new Hotel des Telephones, 
 built of glazed bricks like those of the monuments from Susiana and 
 Chaldsea in the Louvre (p. 140). — Place des Victoires, etc., see 
 p. 196. 
 
 The *Halle8 Centrales (PL R, 20, 23; ///), a vast structure, 
 chiefly of iron , and covered with zinc , erected by the architect 
 Baltard (d. 1874), are reached hence via the Rue Coquilliere, which 
 diverges to the left from the Rue du Louvre a little farther 
 down. These 'halls' consist of ten pavilions (to which two more 
 are to be added), between which run covered streets, 48 ft. wide, 
 and 48 ft. in height, and they are intersected by a boulevard 105 ft. 
 in width, descending towards the Rue de Rivoli. The six pavilions 
 on the E. side of the boulevard occupy a space of 182 by 136 yds., 
 and the whole market when complete will cover an area of 22 acres. 
 Each pavilion contains 250 stalls , the area of each of which 
 is 40 sq. ft., and the rent 20 c. per day. Under the Halles are 
 cellars of similar area for the storage of goods, each 12ft. high; 
 those under the pavilion next the Rue Berger contain municipal 
 electric motors. 
 
 The provisions for the daily market begin to arrive on the previous 
 evening, and by daybreak the market is fully stocked. It is estimated 
 that about 15,000 vehicles are employed in this traffic. The sales by 
 auction to wholesale dealers last till 8 or 9 a.m., after which the retail traffic 
 begins. About 500,000 fr. per day are realised in the wholesale market 
 alone. The supplies, many of which come from Algeria, include meat, 
 fiah, poultry, game, oysters, vegetables, fruit, butter, and cheese. The 
 show of cut flowers, especially in summer, is a charming sight. 
 
 The produce annually brought to the Halles Centrales represents but 
 a fraction of the food consumed in Paris, as not only are there several other 
 'Halles\but many dealers import their own goods without the intervention 
 of a market. According to the most recent calculations the average annual 
 consumption per head of the population amounts to 325 lbs. of bread, 186 
 quarts of wine, etc., 187 lbs. of meat, and 23 lbs. of fish. Reckoning the 
 population at 2,448,000, we find that this amounts in round numbers to 
 797,000,000 lbs. of bread, 456,000,000 quarts of wine. 457,600.000 lbs. of 
 meat, and 56,500,000 lbs. of fish, of the value of fully a milliard of francs. 
 Thus the daily bill of Paris for meat, wine, and bread alone amounts to 
 about 3 million francs or 120,000?. 
 
 The *Churcli of St. Eustache (PL R, 21 , 20 ; III), situated at the 
 Pointe St. Eustache, to the N.W. of the Halles Centrales and at the 
 end of the Rue Montmartre and Rue de Turbigo, is one of the most 
 important though not the most interesting buildings in Paris. It was 
 erected in 1532-1637, and presents a strange mixture of degenerate 
 Gothic and Renaissance architecture. The disposition of the building 
 is that of a Gothic church of the 15th cent., but the arches are round 
 instead of pointed, the buttresses are in the form of composite pil-
 
 172 5. ST. EUSTACHE. 
 
 asters, and the pillars consist of columns of different orders placed 
 one at)Ove another. The ornamentation is in the Renaissance style. 
 The chief portal is a mediocre work of the 18th century. The funeral 
 rites of Miraheau were solemnised in 1791 in this church, from 
 which the body was conveyed to the Pantheon ; and here was cele- 
 brated the Feast of Reason in 1793. In 1795 the church was turned 
 into a temple of agriculture. 
 
 The IjfTEHioK (entrance by the chief portal or by a side-door near the 
 Rue Montmartre) consists of a graceful and lofty nave and double aisles, 
 and is 348 ft. in length, 144 ft. in width, and 108 ft. in height. The cha- 
 pels, entirely covered with painting, contain some fine *Frescoes, illustrat- 
 ing the history of the saints to whom they are dedicated. The paintings 
 in the 4th and 5th chapels to the right are by Gourlier and Magimel. 
 The former also contains a Marriage of the Virgin, carved by Triqueti, 
 and the latter an Ecce Homo by Etex and a figure of Resignation by 
 Chartrouste. — In the S. transept are bas-reliefs by Devers^ six statues of 
 Apostles by Debay, and frescoes by Signol. — Farther on are five chapels 
 adorned by Larivihre, Vaugelel, Lazerges^ Cornu, Pils, Damery, Biennoury, 
 and Signol. — The Chapelle de la Vierge, which we next reach, was added 
 at the beginning of the present century. Over the altar is a fine statue 
 of the Virgin by Pigalle (d. 1785). The frescoes are by Couture (d. 1879). 
 — The next chapel, with frescoes by Bizard, contains the monument of 
 Colbert (d. 1683), the able minister of finance of Louis XIV., consisting 
 of a sarcophagus of black marble, with a kneeling figure of Colbert in 
 white marble, by Coyzevox (d. 1720). At one end is a statue of Abundance 
 by Coyzevox., at the other end one of Religion by Tuby (d. 1700). — The 
 five other chapels flanking the choir contain frescoes by Deloiine., Basset 
 (early frescoes restored), Perruz., "Pichon (St. Genevieve), and 'Filix Barrios 
 (St. Louis). — The short iS'. transept is also adorned with bas-reliefs 
 and frescoes by the same masters as those in the S. transept, and statues 
 of Apostles by Crauk and Husson. Above a benitier is a fine group of 
 Pope Alexander I., by whom the use of holy water was introduced. — 
 Handsome N. portal, which faces a lane leading to the Rue Montmartre. 
 Beyond the transept is the chapel of St.Eustache, who was a Roman general 
 under the Emp. Titus, with frescoes by Le Einaff. Lastly, four chapels 
 with paintings by Basset (restorations), Riesener, Marquis, and Glaize. 
 
 The high-altar in white marble, the modern pulpit in carved wood 
 by Moisy and Pyanet, the woodwork of the 'banc d'oeuvre' (stalls), and the 
 Organ (one of the best instruments in Paris) are also worthy of note. 
 St. Eustache is much frequented, especially on festivals, on account 
 of the excellence of the music. Rossini's 'Stabat Mater' is performed here 
 on Good Friday, with the aid of the orchestra of the Conservatoire and 
 the singers of the Opera and Opera Comique. A solemn musical mass, 
 with the same artistes, is given on St. Cecilia's Day (22nd Nov.). 
 
 The Halles occupy the old Marche des Innocents, which was 
 once adorned with the Fontaine des Innocents, a tasteful Renais- 
 sance work by Pierre Lescot, but frequently altered and restored in 
 1887. The fountain now occupies the centre of a square to the S.E. 
 (PI. R, 23; III), on the other side of the Halles. It originally stood 
 with its back to the church of the Innocents (demolished in 1783), 
 and had three arches only. It now presents the form of a square 
 pavilion, the S. side, as well as the six steps of the base, having 
 been added. The older figures of Naiads on the piers of the arches 
 are by Jean Ooujon. Above are a rich entablature and an attic story 
 with reliefs by different artists.
 
 5. CONSERVATOIRE DES ARTS ET METIERS. 173 
 
 II. FROM THE HALLES CENTRALES TO THE CONSERVATOIRE DES 
 ARTS ET METIERS AND THE PLACE DE LA REPUBLiaUE. 
 
 The Rue de Turbigo (PL R, 21 ; ///) , a handsome new street 
 about 3/4 M. long, beginning at the Pointe St. Eustache, at the end 
 of the Rue Montmartre, leads to the Place de la Republique (p. 72). 
 It soon crosses the Rue Etienne-Marcel (p. 170), in which, near the 
 point of intersection, rises the Tour de Jean sans Peur, a fine spe- 
 cimen of the defensive architecture of the 15th cent., disengaged 
 from the houses by which it was formerly enclosed. This tower, 
 with its pinnacles and pointed arches , once belonged to the Hotel 
 de Bourgogne, where the Confreres de la Passion established their 
 theatre in 1548. A handsome spiral staircase in the interior leads 
 to the top. (Apply at 23 Rue Tiquetonne, at the back.) 
 
 Farther on , the Rue de Turbigo crosses the Boulevard de Se- 
 bastopol, which we follow to the left. At the end of a side-street, 
 on the right, rises St. Nicolas-des-Champs (p. 178). Farther on, 
 also on the right side of the boulevard, is the pleasant Squarb des 
 Arts et Metiers (PI. R, 24; III). In its centre rises a lofty column 
 surmounted by a Victory in bronze, by Crauk, with a pedestal bearing 
 the names of the Crimean victories. On each side are small basins, 
 adorned with bronze figures of Agriculture and Industry, by Gumery, 
 and Commerce and the Arts, by Ottin. On the S. side of the square 
 is the Theatre de la OaUe (p. 31). 
 
 The *Con8ervatoire des Arts et Metiers (PI. R, 24 ; III) , the 
 great industrial museum of Paris and also important as a teaching 
 institution, was founded by decree of the Convention in 1794. The 
 first idea of such an institution is attributed to Descartes (1596- 
 1650), and it was put in practice by the celebrated engineer Vau- 
 canson, who bequeathed to the state in 1783 his collection of ma- 
 chines, instruments, and tools, for the instruction of the working 
 classes. 
 
 Since 1799 the collection has occupied the former Cluniac Priory 
 of St. Martin des Champs, secularized in 1789, built in 1060 on the 
 site of an earlier abbey. The building, though restored, altered, and 
 completed in 1845, is not yet quite disengaged from other edifices. 
 The former church and refectory are the most interesting of the extant 
 ancient parts. A small portion of the fortified enceinte (12th cent.) 
 still stands on the N., but can hardly be seen ; one of its towers has 
 been re-erected to the left of the facade towards the Rue St. Martin, 
 The former Church, an interesting structure of the ll-13th cent., to 
 the S., cannot be satisfactorily seen except in the interior (p. 175). 
 In front of the facade is the Monument of Boussingault (1802-1887), 
 the chemist and agricultural writer, consisting of a bust on a pedestal 
 preceded by bronze statues of Science and an Agriculturalist, by 
 Dalou. The old Refectory (13th cent.), to the right of the main 
 court, a beautiful Gothic hall with aisles, is attributed to Pierre de
 
 174 5. CONSERVATOIRE DES ARTS ET MfiTIERS. 
 
 Montereau, the arcMtect of the Sainte-Chapelle (p. 222). It may 
 be inspected on Mon. ; bnt the Library (over 30,000 vols.) which it 
 contains is open on Sun., 10-3, and on week-days, except Mon. and 
 holidays, 10-3 and 7.30-10. 
 
 The projecting edifice with a platform, in the Cour d'Honnenr, 
 in which is the entrance to the *Musbum, is a handsome modern 
 addition, but so planned that the visitor has to ascend twenty-two 
 steps and descend twenty -four before reaching the groundfloor. 
 Beside the first staircase, to the right, is a bronze Statue of Papin 
 (1647-1714), discoverer of the elasticity of steam, by Millet ; to the 
 left, one of Nic. Leblanc (1742-1806), the inventor of the process 
 of extracting soda from sea-salt, by HioUe. 
 
 Admission, see p. 56. — The exhibits (upwards of 12,000) are 
 divided into 24 categories , distinguished by capital letters , each 
 category embracing several sub-divisions denoted by small letters. 
 The section devoted to Physics (P), which is larger than the others, 
 has ten sub-categories (PA, PB, etc.), each of which is subdivided 
 as above. The exhibits under each category are so classified and 
 arranged as to show the historical growth of invention in each. All 
 the articles bear explanatory labels. The accompanying plan will 
 enable the visitor to choose his own course; and only the main 
 divisions of each part are here mentioned. — The N. part of the 
 main building, at the end of the court, is being restored, so that part 
 of the arrangement is provisional only; while the arrangement of the 
 new galleries behind is still unfinished. 
 
 Ground Floor. — Main Building. The Vestibule and Room I, 
 or ^ Salle de I' Echo', which adjoins it, contain ploughs, a model of 
 the screw-steamer 'Danube' (1855), and a fine collection of Siberian 
 jade and graphite, illustrating the numerous industrial applications 
 of the latter mineral. Several busts. The acoustic properties of the 
 Salle de VEcho resemble those of the Whispering Gallery at St. Paul's 
 in London: words spoken quite softly in one corner of the saloon 
 are distinctly audible in the angle diagonally opposite. 
 
 Right Side. — Salle 1. French and foreign Weights and Meas- 
 ures, most of them standards. — Salles 2-3. Oeodosy, Astronomy, 
 and Watchmaking : chronometers ; watchmakers' tools ; escapements 
 and pendulums; automata; instruments for dividing straight lines 
 and circles; sun-dials; globes moved by clock-work; planetaries ; 
 geodetic instruments ; relief-plans, etc, — Salles 4-5 (parallel to 
 the preceding). Metallurgy. [The beglning of this collection has been 
 provisionally transferred from the adjoining rooms to the former 
 church.] Iron ore; lead rolling ; plan of the iron-works of Creusot; 
 iron and steel rolling and casting; etc. Salle 5 contains models of 
 foundries, and of workshops of lead-workers, rail-makers, locksmiths, 
 and gun-barrel makers; a forge and various samples; then a section 
 devoted to the cutting of metals and the manufacture of small metal 
 articles; farther on the production of jewellery and engraving upon
 
 5. CONSERVATOIRE DES ARTS ET METIERS. 175 
 
 metal ; goldsmith's workshop. — Salle 6. Wood Industries : spec- 
 imens of wood ; wooden articles and tools. 
 
 The Ancient Church, at the end of Salle 6, contains the Machin- 
 ery, that used to be set in motion ; now only a few of the machines 
 are worked by electricity. At the entrance to the choir is an electric 
 'Pendule Foucault", showing the movement of tbe earth ; at the end, 
 model of Cugnofs steam-carriage (1770); etc. — This hall also con- 
 tains provisionally a portion of the collections illustrating Mining 
 and Metallurgy^ models of machinery for excavating coal and other 
 minerals, kilns, foundries and workshops for iron, copper, lead, and 
 zinc ; specimens of these ores and metals. 
 
 South Gallery (to the right as we return). Agriculture. Valu- 
 able collection of ploughs and other agricultural implements ; heads 
 of various breeds of cattle ; dairy implements ; anatomical spec- 
 imens ; samples of grain and fruit. — The new galleries will event- 
 ually be entered from this gallery, but during the alterations, we 
 have to retrace our steps. — Continuation of the groundfloor, see 
 p. 177. 
 
 The first floor may be reached by the staircase near the former 
 church , but it is preferable to return to the main staircase at the 
 entrance. 
 
 First Floor. — Main Gallery. To the right, at the top of the 
 main staircase, are a number of Machines not yet definitely placed, 
 including apparatus used in Industrial Chemistry for the manufacture 
 of food, drinks, domestic appliances, etc. : corn-mills, distilling 
 apparatus, apparatus for making sugar, aerated water, beer, sweet- 
 meats, etc. ; machinery used in mills. — The room to the right is 
 closed at present. ■ — In the next section of the gallery are further 
 distilling and sugar -refining apparatus. Then models of Steam 
 Engines and parts of steam-engines ; methods of transmitting and 
 transforming motion; models of locomotives and railway-plant, in- 
 cluding a model of the first locomtive with a tubular boiler, con- 
 structed in 1827 by Marc Seguin. 
 
 Next Room. Dynamometers and similar appliances, planimeters, 
 apparatus for the study of ballistics, or the science of missiles ; etc. 
 
 South Gallery. Oeneral Physics. On the entrance wall and the 
 right wall, small hydrostatic apparatus, areometers; appliances for 
 measuring the pressure and passage of liquids and gases ; small 
 pneumatic machines. Then Electricity, exemplifying the action of 
 electric currents : compasses, galvanometers, electro-magnets, electric 
 motors. In the centre, before and after the large cabinet, static 
 electricity, electric machines, batteries, etc. The cabinet contains : 
 on the right, small electric and magnetic appliances of all kinds; on 
 the left, appliances for the study of Heat^ expansion, radiation, 
 vaporization. On the left side, static electricity continued; Mag- 
 netism (large natural magnet); Heat (continued): calorimeter, appara- 
 tus for employing solar heat for industrial purposes and for measur-
 
 176 5. CONSERVATOIRE DES ARTS ET METIERS. 
 
 ing couductibility; appliances for experiments with, heat, etc. — 
 Room at the end: Meteorology: hygrometers, "barometers, thermo- 
 meters, electrometers, anemometers, rain-gauges, etc. In the centre, 
 other electro-magnetic machines. 
 
 GrAiiERiEs Vaucanson, in the new building in the street of that 
 name. Passage and Salle 1 : Acoustics : apparatus for the study of 
 sound and of musical instruments. — Galebie 1. Acoustics contin- 
 ued: to the left, tuning-forks, organ-pipes, wind instruments; to the 
 right, phonograph and graphophone. Then, to the left. Optics: appara- 
 tus for the study of light, mirrors, microscopes, etc. To the right, 
 Mechanical Physics : instruments for the study of the laws of gravity, 
 impact, and momentum ; hydrostatics and the compression of gases ; 
 pneumatic machines. Then, Lavoisier's Apparatus for the study of 
 the decomposition of water, the combustion of oils, and fermentation. 
 At the end. Electricity^ Telegraphy^ Telephones. 
 
 Central Room. Tools and Machine Tools, including numerous 
 turning-lathes. In the first glass-case to the left, beautiful specimens 
 of turned work. On the same side are several machines by Vaucanson. 
 On the right side, lathes for engine-turning and reducing. — To the 
 left at the exit from this room is the Staircase by which the un visited 
 parts of the groundfloor are at present reached (see below). 
 
 Galeeie 2. Continuation of the Machine Tools; then Steam 
 Engines, Hydraulic Machines, and passive recipients of force, such as 
 wind-mills and sailing-ships. — The last room on this side contains 
 two glass-cases of fine Glass and Pottery, belonging to the collec- 
 tions in the following rooms. 
 
 North Gallery, The arrangment begins at the other end. 
 Chemical Arts. — Salles 1-2. Glass: glass and crystal; curiosities; 
 valuable glass and pottery. — Salle 3. Porcelain: models of work- 
 shops, machines, and furnaces for porcelain and pottery: 'Coupe de 
 Travail', a large vase in Sevres porcelain designed by Dieterle; por- 
 celain statue of Bernard Palissy ; hard and soft porcelain ; enamels ; 
 faience. — Salle 4. Dyeinj Processes: chemical apparatus and pro- 
 ducts, dyeing and printing of textile fabrics and of wall-papers. 
 Matches, artificial coal, charcoal. 
 
 North Wing, at the end of the preceding gallery. Three rooms 
 here contain the continuation of the Chemical Arts, and four are 
 devoted to the Graphic Arts. — Salle 1. Gases and acids; analysis 
 of acids. — Salles 2-3. Paper Making : raw materials, machinery, 
 and finished products. The windows to the right afford a view of 
 the old fortified enceinte of the abbey. — Salles 4-5. Typography, 
 Engraving, Lithography, etc. : tools, apparatus, machinery, and fin- 
 ished products; composing machines; writing machines, etc. — 
 Salles 5-7. Photography: apparatus and specimens; various ap- 
 plications. 
 
 During the present restorations, we must return hence to the 
 staircase (see above) in the middle of the Galeries Vaucanson, in
 
 5. CONSERVATOIRE DES ARTS ET METIERS. 177 
 
 order to visit the remainder of the groundfloor. — Continuation of 
 the first floor, see below. 
 
 Ground Floor (continued). The remaining collections on the 
 groundfloor mainly illustrate Civil Construction and Engineering; 
 they begin in the rooms reached last at present. 
 
 Galeries Vaucanson. To the right as we descend, in the central 
 room : Social Economy^ illustrated mainly by pictures and diagrams : 
 provident institutions, savings banks, preventive measures against 
 accidents, benefit associations and societies, workmen's dwellings, etc. 
 [For another Muse'e Social of this kind, see p. p. 275.] — Next Gallery, 
 Civil Constructions : Appliances for water, heating, and ventilating; 
 ovens, cooking, washing, baths; hydraulic and horse pumps; wine- 
 press, cottages, granaries, silos, model of a farm of the Duke of 
 Bedford, etc. — This gallery will eventually be connected with the 
 South Gallery or Gallery of Agriculture (p. 175). 
 
 Gallery beyond the staircase or to the left as we descend. 
 Continuation of Civil Construction and Engineering : school- furniture; 
 hospital furniture and appliances ; heating and lighting apparatus ; 
 cooking utensils and stoves ; sewers of Paris ; models of viaducts and 
 bridges, including a large model of the Viaduct of Garabit (Cantal); 
 appliances for the handling of heavy weights , cranes , capstans, 
 winches, block-and-tackle, etc. • 
 
 NoKTH Gallery. Civil Construction (continued) and Mensura- 
 tion^ in six rooms and a corridor parallel with these. — Salle 1, 
 Tools used in building ; materials for scaffoldings ; house under 
 construction ; workshops and sets of tools. — Sallb 2. Bridges and 
 other hydraulic works. — Salle 3. Stone-cutting; timber-work and 
 frames (interesting models). — Salle 4. Geometry and perspective; 
 fixed and moveable models for teaching; drawing instruments and 
 machines. — Salle 5. Iron, ironwork, marble, woods used in veneer- 
 ing and inlaying. — Salle 6. Building materials ; large terracotta 
 constructions and architectural ornaments. — Exit from this room, 
 see below. — Cokridor. Lime-kilns ; cement-works; models of scaf- 
 folding, bridges, and bridge construction; boring-machine, dredgers, 
 steam excavator. 
 
 Exit. When the small door in Salle 6, on the side towards the Cour 
 de rAdministration is not open, visitors must at present return to the 
 staircase in the centre of the Galeries Vaucanson, turn to the right at 
 the top, and traverse the Galerie de Physique, etc., to the main staircase. 
 
 The Seconb North Wing, on the First Floor, which has at 
 present no communication with the other galleries, is reached by 
 the staircase to the right as we return, beyond the main staircase, or 
 to the left if we quit the last gallery via the Cour de TAdministration 
 (comp, the Plan). This gallery is devoted to Weaving. — Section 1. 
 Raw materials ; tools and machines for the preparation of textile 
 fabrics. — Section 2. Spinning and weaving looms ; in the middle, 
 to the right, Vaucanson^s loom. To the left, between the windows, 
 bust of Vaucanson , to the left of which is a model of Jacquard's 
 
 Bakdekek. Paris. 12th Edit. 12
 
 178 6. ST. NICOLAS-DES-CHAMPS. 
 
 loom. Specimens of woven fabrics. — Section 3. Silk fabrics; dyeing 
 materials; large Sevres vase; tapestry from the Gobelins and from 
 Beauvais. 
 
 Courses of free Pcblic Lectures, embracing the varions provinces of 
 industrial activity, for the benefit of artizans and others, are delivered 
 at the Conservatoire in the evening by competent authorities in the 
 different subjects, sometimes by members of the Institute (see notices at 
 the entrancej. S me of the courses have audiences of 600; the average 
 attendance is 250-300. 
 
 The building to the N. (left) of the principal entrance contains the 
 Fortefeuille Industriel (open daily, 10-3, except Mon.). vehere drawings of 
 the newest machinery are exhibited for copying or study. The plans 
 and specifications of expired patents are deposited and trade-marks are 
 registered here. — The Conservatoire is also charged with the inspection 
 of weights and measures; and carries on experiments as to the capacity 
 of resistance of different materials, etc. 
 
 The Rue St. Martin, which passes in front of the Conservatoire 
 des Arts et Metiers, leads to the N. to the neighbouring boulevard 
 and the Porte St. Martin (p. 73}. 
 
 To the S. of the Conservatoire runs the Rue Reaumur (PI. R, 
 24-21; in\ which begins at the Square du Temple (p. 213), and 
 is being continued in the direction of the Bourse, where it is to join 
 the Rue du Quatre-September, thus forming an important thorough- 
 fare parallel with the boulevards. To the right in this street, near 
 the Conservatoire, is situated the church of St. Nicolas-des- Champs, a 
 Gothic church, which was enlarged in the 15th cent., with a choir 
 reconstructed in the Renaissance style. The handsome portal is 
 flanked with a square tower on the right. The paintings in the in- 
 terior are scarcely visible in the usual obscurity of a Paris church. 
 The woodwork of the organ is also worthy of mention. 
 
 The Rue Reaumur, to the left of the church, leads us back to 
 the Rue de Turbigo, about 500 yds. from the Place de la Republique. 
 At the end of a short side-street to the left is the large Ecole Cen- 
 trale des Arts et Man,ufactures, xehnilt by Denfer and opened in 
 1834. This school, which was founded in 1829, is designed for 
 the training of managers of industrial establishments, engineers, 
 superintendents of public works, and teachers of industrial subjects. 
 The pupils are admitted by competitive examination, and the course 
 lasts three years. — Farther on the Rue de Turbigo passes the 
 Ecole Municipale Turgot, and the back of the church of Ste. Elisa- 
 beth, and soon reaches the Place de la Republique (p. 72). 
 
 III. FROM THE PLACE DE LA REPUBLiaUE TO P^BE-LACHAISE. 
 
 The Cemetery of Pere-Lachaise being nearly IV2 M. distant from the 
 Place de la PLcpublique , the visitor is recommended to drive thither, 
 a cab being preferable to the tedious omnibus-route (tramway F, 'en cor- 
 respondance' with omnibus P). — Luncheon, see p. 170; the restaurants 
 near the cemetery are inferior. 
 
 The Avenue de la Republique, prolonged as far as the cemetery in 
 1892, offers a slightly shorter route and is traversed by the new electric 
 tramway to Romainville (see the Appx.), but it is on the whole un-
 
 5. PfiRE-LACHAISE. 179 
 
 interesting. It contains a few handsome new houses and, at the end near 
 the cemetery, the Lycie Voltaire. 
 
 We follow the Boulbvard Voltaikb (PL R, 26, 29 ; ///), a 
 handsome modern street, 2M. long, leading straight from the Place 
 de la Repnhliqiie to the Place de la Nation [p. 302). In about 7 min. 
 from the former Place we cross the Boulevard Richard - Lenoir, 
 beneath which passes the Canal St. Martin (p. 204). Here stands 
 the Monument Bobillot, erected in 1888 to the memory of French 
 soldiers killed in Tonkin, with a bronze statue, by Aug. Paris, of 
 Sergeant Bobillot, who fell at Tuyen-Quan. — A little farther on, 
 to the left, rises the handsome Romanesque church of St. Ambroisb 
 (PL R, 29), erected by Ballu in 1863-69. The facade is flanked by 
 two fine towers, 223 ft. high. Mural paintings in the interior by 
 Lenepveu and stained glass by Marechal. — We next reach the Place 
 Ledru-Rollin (Pi. R, 29), with the Mairie of the 1 Ith Arrondissement 
 and a Statue of Ledru-Rollin (d. 1874), the 'organiser of universal 
 suffrage', by Steiner. To the left is the Avenue Parmentier, which 
 passes near the Square Parmentier^ embellished with several statues. 
 
 Crossing the Place to its N.E. angle, we next follow thei^ue de la 
 Roquette, near the middle of which rise two massive, castellated 
 edifices. That on the right is the Prison de la Roquette, in which 
 condemned convicts await their execution or deportation. On the 
 left is the Prison des Jeunes Detenus. Between these two prisons, 
 which are to be removed outside Paris , is the public place of exe- 
 cution, marked by five oblong paving-stones. 
 
 On 24th May, 1871, during the Communard 'reign of terror', the Prison 
 de la Roquette was the scene of the murder of the venerable Msgr. Darboy, 
 Archbishop of Paris, the President Bonjean, the Abbe Deguerry, and three 
 other priests, who had been seized by the Commune as 'hostages'. On 
 26th and 27th May thirty-seven persons imprisoned here by the Commune 
 under various pretexts were also shot, and on the night of the 26th twenty- 
 eight gendarmes were conveyed from the Roquette to Pere-Lachaise, where 
 they shared the same fate. On the afternoon of the 27th all the convicts 
 confined in the Roquette were liberated. Arms were placed in their 
 hands, and they at once proceeded to massacre the persons imprisoned 
 by the Commune, including seventy gendarmes. The approach of the 
 troops, however, fortunately saved many who would otherwise have fallen 
 victims to the same spirit of revenge. 
 
 Depots of tombstones and shops for the sale of wreaths and 
 flowers now indicate that we are approaching the cemetery , which 
 lies at the end of the Rue de la Roquette. 
 
 **Pere-Lachaise (PL R, 32), or the Cimetiere de VEst, the largest 
 and most interesting of the Parisian burial-grounds, lies on a hill at 
 the N. E. end of the town, and is named after Lachaise, the Jesuit 
 confessor of Louis XIV. , whose country-seat occupied the site of 
 the present chapel. In 1804 the ground was laid out as a cemetery, 
 the precincts of which have since been greatly extended, and it now 
 covers an area of about 110 acres. It is the burial-place of the 
 inhabitants of theN.E. part of Paris, but persons of distinction from 
 other parts of the city also are generally interred here. 
 
 12*
 
 180 5. PERE-LACHAISE. 
 
 On 30th March, 1814, the cemetery was the scene of an engagement 
 between Russian and French troops, in which the former were victorious. 
 On the 25-27th May, 1871, a series of violent struggles took place between 
 the Communards, who had taken up and barricaded a position here, and 
 the Versailles troops advancing from the Place de la Republique and the 
 Bastille. With the help of a heavy bombardment from the batteries of 
 Montmartre the latter succeeded in dislodging, the insurgents. 
 
 Paris possesses 22 burial-grounds, of which the most important are 
 those of Pere-Lachaise, Montmartre (p. 209), and Montparnasse (p. 289). 
 These, however, would hardly suffice for the 80-100 graves required daily, 
 were it not that the poor who are buried gratuitously, forming nearly 
 two-thirds of the community, are committed to the Fosses Communes, or 
 large pits, each containing 40-50 coffins. Burials in 'common' graves now 
 take place in the cemeteries outside the precincts of the city only, such 
 as those of St. Ouen (p. 212) and Ivry. A Concession Tventenaire, providing 
 that the grave shall remain undisturbed for 30 years , costs 300 fr. ; a 
 Concession Temporaire, for 5 years, costs 50 fr. A Concession a perpituiti, 
 OT private burial-place, may be secured for 1000 fr. These spaces are very 
 limited, being about 22'/2 sq. ft. only. The charge for a larger space is 
 augmented in an increasing ratio, the price of each square metre (about 
 llVa sq. ft.) beyond six being 3000 fr. 
 
 All burials within the Department of the Seine are undertaken by the 
 Compagnie des Pompes Funibres, Rue d'AubervUliers 104, whose charges 
 are regulated by tariflf, varying from 3 fr. to 7184 fr., exclusive of the 
 price of the coffin (44-60 fr.) and the fee of the officiating clergyman. A 
 'civil' interment costs from 9 to 2215 fr. Two chaplains are attached to 
 each cemetery for the gratuitous performance of the burial-service for 
 the poor. 
 
 Cemeteries open at 7 a.m. and close at 7 p.m. from May 1st to 
 Aug. 31st; at 6.30 p.m. in April ; at 6 p.m. in March and from 
 Sept. 1st to Oct. 15tli; at 5.30 p.m. in Feb.; at 5 p.m. from Oct. 
 IBth to Nov. 15tli; and at 4,30 p.m. from Nov. I6tli to Jan. 31st. 
 Quarter-of-an-liour before the closing of the gates a bell is rung, 
 and the custodians call out, ^Onferme les partes', allowing ample 
 time for visitors to reach the gates. Visitors are not permitted to 
 carry anything out of the cemetery without a Haisser-passer . 
 
 It may be observed here that it is the invariable custom for men 
 to take off their hats on meeting a funeral procession, whether in 
 the cemetery or in the public streets. 
 
 Conducteurs will be found at the small building to the right 
 on entering, but their services (3 fr.) are rendered unnecessary by 
 the accompanying plan, unless the visitor is much pressed for time. 
 
 Even a superficial survey of the most interesting monuments 
 in the cemetery will occupy 3-4 hours. On All Saints' Day (Jour 
 de la Toussaint) and All Souls' Day (^Jour des Marts; November 
 1st and 2nd) it is visited by about 100,000 people. The number 
 of monuments in this vast necropolis amounts to about 20, 000, many 
 of which are deeply interesting as memorials of illustrious persons, 
 while others are noteworthy on account of their artistic excellence. 
 Well-shaded walks and avenues intersect each other in every direc- 
 tion, and many of them afford an admirable view of the city. 
 
 We follow the route indicated on the plan by means of arrows. 
 Hurried visitors may omit the parts described in small type. 
 
 In the Avenue PrincipalEj to the left: Pineyro (d. 1874), the
 
 5. PfiRE-LACHAISE. 181 
 
 marble monument of a child, with a figure of Hope. We continue 
 to follow this avenue, ascending on the left, and descending on the 
 right side. At the corner of a side-avenue, *Eugene Berge (d. 1882; 
 aged 15 years), a monument in granite and white marble, with 
 beautifully sculptured floral and other ornamentation ; Visconti, 
 father (d. 1818), philologist, and son (d. 1854), architect; Beule 
 (d. 1874), archaeologist; *Dantan [d. 1842), sculptor; Ach. Fould 
 (d. 1869), minister of finance ; Rossini (d. 1868), composer (whose 
 remains, however, were removed to Florence in 1887) ; Alfred de 
 Mussel (d. 1857), poet (beautiful lines inscribed on the monument, 
 written by the deceased); Ph. Beclard (d. 1864), ambassador, with 
 statue of Grief, by Crauk ; * Clement- Thomas and Lecomte (d. 1871), 
 the first victims of the Commune (p. 208), with sculptures by Cugnot, 
 Lebas (d. 1873), the engineer who erected the obelisk in the Place 
 de la Concorde; "* Lenoir and Vavin^ with a 'pleureuse' ; *Paul Baudry 
 (d. 1886), painter, with bronze bust and statue by A. Mercie. — 
 Chapel and upper part of the cemetery, see pp. 187, 188. 
 
 Descending on the other side : *Th. Couture (d. 1879), painter, 
 with a bust and genii in bronze by Barrias ; Ledru-Rollin (d. 1875), 
 radical deputy, with a bronze bust; Cousin (d. 1867), author and 
 philosopher; Auber (d. 1871), the composer, with a bust by Dantan; 
 Em. Baroche (d. 1870), 'chef de bataillon', killed at Le Bourget, 
 with a bust; P. J. Baroche (d. 1870), advocate and politician; Lefe- 
 bure-Wely (d. 1869), organist and composer; Perdonnet (d. 1867), 
 engineer, with a statue and medallion by Dubray ; Fr. Arago (d. 
 1853), the astronomer, with a bust by David; Mouton, with interest- 
 ing bas-reliefs. 
 
 We now enter the Avbnub du Puits, to the left. — To the left: 
 Worms de Romilly ; a handsome granite chapel. Adjoining, Buignet 
 (d. 1876), professor at the Ecole Superieure de Pharmacie. In the 
 side- walk to the left: Paul de St. Victor (d. 1881), the author; 
 behind, Berthelier (d. 1882). Higher up, a child's tomb with a 
 tasteful statuette in marble. Farther on in the Avenue du Puits, 
 to the left : P. L. Dulong (d. 1838), chemist and physician ; obelisk 
 with medallion by David d'Angers. 
 
 We here turn to the right to visit the Jewish Cemetery. To 
 the right, Mme. Rachel (d. 1858), the tragedian. Behind, the hand- 
 some Epstein chapel. Farther on, to the left of the walk, the ohapel 
 of the Rothschild family. Then, to the right, Schloss and Allegri. 
 At the end, Mme. Fould, well known for her benevolence. To the 
 left, Singer, with fine bas-reliefs. — Then to the left — 
 
 *Abelard (d. 1141) and Helo'ise (d. 1163), sarcophagus with re- 
 cumbent statues, beneath a Gothic canopy, reconstructed from the 
 fragments of an old monument by Lenoir (p. 249), and lately restored. 
 
 Visitors whose time is limited should now ascend the Avbnub 
 Casimir-Periee. to the Grand-Rond (see next page). 
 
 We follow the lateral path, to the right (Chemin Serr^) and then ascend 
 to the left by the second side-path (Chemin Lebrun). On the right : *Baron
 
 182 5. PfeRE-LACHAISE. 
 
 De&batsayns ; a weeping figure by Ricci. On the left : "Fr. Lebrun (d. 1824), 
 Duke of Piacenza, Third Consul after the 18th Brumaire, and translator 
 of Homer and Tasso, as indicated by the genii. 
 
 On the right: Victims of June, 1832. — On the left : Marshal LauiHston 
 (d. 182S) ; also a chapel of the Larochefoucaulds. — We may either turn 
 to the left (comp. PL 16) or continue to the right here and return in the 
 opposite direction, by a path flanked with handsome new monuments, 
 to the Chemin Serr^. where we observe the tasteful Chapelle Boutet. We 
 then again ascend to the left by another path (Chemin Grammont) flanked 
 with imposing modern chapels. To the right, L. Cogniet (d. 1880), the 
 artist. At the top, on the left: Nilaton (d. 1873), the eminent surgeon; 
 chapel of the Lesseps family. 
 
 Turning to the left, we soon reach the walk adjoining the Victims 
 of June, and opposite that monument we turn to the right and then to 
 the left. Among the trees to the left: Bail, a handsome 'pleureuse' in 
 marble. Farther on, to the right, near the edge of the other walk : Count 
 La Bidoytve, colonel of the first regiment which went over to Napoleon on 
 his return from Elba, afterwards condemned to death, and shot (1815). 
 The ill-fated man had arranged to sail for America, but incautiously re- 
 turned to Paris to take leave of his wife and child, and was there arrest- 
 ed. The sculptures refer to this affecting incident. — Beyond this mon- 
 ument, on the right side of the same path : Victor Perrin, Due de Bellune 
 (d. 1841), marshal of the empire, and French ambassador in Vienna under 
 Louis XVIII. — We now reach the — 
 
 Geai^d RoND. — In tlie centre: * Casimir Perier (d. 1832), 
 deputy, a famous orator, and minister of Louis Philippe ; a statue in 
 bronze by Cortot, on a lofty pedestal. — We turn to the left and 
 beyond the Avenue Casimir Perier cross Division 13 (no path) to the 
 walk skirting Division 11, which is specially dedicated to artists. To 
 the left under the trees, a little way back, *Borsa [d. 1820), a mon- 
 ument with a high-relief. — We turn to the right (Chemin Denon): 
 *Chopin (d. 1849), pianist and composer, statueby Clesinger. Behind : 
 
 * Wilhem (d. 1842), composer, medallion by David. To the left, at the 
 foot of a small flight of steps, Oareau, with a beautiful figure of a 
 weeping woman. To the left, Duport (d. 1853); Qohier [d. 1830), 
 president of the Directory, medallion by David; *Denon (d. 1825), 
 director of museums , statue by Cartellier. Then , on the right : 
 
 * Cher ubini [d. iS4:2), the composer , bas-relief by Dumont. Left: 
 Ravrio (d. 1814), manufacturer of bronze. — Our walk turns to the 
 right. On the left. Talma (d. 1826), the famous tragedian. To the 
 left of the walk opposite Talma: the two Brongniarts, the minera- 
 logist (d. 1847), and the architect (d. 1813); on the right, Herold 
 (d. 1882), prefect of the Seine; Lesueur (d. 1837), composer; 
 *Tamberlick (A. 1889), the tenor, with an angel strewing flowers, 
 by Godebski. At the end of the allee, Delille (d. 1813), the poet, 
 a massive sarcophagus. Behind: *Bellini (d. 1813), the composer, 
 whose remains have been removed to Catania, his native place; 
 Oretry (d. 1813) and Bo'ieldieu (d. 1834), composers. — We now 
 quit Division 11 and turn to the left. To the right, Herold (d. 1833), 
 composer. — We then take the Avenue de la Chapelle, which leads 
 us back to the right to the Grand Rond (see above). Here, to the ?eft, 
 *Monge (d. 1820) , mathematician. Then *Baspail (d. 1878) , the 
 famous democrat ; a covered monument adorned with garlands ; ad-
 
 5. PftRE-LACHAISE. 183 
 
 mirable draped figure by Etex, in memory of the death of Raspail's 
 wife during his imprisonment for the conspiracy of May, 1848, to 
 dissolve the National Assembly. — Farther on, to the right : *Cru8ol 
 d'C/zes, general; handsome allegorical bas-reliefs. 
 
 We now follow the Avenue dbs Acacias , to the right of Ras- 
 pail's tomb. — On the left: ChampoUion (d. 1836), the celebrated 
 Egyptologist. Then, Kellermann (d. 1820), Due de Valmy, marshal 
 of France. Above is the Demidoff Chapel (p. 184). Then : Serrea 
 (d. 1868), professor of medicine. *A. Duchesnois (d. 1835), the tragic 
 actress; bas-relief by Lemaire. — Right: Maret, Due de Bassano 
 (d. 1839), diplomatist, and minister under the first empire ; a temple 
 with Doric columns, without inscription. — Left: Sieyhs (d. 1836), 
 the statesman, member of the Convention and Directory, and consul 
 after the 18th Brumaire. Then, right: ^Panhard-Dufour, a hand- 
 some chapel. Left: *Gouvion Saint-Cyr (d. 1830), marshal of the 
 empire, statue by David. — Macdonald (d. 1840), Due de Tarente, 
 marshal of the empire. Right : chapel of the De Eire family, contain- 
 ing a *Bas-relief of Christ as the vanquisher of death, by Duseignenr. 
 To the left, above, the equestrian statue of Baron Gobert(see below). 
 — At the foot of the flight of steps on the right, *Edmond About 
 (1885), author, with bronze statue by Crauk; to the right, Crespin 
 dine, organizer of the 'vente a credit', bust and bronze statue by 
 E. Leroux. — To the right of the Avenue des Acacias, *Ch. de 
 Lavalette (d. 1830), general, and director of the post-office, who was 
 condemned to death in 1815, but escaped from prison by exchanging 
 clothes with his wife, to which event the relief refers. Left: Du- 
 puytren (d. 1835), the celebrated surgeon. Right, before we reach 
 the lateral avenue : Monod (d. 1856), president of the consistory of 
 the Protestant church. On the left of the side-walk : Count Belliard 
 (d. 1832), general, and French ambassador at Brussels. Behind : 
 large chapel of the Marquise de Dnlmatie (d. 1866). — Right, a 
 little way back : *Schickler, a chapel with caryatides , facing the 
 other direction. Below, *d'Eauregard, Renaissance chapel, with 
 statues. 
 
 Returning to the Avenue des Acacias, we observe on the right 
 the monument of *Eughne Scribe (d. 1861), the well-known dramatist. 
 At the corner of the Chemin Suchet, into which we turn, left: 
 Delanneau (d. 1830). Then: right, * Marshal Suchet (d. 1826), 
 Due d'Albufe'ra, bas-reliefs by David d'Angers. Farther on, left: 
 Ruty (d. 1823), general. Right, beyond a side -walk: Marshal 
 Lefebvre (d. 1820), Due de Dantzick. *Marshal Massena (d. 1817), 
 Due de Rivoli and Prince d'Essling, monument by Bosio and 
 Jacques. Then, left: TTmsor (d. 1830), introducer of gas-lighting; 
 Larrey (d. 1848), surgeon. Farther on : *Baron Oobert, a general 
 killed in Spain in 1808, and his son (d. 1833), a group and bas- 
 relief by David. Opposite : Beaumarchais (d. 1799), dramatist. At 
 a bifurcation: Marshal Ney (d. 1815), Prince d'Elohingen and Due
 
 184 5. PilRE-LACHAISE. 
 
 de la Moskowa (see p. 287 J ; no monument marks the grave of the 
 'brave des braves'. We follow the same path to the right. Left: 
 Bassompierre (d. 1877), engineer. *Prince and Princess Bibesco, 
 Wallachia; a Byzantine chapel. Farther on: *Foy (d. 1825), a 
 general and celebrated orator ; statue and bas-reliefs by David. 
 
 Many of the monuments we are now about to mention may be 
 passed over, but those of Lord Seymour and Beranger deserve a visit. 
 
 After Foy, in the same walk: iStan. de Girardin (d. 1827), politician. 
 Then Oirodet-Trioson (d. 1824), the painter. At the end of the walk, to 
 the left, beyond a lateral path: family of Victor Hugo (for the poet's own 
 tomb, see p. 244). 
 
 In the Chemin Jordan leading henee to the right, on the left side: 
 C. Jordan (d. 1821) , member of the Council of Five Hundred. Farther 
 on, left: the mausoleum of Boode, merchant of Amsterdam. Cambacdris 
 (d. 1824), jurist, and second consul after the 18th Brumaire. Behind, 
 right: Bourke (d. 1821), Danish ambassador; bas-relief by David d' Angers 
 (d. 1856), whose own plain monument is in the third row, not far from 
 Boode. — At the end of the walk, left: Admiral Decrhs (d. 1821), duke 
 and minister of the first empire. 
 
 We have now regained a part of the cemetery which we have already 
 visited, and enter the clump of trees to the right , soon reaching the 
 large and handsome chapel of -Lord Seymour ; then that of Marshal Mortier 
 (d. 1835), Due de Trevise, and minister. Then Manuel (d. 1827), popular 
 deputy, and Beranger (d. 1857), the poet, buried, according to his wish, 
 in the same grave as 3Ianuel. To the left, three columns of the brothers 
 Lameth (d. 1829, 1832, 1854). 
 
 We nextfollowthe Chemin du Dragon, opposite Foy's monument. 
 Right : Barton, one of the largest family burial-places in the cemetery, 
 with a representation of the arrangement of the interior at the back. 
 Left : *Boerne (d. 1837), German poet ; medallion and bas-relief by 
 David. Right: ^Admiral Bruat (d. 1855). Left: the two Garnier- 
 Pagls (d. 1841 , 1878) , distinguished politicians ; monument by 
 David. *Oeoffroy Saint-Hilaire (d. 1844), naturalist; medallion by 
 David. **Demidoff, countess (d. 1818), and prince (d. 1870), members 
 of a wealthy Russian family ; a superb mausoleum in a semi-oriental 
 style. Farther on, same side : Perry, a chapel with a good bas-relief. 
 At a corner: Oaudin (d. 1841), Due de Gaete, minister. Left, in the 
 same walk: *Duret (d. 1865), sculptor; bas-relief and medallion. 
 Nearly opposite this walk : Desaugiers (d. 1827), poet. Right : 
 Pradier (d. 1852), sculptor. 
 
 We now ascend the Chemin Moliere et Lafontaine to the right. 
 Right: Gay-Lussac(A. 1850). chemist. Left: Lafontaine [A. iQ^b), 
 fabulist, and Moliere (d. 1673), dramatist, transferred hither in 
 1804 and within the same enclosure. Farther on : Le Rot and Mail- 
 land, surmounted with a fine statue of Cleopatra. We turn to the 
 right and again to the right: ^Elizabeth Coulson (d. 1888), a tasteful 
 marble pyramid, M'ith angels, an English work; *C. Say (d. 1871), a 
 large Gothic chapel. We ascend the steps to the left. 
 
 To the right of the Chemin Laplace, which begins nearly opposite 
 Gay-Lussac : Laplace (d. 1827), mathematician. A little way back: 
 Count d' Aboville (d. 1843), general. Among the trees, in front: 
 Gros (d. 1835), painter; and, farther off, the large obelisk of
 
 5. PERE-LACHAISE. 185 
 
 Countess Gemont. To the left of the path : Count de Valence(d.. 1822). 
 Behind : Daubigny (d. 1878), painter, with a bust. Farther on, to 
 the left : Marquis de Perignon (d. 1818), marshal of France. To the 
 right : Nelle (d. 1851). 
 
 Avenue Te,ansvbe,salb No. I. We turn to the right from the 
 last-named monument to visit the E. part of this avenue. To the 
 left : A. de Bruges (d. 1820), general. On the same side : Grefulhe^ 
 a large chapel without inscription. *Forestier^ with a statue by 
 Toussaint. Beyond a footpath : Count Truguet (d. 1839), admiral 
 and statesman. Right: Enfantin (d. 1864), the St. Simonian; colos- 
 sal bust by Millet. Left, in descending : Count Pacthod (d. 1830), 
 general. At this point we turn to the left and ascend the steps. 
 To the left: Perregaux (d. 1808), banker. Behind, Duchess of Ra- 
 gusa (d. 1857), a large chapel. 
 
 Behind the monuments on the right begins the Avenue Pac- 
 thod, which crosses the Avenue Transversale No. II. At the corner : 
 *Clara Peabody [d. 1882), bronze relief by Chapu. Farther on in 
 the Avenue Pacthod: Boussingault (A. 1887; p. 173); *Lenoir-^ 
 right. Dr. Eeliquet (d. 1894); Eugene Delaplanche (d. 1891), sculptor. 
 
 There are no more tombs in this direction beyond tbe Avenue Trans- 
 versale No. III., except below to the right and at the corner of the ceme- 
 tery, beside the Mur des Fi'derds, against which the Communards taken in 
 the cemetery with arms in their hands were shot in 1871 at the end of the 
 insurrection. Demonstrations annually take place here on the anniversary 
 of the event, and numerous red wreaths are hung on the wall. 
 
 We return to the Avenue Transversale No. II, and turn to 
 the right. Right, A. Gill (^A. 1887), caricaturist, bronze bust by 
 L. Coutan. Fred. Cournet^ bronze bust. Left, Moris, sculptor, bronze 
 statue by himself. Right: ^A. Terry (d. 1886), a handsome Renais- 
 sance chapel, with four statues by A. Lenoir. A few paces behind, 
 *Vuid€t (d. 1891), composer of sacred music, with bronze statue by 
 Aube. Beyond Terry, * Victor Noir, journalist killed in 1870 by 
 Prince Pierre Bonaparte; recumbent statue by Dalou; *De Ycaza 
 (d. 1890), another fine Renaissance chapel, with a group of statues 
 inside and a bas-relief outside, by Pech. In the next side-avenue 
 to the left: right, *A. Blanqui (d. 1881), revolutionary; recumbent 
 statue by Dalou. Farther on in the Avenue Transversale No. II, to 
 the left. E. Eudes (d. 1888), revolutionary, bronze bust by T. Noel ; 
 * Josephine Verazzi (d. 1879), marble group. 
 
 To the right is situated the Crematorium, a large but still unfinished 
 building with two lofty chimneys. It has been in use since 1S89. The 
 process of cremation, which occupies about 1 hr., is accomplished by means 
 of refracted heat from a lire heated up to 800°; the flames do not touch 
 the body. The ashes left weigh about V12 of the original weight of the 
 body. The price of cremation is 50-250 fr., including a right to a niche 
 in the columbarium for 5 years. 
 
 The upper part of the cemetery, formerly used for temporary graves 
 and 'fosses communes', contains few monuments as yet. Kear the W, end 
 of the Avenue Transversale II, however, stands the magnificent *Chapelle 
 Yakovlejff', a marble structure in the Byzantine style, with paintings on a gold 
 ground, by Fedorofi'. 
 
 The adjoining door leads to a public Garden, laid out in 1890 between
 
 186 5. PfeRE-LACHAISE. 
 
 the cemetery and the Avenue Oamhetta, which ends a little farther on to 
 the right, near the Place Gambetta (p. 188). 
 
 The Avenue de la Nouvelle Entree, near the Crematorium, leads 
 hack towards the centre of the cemetery. At a little distance to the 
 left, * Marquis de Casariera, a large chapel containing a statue. 
 Kardec (d. 1869}, 'fondateur de la philosophie spiritiste', a curious 
 monument in the form of a dolmen, with a bronze hust by Capellaro. 
 To the left: Mme. Rouvier (d. 1883), better known as Claude Vig- 
 non, bronze bust by herself. — "We now follow the Chemin du Quin- 
 conce, on the right of Kardec, to the Chemin des Anglais, at the be- 
 ginning of which, on the left, is *Triqueti (d, 1874), sculptor, bas- 
 relief by himself, Raising of Lazarus. Farther on, right: Admiral Sir 
 Sidney Smith (d. 1840), who defeated Napoleon at St. Jean d'Acre in 
 1799. — We retrace our steps to Triqueti, turn to the left, and re- 
 enter the — 
 
 AvBNUB Transvbrsaxe No. I , where we turn to the W. (right). 
 Left: Oourgaud (d. 1852), general. Farther on, right: *Aguado(di. 
 1842), financier. Left : i2o5^niaf(d. 1840), general. Then the *Afar5"ui« 
 d'Argenteuil (d. 1838), founder of several charitable institutions. 
 
 We retrace our steps and descend the Avenue St. Morys, to the right. 
 Left, somewhat hidden: Ingres (d. 1867). the painter; bust by Bonas- 
 sieux. Right side of the avenne : *3f. Schoelcher (d. 1852), high-relief in 
 bronze byFromanger; V. Schoelcher {i. 1891), writer, politician, and bene- 
 factor of the negro race. — We take the walk to the left, and then ascend 
 the Avenne Feuillant, parallel with the last. Nearly opposite the walk: 
 * Vve. Schoelcher (d. 1839) ; recnmbent figure in bronze. We now regain 
 the avenue. 
 
 Avenue Teansvbrsale No. I (continuation). At the corners 
 beyond the Marquis d'Argenteuil : Persil (d. 1841), deputy, and 
 four handsome monuments. — At the end of the avenue: * Felix de 
 Beaujour (d. 1836), formerly consul, a conspicuous pyramid 105 ft. 
 in height, visible from the Arc de I'Etoile , and commonly called 
 the 'pain de snore', erected by himself at a cost of 100,000 fr. — 
 Nearer the path : *i>ias Santos ; a lofty pyramid with sculptures by 
 Fessard. — View of Paris, interrupted by monuments, from the back 
 of the Beaujour monument. — To the right, General de Wimpffen 
 (d. 1884), bronze bust by Richard; farther down, *A. Florens 
 (d. 1885), fine bas-relief by Boussard. 
 
 We return and follow the path on the other side of the 'pain de 
 Sucre'. On the left: Beauci (d. 1875), painter. Right: Em. 
 Souvestre (d. 1854); Balzac (d. 1850); left: Nodier (d. 1844); 
 *C. Delavigne (d. 1843) : four well-known authors. At the corner 
 to the right : *Mme. de Faverolles ; *Delphine Cambaceres ; Lacham- 
 heaudie^i. 1872), fabulist; Souli€(d. 1847), novelist. — Monuments 
 lower down, see p. 187. — Beyond Delavigne, to the left, E. Dela- 
 croix {d. 1864). On the other side as we return, Andrianoff, Rus- 
 sian 'danseuse' ; Savalle (d. 1864), engineer; Buloz (d. 1877), 
 editor of the 'Revue des Deux Mondes'; Delpech (d. 1865), en- 
 gineer; *Michelet (d. 1875), the historian, high-relief byMercie;
 
 6. PfeRE-L A CHAISE. 187 
 
 *Duc de Morny (d. 1865), politician and minister, a natural brother 
 of Napoleon III., chapel designed by Viollet-le Due. 
 
 We now enter the Chemin Monti ouis to the left. About half 
 way down, to the left , *Barbedienne (d. 1892), dealer in bronzes, 
 with a bust by Chapu and three statues by A. Boucher. — On a tomb 
 (Lacabane) behind Barbedienne, before the Chemin du Bastion, is a 
 reproduction of the celebrated 'Petit Pleureur' of Amiens, by Blasset. 
 Then, to the right of the walk: *Roelofson (d. 1871); marble tomb- 
 stone with bas-relief. To the right of the next avenue. Renaissance 
 chapel of the *Urth family. — In the walk behind the cemetery 
 chapel : *Ouerinot (d. 1892), architect, statue of a weeping woman, 
 by Barrias. 
 
 Avenue de la Chapblle. The Cemetery Chapel, in front of 
 which we have a line *View of Paris, contains nothing noteworthy. 
 To the right is the monument of *Ad. Thiers (d. 1877), the celebrated 
 statesman, consisting of a large and elaborate chapel by Aldrophe. 
 Above the fine bronze doors is a relief of the Genius of Patriotism, 
 by Chapu. The interior, which is not shown, contains a group, 
 by Mercie, representing Thiers rising to answer the summons of 
 Immortality, and reliefs by Chapu, of the Liberation of French Soil, 
 and the Genius of Immortality. The sarcophagus rests in a crypt 
 open at the top. 
 
 To the right, at the beginning of the part of the avenue leading 
 to the monument of Casimir Perier (p. 182) : Oericault (d. 1824), 
 the painter; statue and bas-relief, in bronze, by Etex. To the left 
 of the cemetery chapel : Reber [d. 1880), professor at the Conserv- 
 atory of Music ; relief of Music. Adjoining : Baron Taylor (d. 
 1879), traveller and author, marble statue by G. J. Thomas. Then, 
 to the right: Deseze (d. 1828), one of the defenders of Louis XVI. 
 *Cartellier (d. 1831), sculptor; bust by Rude, bas-reliefs by Seurre. 
 Farther on, right: Seminario, a handsome Gothic chapel. — At the 
 corner of the avenue ascending to the right : Cotes; a chapel adorned 
 with frescoes and bas-reliefs. Left: *Boutillier ; a large and rich 
 Romanesque chapel. Farther on : Bizet (d. 1875), composer of the 
 opera 'Carmen'; a bust in bronze. Then several fine chapels, includ- 
 ing, right: *Oreger; a Byzantine chapel embellished with paintings. 
 Left: Errazzu, with four symbolical statues by M. Meusnier. At the 
 corner: *Cail (d. 1858), engineer, an imposing chapel with a dome. 
 
 Avenue Circulaire. To the left as we approach : Bernard, 
 marble angel by L. Durand (1890). Opposite : *Soldiers who fell 
 at the siege in 1870-71 ; a pyramid of granite with four bronze 
 statues of soldiers by Schroeder and Lefevre, erected by Govern- 
 ment. *Ch. Rossignol (d. 1889), rich Renaissance chapel, with 
 marble bust, statuettes, garland, and ornaments. Adjacent: Na- 
 tional Guards killed at Buzenval (19th Jan., 1871). *Jean Reynaud 
 (d. 1863), philosopher and publicist; figure of Immortality by 
 Chapu and bronze medallion by David. In the avenue ascending
 
 188 5. PilRE-LACHAISE. 
 
 to the right past the Call chapel, right: Barillet (d. 1873), gar- 
 dener to the city of Paris. Cleray (d. 1882), bronze bust by Taluet ; 
 Aviles, with a figure of a mourner; Appel (d. 1882), handsome 
 Renaissance chapel. *Croce-Spinelli and Sivel (d. 1875), victims of 
 a balloon accident ; recumbent figures in bronze, by Dumilatre. In 
 the adjoining avenue to the right: Orisar (d. 1869), composer; 
 Lehertre, a fine Renaissance chapel. Right: DesclSe (d. 1874), 
 actress. *Dorian (d. 1873), manufacturer, and minister during the 
 siege of Paris; statue in bronze. Behind: *Mme. Moris (d. 1875) ; 
 group in bronze. 
 
 We now descend by the avenue to the right of Dorian. Left : 
 E. Adam (d. 1877) ; bust in bronze by A. Millet. Convents^i. 1877), 
 architect. Molz family, a handsome granite chapel with a bronze 
 coping. *Ricord (^i.. 1889), medical specialist ; a fine Renaissance 
 chapel. * Countess d'Agoult (d. 1876), who wrote under the pseudo- 
 nym of Daniel Stern ; a sumptuous white marble tombstone with 
 an allegorical relief. — We now cross the Avenue de la Chapelle 
 and descend the flight of steps by the Boutillier monument. 
 
 To the left is a tomb (no name) with a fine hronze statue of a woman ; 
 and farther on are several handsome new monuments. 
 
 At one of the corners formed by the two walks descending to- 
 wards the 'parterre': Ed. Blanc (d. 1877), lessee of the gaming- 
 tables at Monaco ; a large chapel surmounted by a sarcophagus. Lower 
 down, to the right: Charles and Louis Blanc (d. 1882). Then 
 *Menier (d. 1881), industrialist and economist. To the left of the 
 parterre, in descending : Pozzo di Borgo (d. 1842), a Corsican, af- 
 terwards a Russian diplomatist and a bitter antagonist of Napo- 
 leon I.; a colossal bust in bronze. Adjacent: Marchal de Calvi 
 (d. 1873), physician; a bust in bronze. At the cross-way: the 
 handsome Hautoy chapel, with good bas-reliefs by P. Loison. — We 
 again ascend to the left of the parterre and turn to the left. 
 
 AvBNUB CiKCULAiRB, S. poTtiou. To the right, Alphand (d. 
 1891), city engineer, bronze bust by Coutan ; *Anatole de la Forge 
 (d. 1892), defender of St. Quentin in 1870 ; bronze statue by Barrias. 
 Opposite, on the left side , Dr. Piogey (d. 1894) ; Prince Pignatelli 
 (d. 1868), with busts; then, on each side, Renaissance and Gothic 
 chapels, etc. *Walewski (d. 1868), statesman; a large and hand- 
 some mausoleum. Opposite : Carlier family, bronze group by E. 
 Carlier. A little higher, on the right side of the avenue: *Anjuhault 
 (d. 1868), mechanician ; a 'pleureuse' by Maillet. 
 
 From this point we may proceed by the Avenue de V Quest, im- 
 mediately to the right , to the gate leading to the Avenue de la Re- 
 publique, or we may follow the Avenue Circulaire to the Avenue 
 Principale and the main entrance. 
 
 The Avenue Oambetta is prolonged to the W. of Pere-Lachaise, skirt- 
 ing the cemetery (garden; p. 185), to the Place Gambetta, formerly the 
 Place des Pyrindet, in which is the Mairie of the 20th Arronditsement (Me'nil-
 
 5. RESERVOIRS DE LA DHUIS. 189 
 
 montant; PI. R, 32), with paintings by Glaize and Bin. From the Edpital 
 Tenon (635 beds) the Mairie la separated by a square, embellished with a 
 bronze group, by L. Michel, representing the Lame and tbe Blind. This 
 Place may also be reached direct from the cemetery, by the Avenue de 
 la Nouvelle Entree, to tbe left of the Crematorium (p. 185). — Tbe Avenue 
 Gambetta is continued, to the left, to the Reservoirs de la Dhuis (see below). 
 
 A little to the N. of Pere-Lachaise , on the right side of the 
 Bonlevard de M^nilmontant, rises the church of Notre-Dame-de-la- 
 Croix [PL R, 30), a fine Romanesque edifice, built in 1865-70 by 
 H^ret, with a spire rising above the portal. As it stands on a height, 
 it is visible from a considerable distance. 
 
 Near this church is a station of the Chemin de Fer de Ceinture, and 
 the omnibus-line (from Mcnilmontant to the Gare Slontparnasse) passes 
 it. Other lines of omnibuses and tramways, see the Appendix. 
 
 The Rue Me'nilmontant and Rue St. Fargeau lead to the E. from the 
 church to (V4 hr) the Reservoirs de la Dhuis (PI. R, 36>, which supply 
 one-fifth of Paris with water. The Bhuis is a tributary of the Surmelin, 
 which itself joins the Marne, near Chateau-Thierry. The watewis con- 
 ducted a distance of 80 M., with a fall of only 60 ft., and reaches Paris at 
 the height of 350 ft. above sea-level or 250 ft. above the quays. The 
 reservoirs (visitors admitted ; entrance Rue St. Fargeau 36) resemble those 
 of the Vanne (p. 292). 
 
 6. Neighbourhood of the Exchange and ftuartiers de 
 la Chaussee-d'Antin and de I'Europe. 
 
 The following walk should be taken on a Tuesday or a Friday, as the 
 Bibliotheque Nationale is open on these days. Spare time, before the li- 
 brary is open, may be spent in visiting the Church and Place des Victuires. 
 The Exchange may be visited daily from 12.30 to 3 p.m. — Restaurants 
 at the Palais-Royai or on the boulevards, see pp. 12-16. 
 
 I. FROM THE PALAIS-ROYAL TO THE BOURSE. 
 
 Bibliotheque Nationale. 
 
 The Rue de Richelieu (PI. R, 21; /i) , a street 1000 yds. in 
 length, which passes on the "W. side of the Palais-Royal, leads direct 
 from the lower end of the Avenue de I'Opera (p. 76) to the 'Grands 
 Boulevards'. 
 
 "We first observe on the left , at the corner of the Rue Moliere, 
 the Fontaine Moliere, erected in 1844 to the memory of the famous 
 dramatist, who died in 1673 at No. 40 Rue de Richelieu (not No. 34 
 as frequently stated). The monument is in the Renaissance style, 
 51 ft. high and 21 ft. wide, and was designed by Visconti. The 
 statue of Moliere is by Seurre, while the muses of serious and light 
 comedy are by Pradier. 
 
 Farther on , the Rue de Richelieu crosses the Rue des Petits- 
 Champs, leading to the right to the Place des Victoires (p. 196). 
 Then to the right is the Bibliotheque Nationale, opposite the prin- 
 cipal entrance to which (farther on) is the *Fontaine Eichelieu, or 
 Louvois, in bronze, by Visconti, with statues by Klagmann repre- 
 senting the Seine, the Loire, the Garonne, and the Saone. It stands 
 in the small Square Richelieu^ on the site of the old Grand-Opera, on
 
 190 6. BIBLIOTHJ^QUE NATIONALE. 
 
 leaving which the Due de Berry was assassinated in 1820, and which 
 was taken down in consequence. 
 
 The *BibUotlieque Nationale (PI. R, 21 ; 1/), formerly called 
 the Bibliotheque du Boi, and afterwards the Bibliotheque Imperiale, 
 will, on the completion of the portion in the Rue Vivienne (comp. 
 PI., p. 191], occupy the entire block of buildings formed by the Rues 
 de Richelieu, desPetits-Champs, Vivienne, and Colbert. The library 
 stands on the site of the palace of Cardinal Mazarin, the powerful 
 minister of Louis XIII. and Louis XIV., but almost every trace of 
 the old building has been removed in the process of extension and 
 alteration. The handsome facades in the Rue Vivienne and the Rue 
 des Petits-Champs are modern. 
 
 The Bibliotlieque Nationale is open daily, except on holidays and 
 during the fortnight before Easter; but these exceptions do not apply to 
 the public reading-room, which is closed only during Holy Week. The 
 hall for* study (Salle de Travail) belonging to the department of printed 
 books is open till 6 o'clock, from April Ist till Sept. i5th, till 5 p.m. from 
 Se?t. 15th to Oct. i5th and from Feb. 15th to March 31st, and till 4 the 
 rest of the year. The public reading-room (Salle Puhlique de la Lecture) 
 is open at the same hours all the year round. The Salle de Travail, and 
 also the Salles des Manuscrits, des Cartes, and des Estampes (daily _ 10-4), 
 laeing reserved for purposes of study, are not shown except to visitors 
 provided with a ticket from the 'administration' (p. 192). There are, 
 however, rooms for the exhibition of printed books, MSS., and engravings, 
 and a cabinet of m^edals, which are open to the public on Tuesdays and 
 Fridays (10-4 o'clock). 
 
 Charles F., surnamed the Wise (d. 1380), was the first French king 
 who possessed any considerable number of books. This collection, how- 
 ever, was lost during the wars with England, and the actual founder of 
 the present library was Francis /., who assiduously purchased or caused 
 copies to be made of manuscripts from every quarter, particularly from 
 Italy, and in 1536 decreed that a copy of every work printed in France 
 should be furnished to the royal library at Fontainebleau. It was after- 
 wards decreed that two such copies should be deposited in the library 5 
 but this rule is far from being strictly adhered to. After several changes 
 of abode, the library was finally in 1724, on the suggestion of the librarian 
 Abb4 Bignon, accommodated in the Hotel Mazarin. 
 
 The Bibliotheque Nationale, probably the most extensive in the 
 world, is divided into four departments : (1) Books and Maps ; (2) 
 MSS. ; (3) Engravings; (4) Medals and Antiques. 
 
 The 1st Department (Imprimis , Cartes et Collections Geogrd" 
 phiques) comprises about 3,000,000 vols., the shelves containing 
 which , ii placed in a continuous line , would extend to a distance 
 of 37 miles. There is no complete catalogue as yet, although one is 
 in progress ; but the volumes still uncatalogued are found by means 
 of bundles of written slips on which their names are given. 
 
 The entrance to the Salle Puhlique de Lecture is by No. 3 Rue 
 Colbert, while that of the Salle de Travail (p. 191) is in the Rue 
 de Richelieu, opposite the Fontaine Richelieu. Sticks and umbrellas 
 must be left at the entrance, but no charge is made for their custody. 
 Visitors are not permitted to quit the building with books, papers, 
 or portfolios in their hands vnthout a 'laisser-passer' from one of 
 the librarians.
 
 6. BIBLIOTHfiQUE NATIONALE. 
 
 191 
 
 Under the archway leading to the principal court from the Rue 
 de Richelieu are statues of Printing, by Labatut, Writing, by Coutan, 
 and Engraving, by J. Hugues. In the vestibule, at the entrance to 
 the Salle de Travail, to the right of the main court, a Sevres vase 
 has been placed to commemorate the share of the French savants 
 in the observations of the Transit of Venus in 1884. — To the left 
 is the 'vestiaire', to the right a buffet (moderate). 
 
 The Salle db Tsavail (entrance, see p. 190), constructed by 
 H. Lahrouste^ and opened in 1868, is a lofty and spacious hall, 
 upwards of 1400 sq. yds. in area, borne by sixteen light cast-iron 
 columns 33 ft. in height, and lighted from nine cupolas made of 
 faience. Visitors may have a view of the interior from the vestibule 
 B.Tje "Vi-vienne 
 
 Administratlrez-dc-ch.) 
 
 Vc 
 
 Cour dliOTmeur 
 
 M I i n 
 
 Jardin 
 
 f GalerieMatzariiie Ci'^ eU[ 
 
 -^ 
 
 CoiiTde I g* 
 
 : Aitmipist ratFi.T'' § 
 
 — r n-t-o 
 
 Eslampesfrerde-chaussee) "V 
 
 Reserve _. 
 
 I 
 
 Salle 
 % de 
 travail 
 
 &^|0^-) I 
 
 (G-eographie) 
 
 Ma^asm 
 des im-priBies 
 
 Jklagasin Medailles 
 
 etSAntiqiie: 
 
 
 ^a^-^u 
 
 Rue de Richelieu 
 
 BIBLIOTHEQUE NATIONALE. 
 
 through a glass-door. At the end of the hall is a semicircular space 
 where the officials are stationed, and behind them is the 'Magasin', 
 which is also lighted from above and is traversed by a number ol 
 longitudinal and transverse passages. The hall contains seats at 
 the tables for 334 persons, and is warmed by means of hot-air pipes. 
 On entering the Salle de Lecture or the Salle de Travail the visitor re- 
 ceives a slip of paper ('bulletin'), on which he writes his name and address 
 and the number of the seat he has selected. The employees write upon 
 it the names of the books lent, and stamp it when the books are returned, 
 and the bulletin is then given up to the official at the exit. On entering 
 the room, the visitor applies to the 'conservateurs' or librarians at the 
 otiice in the middle for another 'bulletin'. On this he writes the name 
 and description of the work he desires to consult, and returns it to the 
 office, after which he waits till the book is brought to him. In the Salle 
 de Travail no applications are received within one hour of the hour of 
 closing. Ink is provided for the use of visitors, and all the rooms, partic- 
 ularly the Salle de Travail , are abundantly supplied with dictionaries, 
 encyclopanlias, and other books of reference. A table in the Salle de 
 Travail is set apart for reviews and other periodicals. Close by, to the
 
 192 6. BIBLIOTHfeQUE NATION ALE. 
 
 right and left, are catalogues of the latest additions. For farther details, 
 see the notices affixed to the doors of the different saloons. 
 
 At the end of the vestibule is a staircase , at the foot of which 
 are Roman inscriptions from Troesmis , an ancient city of Lower 
 Moesia (now Bulgaria). To the left are the offices of the Administra- 
 tion, the entrance to which is in the centre of the facade in the 
 Cour de I'honneur ; and to the right is the — 
 
 Dbpartementdbs Estampbs, which contains more than2, 500,000 
 plates bound up into volumes (14,500) or arranged in portfolios 
 (4000). A number of the most interesting are exposed to view at 
 the same hours as the printed books and manuscripts (comp. p. 190). 
 
 The I. Room is devoted to French engravings. Right: works by 
 Callat, NanteuiL Gir. Audran, Pierre Brevet, P. Imb. Brevet, Claude Brevet, 
 Bervic. Eenriquel Bupont, etc. 
 
 The II. Room, or Gallery, contains engravings bound up and in 
 portfolios. On the wall of the entrance and by the windows a few are 
 exhibited to view, but it is difficult to get near enough to examine them 
 properly. By the entrance, the English School. lst-3rd windows, Italian 
 Schools beginning with Finiguerra. 4th and 5th, German School. 6th, 
 Dutch School. Tth, Flemish School. 8th, Spanish School. 
 
 The Department of MSS. now occupies the first floor of the 
 wing fronting the Rue de Richelieu. The entrance is to the right at 
 the head of the staircase already mentioned. This department con- 
 tains about 100,000 volumes. 
 
 In the vestibule are the drawings made during Napoleon's expedition 
 to Egypt and some Phoenician inscriptions. Facing the staircase is the 
 small Oalerie des Chariet, where are also temporarily placed manuscript 
 marine charts of the 15th and 16th centuries. 
 
 The Salles d' Exposition des Imprimis et des Manuscrits are reach- 
 ed by the same staircase, to the left (admission, see p. 190). They 
 contain the chief treasures of the library, some of them beautifully 
 illuminated and magnificently bound. These two rooms are on the 
 first floor, facing the Rue Vivien ne. The second, the Galerie Ma- 
 zarine, is a remarkably fine saloon. All the objects are labelled. 
 
 Room I. In the centre, the French Parnassus, a group in bronze 
 representing the chief French authors and artists of the 17th cent. , exe- 
 cuted by Louis Garnier for Titon du Tillet. On the wall opposite the 
 window, a large tapestry, designed by Ehrmann, representing Literature, 
 Science, and Art in Antiquity. On the other walla, copies of epitaphs. 
 In the glass-cases I-III, V, superb bindings, with the arms of the kings 
 of France from Francis I. downwards. In Case IV., by the window: 369. 
 Christianismi Restitutio, by Michael Servetus, a copy saved from burning; 
 371, 372. Hippocrates and Theophrastus, with the autograph of Rabelais; 
 373. Philo Judseus. with Montaigne's signature; 374. Sophocles, annotated 
 by Racine ; 376, 377. Manuscript music by Rousseau, etc. 
 
 Room II. This large saloon, called the '^Galerie Mazarine, has a fine 
 ceiling-painting by Romanelli (d. 1682) : Romulus and Remus suckled by 
 the Wolf, Mars and Venus, Rape of Helen, Burning of Troy, Rape of 
 Ganymede, Jupiter hurling thunderbolts at the Titans, Awaking of Venus, 
 Narcissus, Jupiter and Mercury. Mt. Parnassus, Judgment of Paris, Venus 
 in a chariot, Apollo and Daphne. 
 
 The cabinets and glass-cases contain (1st half of the saloon) printed 
 works and bindings. Cabinets VII, VIII, to the right of the entrance: books 
 printed in Italy and Spain. — IX. Impressions from wooden types ; others 
 by Fust and SchofFer (below). — VI. In the centre of the saloon : books of 
 the largest size, on vellum and paper; superb bindings of the 16th cent.,
 
 6. BIBLIOTHilQUE NATIONALE. 193 
 
 and one above, in embossed silver, of the 17th century. — XXI-VI. (beside 
 the windows, returning towards the • entrance) : books printed in different 
 towns of France; illustrated books; books printed in Germany, '(England, 
 and Holland. — XXVII-IX. (in the centre) : books printed at Paris, with 
 magnificent miniatures; above, bindings. 
 
 Second half of the gallery: MSS. and bindings. X. (to the right) : 
 MSS. relating to the foundation of the library in the 14th and 15th cent. ; 
 portrait of John II., le Bon (d. 1364), a painting on wood of the 14th century. 
 — XI. French palaeography from the time of Charlemagne down to the 
 end of the middle ages. — XII. Palaeography of Italy, Spain, England, and 
 Germany for the period just mentioned; MSS. with "miniatures of the 14th 
 and 15th centuries. — XIII. Latin palaeography, from ancient times down 
 to the Carlovingian era. — Cabinet without a number: Wax-tablets with ac- 
 counts (13-14th cent.). — XIV (at the window). Atlas and charts of the 
 15-16th centuries. — XV. Oriental and American MSS. — XVI. Various 
 MSS. — XVII. Greek MSS. — XVIII. Autographs. — XIX. Paintings from 
 MSS. — XX. MSS. of kings and queens of France. — XXX, XXXI (in the 
 centre). Sumptuous bindings of the middle ' ages, adorned with ivory, 
 jewels, bronze, chains, etc. 5 missal from the abbey of St. Denis (11th cent.); 
 five Gospels from the Sainte-Chapelle (ll-14th cent.). — XXXII. Autographs, 
 particularly of the 17th century. 
 
 At the end, to the right, is the Section des Cartes et CoUecUons 
 Geographiques. 
 
 The *Cabinet des Mbdailles bt ANTiauEs (admission, see 
 p. 190) has an entrance of its own in the Rue Richelieu, the door 
 beyond the police-station when approached from the Boulevards, 
 and the first when approached from the Palais-Royal (visitors ring). 
 It contains an extensive collection of Medals (400,000) and Antiques^ 
 comprising gems, intaglios and cameos, small works of art, glass, 
 vases, arms, and other curiosities. 
 
 Vestibule. On the wall at the back: Zodiacal Monument from Dendera. 
 This monument occasioned much discussion in the learned world, until 
 it was discovered that the temple of Dendera was not completed before the 
 early days of the Roman empire, which pointed to the fact that the Greek 
 signs of the Zodiac had been transported to Egypt. On the left the 
 chamber of the kings from Karnak , constructed by Thotmes III. (18th 
 Dynasty), with important inscriptions, but badly placed, -^srcr^ -, 
 
 On the Staiecase and in the Anteeoom at the top : Stelae, and Greek 
 and Latin, Coptic and Phoenician inscriptions. — On the left is the — 
 
 Grande Galerie (if closed, visitors ring). The glass-cases in the centre 
 contain the most interesting objects. Case I. Cylinders with cuneiform 
 inscriptions, and cut gems from Assyria, Chaldaea, and Persia; also antique 
 intaglios. In the centre of the last division, second row: *18i5. Apollo 
 Citharoedus in amethyst , signed Pamphilos. — Case II. : Intaglios and 
 cameos of ancient, mediaeval, Renaissance, and modern times. Among 
 others, from left to right: 1st Division, 2093. Antoninus Pius. 3rd Division, 
 2391. Jupiter enthroned, between Minerva and Mercury, in cornelian ; 2396. 
 Abundance and Peace., crowned by genii, in sardonyx; 2404. Jugurtha deliv- 
 ered to Sulla; 2337 (fifth row, to the left). Cornelian with Bacchanalian 
 device, erroneously said to have been used as a seal by Michael Angelo. 
 4th Division, 2603bis, etc. Cornelian seals, bearing engraved portraits by 
 Guay, engraver to Mme. Pompadour. 5th Division, 412. Diana; 426. Bel- 
 lona; *318. Analogies of the Old and New Testaments., a cameo of the 
 16th cent. \ 303. Adoration of the Magi., a Flemish work of the 15th century. 
 6th Division, 533. Augustus; 531. Roman emperor; 504bis. Modesty and 
 Love, modern. 7th Division, 651. Negro king; 639 641. Fountain of the 
 Sciences; 671, 670. Battles; 652. Negro king; 601. Heliogabalus ; 673, 674. 
 Bracelets of Diana of Poitiers, each composed of seven cameos, Renais- 
 sance work. 8th Division, 325. Francis I.; 337. Louis X I II., ""orient&l garnet 
 
 Baedeker. Paris. 12th Edit. 13
 
 194 6. BIBLIOTHEQUE NATIONALE. 
 
 set in enamel; 334. Henri IV and Marie de Midids; 350. Louis XV., 363. 
 Seal of Louis XV., with portrait of Mme. Pompadour inside, both by Guay. 
 To the left, 383bis. Indian Cameo., with the name of Shah Jehan, the Great 
 Mogul. — Case III. (continuation of the cameos). 1st Division, 295 (first 
 row, to the left). Eeliognhalus on a car drawn by two women on their 
 hands and knees. 3rd Division. Byzantine and oriental cameos ^ 298. 
 Triumph of Licinius. 4th Division. Antique portraits: no number. ''Alexander 
 the Great, agate mounted in enamelled gold; 249 (above). Julius Caesar, 
 Augustus, Tiberius, and Germanicus, also handsomely mounted; *17 (to the 
 left). Minerva, 
 
 Case VI, at the window, which should be inspected next, contains the 
 best antique cameos, placed here for the sake of the light. 1st Division. 
 Mythology: *1. Jupiter, one of the most valuable cameos in the collection, 
 with a magnificent mounting executed under Charles V. (1367) ; lOi. Young 
 Centaur playing the /lute; 8. Rape of Europa; 39. Apollo and Mavsyas; •27. 
 Dispute between Minerva and Neptune; *110. Venus Anadyomene, sis-'ned Gly- 
 con; 76. Bacchus and Ariadne, in a mount adnrned with pearls; *185. Diony- 
 sian Bull ; 43. Lais quitting the bath ; 29. Agrippina as Diana ; *142. Horses 
 of Pelops; *44. Judgment of Paris. — 2nd Division. Portraiture: *2o6. 
 Apotheosis of GeiTiianicus ; *267. Claudius and Messalina, as Triptolemus and 
 Ceres, in a chariot drawn by two dragons; 231 (above). Augustus; *11 
 (to the leftt, Jtmo, notable for delicacy of workmanship and beauty of 
 material ; 268. Messalina ; 242. Tiberius, two fine cameos drawn by Rubens : etc. 
 
 Case IV, in the centre of the hall, contains the greatest treasures of 
 the collection: Goblet of sardonyx, known as the Cup of the Ptolemies, with 
 Bacchic reliefs, from the treasury of St. Denis ; Twelve antique gold 
 medals, some mounted as ornaments; Cup of Chosroes I.. King of Persia 
 (d. 579), composed of medallions of rock-crystal and glass of two colours, 
 with Chosroes enthroned in the centre, also from the treasury of St. Denis, 
 where it was known as the 'Cup of Solomon"; Julia, daughter of Titus, 
 in aqua marina, with mediseval mounting ; Trisor de Gourdon , a tray 
 and flagon of massive gold (6th cent ). found at the village of Gourdon, 
 an interesting memorial of early Christian times. Roman gold necklace 
 and medals. "Triumph of Germanicus, erroneously called 'Apotheosis of 
 Augustus', the largest cameo in the world, consisting of a sardonyx near- 
 ly 1 ft. in height, with twenty-six figures. ~Medal of Eucratides, Greek 
 king of Baetriana. found in 1867, the heaviest medal known; weighing 
 6 oz. or twenty times the weight of a Greek stater. Antique Ship in 
 sardonyx, with mediaeval mounting. Augustus, antique cameo in a mediaeval 
 mounting. ''Pat^re de Rennes. a cup of massive gold, found near Rennes 
 in 1774, with reliefs representing the drinking-contest of Bacchus and 
 Hercules (triumph of wine over strength), and bordered with sixteen medal- 
 lions of Roman emperors of the family of the .\ntonines from Hadrian 
 to Geta. son of Septimius Severus. Golden ornaments, probably Etruscan; 
 Bust of Constantine (?) in agate; Trisor de Tarse, four gdld medals; Augustus^ 
 another cameo in a mediseval setting. The remaining divisions of the 
 case contain antique gold trinkets, cameos, gold seals, Italian and early 
 Roman coins, etc. 
 
 A Case (unnumbered) at the adjoining window contains a map with 
 early French medals arranged on it geographically. — Case V, at the last 
 vindow : recent acquisitions. 
 
 Cases VII, VIII (in the middle). Antique and Byzantine coins (all 
 ticketed). — Case IX. Interesting French and foreign coins. — Case X. 
 The 'Treasure of Bernay, consisting of 67 silver statuettes and vases of 
 different periods and varying value, part dating from the 2nd cent. B.C., 
 found at Villeret in Xormandy in 1830. 
 
 The cabinets ranged along the wall opposite the windows contain the 
 Small Bronzes, including antique utensils and arms ; then, 702 (2nd cab.). 
 The '■Caillou Michaux'', an ovoid stone with cuneiform inscriptions, the 
 most valuable Babylonian monument of the kind (1120 B. C.); specimens 
 of ancient Glass; also a choice collection of Painted Vases, like those in 
 the Louvre; lastly, more bronzes. — The cabinet on the following wall 
 contains small antique Terracottas. In the cabinet on the other side of the
 
 6. BANK OF FRANCE. 195 
 
 door, more bronzes. Alao, a silver disc, nearly 2V2 ft. in diameter, known as 
 the '•Bouclier de Scipion\ with reliefs representing the abduction of Briseis, 
 or her restoration to Achilles by Agamemnon. It was found in the Rhone, 
 near Avignon, in 1656, and probably dates from the ft)urth cent, of our era. 
 Another smaller disc, representing Hercules slaying the Nemean lion. 
 
 The Salle dd Dug de Lutnes , to the right of the antechamber, 
 contains a choice collection of antique intaglios, cameos, medals, bronzes, 
 and terracottas, bequeathed by the duke, who was a zealous antiquarian 
 (d. 1867). In the centre, a beautiful female torso in Parian marble. 
 Cabinet to the right: antique weapons and a handsome Moorish sword of 
 the end of the 15th cent., said to have belonged to Boabdil, the last 
 Moorish king of Granada. 
 
 Adjoining Room (Salle de la Renaissance). Cabinet I, to the right: 
 interesting Objects in Ivory^ consular diptychs (presented by consuls to 
 senators), of the 5-6th cent.; large French medals; sword of honour of 
 the grand-master of the Maltese order, with enamelled gold hilt (I6th cent.) ; 
 medallion of a woman, by Mino da Fiesole (15th cent.); bronze Moorish 
 v.ises, etc. Central Case, below: medieeval ivory casket (Italian; 16th 
 cent.) ; two enamelled croziers of the i3th and 15th cent. ; enamelled 
 goblet, by J. Courtois of Limoges ; silver-gilt ewer of the 16th cent. ; wood- 
 carving of St. Antony, by Lucas van Leyden ; silver casket of Franz von 
 Sickingen, with reliefs (early 16th cent.); seals; chessmen, said to have 
 belonged to a set sent by Haroun-al-Raschid to Charle magne ; etc. Behind 
 (below), ornaments, enamels (-5582. Hat-ornament of the 16th cent.), and 
 articles found in 1653 in a tomb conjectured to be that of Childebert I. 
 (d. 481.). Cabinet II. Medallions by David d'Angers; antique and Byzantine 
 ivory carvings ; the large 'Sobieski Vase", with ivory carving of the battle 
 of Vienna in 1683. On the other side of the room the so-called Throne of 
 Dagobert, claiming to date from the 7th cent.'; and fine collections of 
 medals. 
 
 In the Last Room are the Collections de Janzi and Oppermann, consist- 
 ing of ancient statuettes in bronze and terracotta, and a few vases. To 
 the right, below : Dancing girl. In the next glass-case, 927. Bronze statuette, 
 supposed to be the best extant replica of the Diadumenos of Polycletus. 
 The large octagonal glass-ca=e in the centre is designed for a chronolog- 
 ically arranged collection of French medals; bronze statuettes; terra- 
 cottas, etc. Above, Bronze head of Cybele found at Paris in 1675. 
 
 The Rue des Petits- Champs, which skirts the Blbliotheque on 
 the S., or the side next the Palais-Royal, passes the end of the Rue 
 Vivienne and of the Passage Vivienne, also on the left, and termin- 
 ates at the Rue de la Banque (p. 196). 
 
 In the Rue de la Vrilliere, leading to the right beyond the Rue 
 des Petits-Champs, is the Banque de France, enclosed by four dif- 
 ferent streets. It was formerly a private mansion (Hotel Vrilliere) 
 and contains a handsome apartment of the 18th cent, called the 
 Galerie Doric, which may be visited on application. 
 
 The Bank 0/ France is not a state-institution, but, like the Bank of 
 England, is a private joint-stock bank, though subject, of course, to the 
 control of the government. It has the sole right of issuing notes in France, 
 and transacts all ordinary banking business on a very extensive scale. The 
 cellars contain bullion, diamonds, and other valnaiiles, worth in all sev- 
 eral milliards of francs. These repositories are constructed in a very mas- 
 sive stvle and are guarded with most elaborate precaution. The notes in 
 circulation amount to about 3,250,000,000 fr. (130,000,0^2.), against which 
 there is a reserve of 3,500,000,000 fr. (140,000,000?.), of which 2,750,000,000 
 fr. (110,000,000;.) is in specie and the remainder in first class securities, 
 on short terms. 
 
 13*
 
 196 6. PLACE DES VICTOIRES. 
 
 A narrow side-street leads from the Bank to the small circular 
 Place des Victoibes (PI. R, 21; ///), ahout 85 yds. in diameter, 
 designed by J. H. Mansart, and constructed in 1685. It was ori- 
 ginally caUed the 'Place Louis XIY', and was embellished in 
 1686 with a gilded statue of that monarch, with the inscription, 
 ^viro immortali'. The monument was destroyed in 1792 , and re- 
 placed by a pyramid inscribed with a list of victories gained by 
 the republican army, from which the Place derives its present name . 
 The pyramid was in its turn displaced in 1806 by a statue of 
 General Desaix (d. 1800), which in 1814 was melted down along 
 with others to furnish materials for the statue of Henri IV on the 
 Pont-Neuf (p. 225). The present clumsy monument, an Equestrian 
 Statue of Louis XIV., in bronze, which is too large for the Place, 
 was erected in 1822 by Bosio. The figure of the horse, in a rearing 
 attitude , rests on the hind-legs and tail, and the rider is garbed as 
 a Roman general. The reliefs on the pedestal represent the king's 
 passage of the Rhine, and the distribution of military honours. 
 
 To the E. of tlie Place des Victoires the Rue des Petits-Champs is 
 prolonged by the Rue Etienne-Marcel , which crosses the Eue du Louvre, 
 skirts the central post office (p. 170), and is continued to the Boul. de 
 Sebastopol. 
 
 A few paces to the N.W. of this Place is the church of Notre- 
 Dame-des-Victoires , erected in 1656-1740 to commemorate the 
 taking of La Rochelle, the chief stronghold of the Huguenots. It is 
 now the seat of a monastic fraternity. The altar of the Virgin to 
 the right of the choir, which is the object of special veneration, was 
 despoiled of its chief treasures by the Communards, but has been 
 richly re-decorated. The walls of the chapels are covered with vot- 
 ive inscriptions on marble. The choir contains well - executed 
 carved woodwork and two pictures by Vanloo (d. 1745) : an Alle- 
 gory of the capture of La Rochelle, and scenes from the life of St. 
 Augustine. 
 
 The Rue de la Banque, a little beyond the church, to the right 
 as we quit the latter, leads to the Bourse. This street contains three 
 handsome modern edifices : the Mairie of the 2nd Arrondissement 
 (Bourse) and the Caserne de la Banque on the right, and the Hotel 
 du Timbre on the left. The Salle des Mariages of the Mairie con- 
 tains paintings by Moreau de Tours. 
 
 The *Bourse, or Exchange (PI. R, 21; ///), a handsome building 
 in the Graeco-Roman style, surrounded by a series of 66 Corinthian 
 columns, is an imitation of the Temple of Vespasian in the Fo- 
 rum at Rome. It was begun in 1808 by Brongniart (d. 1813), and 
 completed in 1826 by Labarre (d. 1833). Length 75 yds., width 
 45 yds., height 100 ft. ; columns 33 ft. high, and 31/3 ft. thick. 
 The edifice is enclosed by a railing, and approached by a flight of 
 sixteen steps at each end. At the corners in front are allegorical 
 statues of Commerce by J. Dumont (d. 1844), and Consular Jus-
 
 6. THE BOURSE. 197 
 
 tice by Buret (d. 1865); at the back, Industry by Pradier (d. 1852), 
 and Agriculture by Seurre (d. 1858). 
 
 The hall of the Bourse, which is 35 yds. in length, and 19 yds. 
 in width, is opened for business daily, except on Sundays and holi- 
 days, at 12 o'clock. A few minutes before that hour the Place 
 begins to present a busy scene. Numerous vehicles, chiefly private 
 carriages, drive up, and the money-seeking throng hurries into the 
 building. Business , however, does not fairly begin till about half 
 past twelve. Even under the Peristyle outside (known as the Cou- 
 lisse des Valeurs en Banque), business is animated, though nothing 
 in comparison with the scene within the hall. The parquet, at the 
 end of the hall, is a railed-oflf space which the sworn brokers, or agents 
 de change, alone are privileged to enter. In the centre of this part 
 of the hall is the corheille, a circular, railed-off space, round which 
 they congregate, making their offers in loud tones. Various groups 
 in different parts of the hall, but especially near the parquet, are 
 occupied in taking notes, or concluding sales or purchases, the prices 
 being regulated by the transactions going on in the parquet, while 
 other persons are seen handing instructions to the brokers within 
 the parquet. To the right, not far from the 'corbeille', is the A/arc/ie 
 au Comptant for cash transactions ; and to the left, at the end of 
 the gallery, is the Coulisse de la Rente. 
 
 The tumultuous scene is best surveyed from the gallery, reached 
 from the vestibule by two staircases ascending to the right and left 
 of the large hall. The deafening noise , the vociferations , and the 
 excited gestures of speculators, produce a most unpleasant impres- 
 sion. Amidst the Babel of tongues are heard the constantly recur- 
 ring words, ^Tai . . . ,• qui est-ce qui a . . ?; je prends ; je vends ! ' 
 
 The visitor should not omit to observe the 'grisailles' on the 
 vaulting, by Abel de Pujol (d. 1861) and Meynier. They represent 
 the Inauguration of the Bourse by Charles X., France receiving 
 tribute from every part of the globe, the Union of commerce with 
 the arts and the sciences, and the Principal Cities of France. The 
 paintings in imitation of reliefs are very skilfully executed. 
 
 At 3 o'clock the business of the stock-exchange terminates, the 
 brokers assemble and note the prices realised in their transactions, 
 and in accordance with these they adjust the share-list for the day, 
 which is then immediately printed and issued. The hall remains 
 open till 5 o'clock for the transaction of other mercantile business. 
 The annual amount of business transacted in the Bourse has been 
 calculated at 100 milliards of francs or 4,000,000,000i. Telegraph 
 and telephone office, see pp. 27, 28. 
 
 II. FROM THE BOURSE TO NOTRE-DAME-DE-LORETTE, LA TRINITE, 
 AND THE GARE ST. LAZARE. 
 
 The handsome Rue du Quatre-Septembre leads to the W. from 
 the Place du Bourse to the Place de lOpe'ra (p. 76). The Rue
 
 198 6. NOTRE-DAME-DE-LORETTE. 
 
 Vivienne^ running from the Palais-Royal (p. 58} past tlie front of 
 the Bourse, continues in the same direction to the Boulevard Mont- 
 niartre (p. 75). Turning to the left, we reach the Boulevard des 
 Italiens in a few minutes, whence we enter the Rue Drouot, to 
 the right. 
 
 No. 9 in this street is the Hotel des Ventes Mobilieres, a large 
 public auction-room, the 'Christie and Manson's' of Paris, where 
 extensive sales of works of art take place in winter at 2 p.m. Con- 
 siderahle experience is necessary to make purchases here with 
 advantage, and the stranger is warned against entering into a useless 
 or expensive competition with the brokers, who are always ready 
 to unite against the common enemy. — The chief Book Sales take 
 place in the Salle Silvestre, Rue des Bons-Enfants 28, near the Pa- 
 lais-Royal. 
 
 No. 26 in the Rue Drouot, to the right, is the Hotel du Figaro, 
 or 'Figaro' office, in the style of the Spanish Renaissance. 
 
 We then cross the handsome modern Rue Lafayette or la Fayette, 
 13/4 M. in length, which, with its continuation, the Rue d'AUe- 
 magne (1 M. ; p. 204), leads straight from the Opera to the N.E. 
 quarters of Paris. 
 
 On the right of the Rue Lafayette, near this point, is the office of the 
 ^ Petit Journar , which claims to have a daily circulation of 1,100,000, i.e. the 
 largest in the world. 
 
 A little farther on the street passes the pretty Square Montholon 
 (PI. B, 21), embellished with two bronze groups : Eagle and vulture con- 
 tending for the carcase of a bear, by Cain; and a Mountebank with a 
 monkey, by Roland. 
 
 A few yards straight on is the junction of the Rue de Chateau- 
 dun and Rue de Maubeuge, two streets as handsome though not 
 so long as the Rue Lafayette. The Rue de Maubeuge leads hence 
 to the Gare du Nord (p. 203). We follow the Ruede Chateaudun 
 to the left. 
 
 The church of *Notre-Dame-de-Lorette [PI. B, 21), close to the 
 'Carrefour de Chateaudun', is situated at the N. end of the Rue 
 Laffltte, which leads to the Boulevard des Italiens. It was erected in 
 1823-36 by Hipp. Lehas in the simple style of an early-Christian 
 basilica. The tympanum of the Corinthian portico is adorned vntb 
 a group by Nanteuil (d. 1865). 
 
 The Interioe is very elaborately decorated. The ceiling is divided 
 into huge coffers lavishly gilded and painted. The most interesting of the 
 frescoes which cover the walls are those in the nave and choir. In the 
 nave : to the right, Nativity of the Virgin, by Monvoisin ; Her Consecration, 
 by Vinchon; Her Marriage, by Langlois; Annunciation, by Dubois; to the 
 left, as we return, Visitation, by Dubois ; Adoration of the Shepherds, by 
 Hette; Adoration of the Magi, by Granger; Assumption, hj Dejuinne. In 
 the choir: on the left, the Presentation in the Temple, by ffeim; on the 
 right, Jesus teaching in the Temple, by Drolling; in the centre, the Corona- 
 tion of the Virgin, by Picot. 
 
 The Rue des Martyrs, behind the church, ascends straight to the Butte 
 Montmartre (p. 207); and the Rue de Notre-Dame-de-Lorette leads to the 
 left to the Cemetery of Montmartre (p. 209). 
 
 The handsome Rue de Chateaudun, which passes in front of the
 
 6. LA TRINITY. 199 
 
 church, extends from the Rue Lafayette (p. 203) to the Place de 
 la Trinite (see below), traversing the N. of the Quartier de la Chaus- 
 see-d'Antin, one of the handsomest central districts of the city, with 
 the Opera House, several of the principal banks, and some of the 
 large hotels. It owes its name to the Rue de la Chauss^e-d'Antin, 
 between the church of La Trinite and the Boul. des Capucines. 
 
 In the Rue de la Victoire (PI. B , 21) , which runs parallel with the 
 Rue de Chateaudun, to the S., is a Synagogue built in 1865-74 by Aldrophe, 
 with a modern Romanesque facade. 
 
 *La Trinite (PL B, 18), a church in the latest Renaissance 
 style, was built by Ballu in 1861-67. In front of it is the small 
 Square db la Trinite, adorned with three fountains and statues 
 of Faith, Hope, and Charity, executed by Lequesne from designs by 
 Duret. The facade has a porch with three large arches, above which 
 rises an elegant story with a gallery and a rose of open-work, sur- 
 mounted by a handsome clock-tower 206 ft. in height, flanked with 
 two lanterns. 
 
 The Interior consists of a large nave with two low aisles flanked with 
 chapels. Nave and aisles are separated by handsome columns alternating 
 with pillars, which are embellished with statues of the Apostles. The 
 gallery over the aisles projects into the choir, below which is a crypt. 
 Over the high-altar rises a tasteful canopy. The apse is occupied by a 
 large chapel richly decorated; Madonna by F. Dubois, paintings by Em. 
 Livy and Elie Delaunay, and stained glass by Oudinot. The nave and 
 the other chapels are also adorned with paintings ; those in the nave are 
 by Jobb^-Buval ; those in the chapels on the right by Brisset, Lecomte du 
 Nouy (St. Vincent de Paul), F. J. Barrias (St. Genevieve), and Laugie 
 (St. Denis); those on the left by Eug. Thirion, Rom. Cazes^ Mich. Dumas, 
 and L. Frangais. Kear the entrance are elegant 'benitiers'', surmounted with 
 marble statues of Innocence and Purity by Gumery. — La Trinite has a 
 good choir and organ. M. Guilmant is the organist. 
 
 The Rue de Clichy, to the left of the church, runs to the Place de 
 Clichy (p. 212), passing the Casino de Paris and the Pole-Nord (p. 34). 
 
 The Rue St. Lazaxe, continuing the Rue de Chateaudun beyond 
 La Trinite, passes to the S. of the Quartier de V Europe, so called 
 because most of the streets are named after the great towns of Europe. 
 
 The Rue de Londres, to the N.W. of the Place, leads almost straight 
 to the Pare Monceaux (p. 201), via the curiously shaped Place de VEurope 
 (PI. B, 18), formed by the junction of six streets above the line of the 
 Chemin de Fer de TOuest, behind the Gare St. Lazare. 
 
 The Rue St. Lazare leads in a few min. from La Trinity to the — 
 Gare St. Lazare (PI. B, 18), which is reached from the Boule- 
 Tards more directly via the Rue Auber and Rue du Havre. The 
 station is a large and handsome building, remodelled in 1886-89 on 
 plans by Lisch. It consists of two main parts, connected by a long 
 waiting-room, and of the Hotel Terminus (p. 3) in front, facing the 
 street, and concealing the rest. The part or pavilion in the Rue 
 d' Amsterdam is for the main line traffic, the other part, in the Rue 
 de Rome, for the Chemin de Fer de Ceinture and for the Lignes de 
 Baiilieue. Though this station is an ornament to the quarter, it is 
 not so convenient for travellers as it might have been made. The 
 former inconvenient and fatiguing staircases have been retained,
 
 200 6. CHAPELLE EXPIATOIRE. 
 
 instead of bringing the rails down to the street-level ; the suhnrban 
 and main platforms are at a distance from each other; and while the 
 waiting-rooms are on the first floor, the luggage-offices and chief 
 exits are on the street-level, in a kind of basement-floor. 
 
 III. FROM THE.. GABE ST. LAZARE TO ST. AUGTJSTIN AND THE 
 
 PARC MONCEAUX. 
 
 Les Batignolles. 
 
 We now follow the Rne du Havre opposite the station on the 
 Hue d' Amsterdam side, to the Boulevard Haussmann. To the left 
 in the Rue du Havre are the Lycie Condoreet, and, farther on, the 
 handsome Magasins du Printemps (p. 35). 
 
 The Boulevard Haussmann, one of the imposing modern thorough- 
 fares of Paris, is continued to the (1^/4 M.) Arc de Triomphe de 
 I'Etoile (p. 154) by the Avenue de Friedland. If continued fox 
 300 yds. in the other direction to the Boulevard Montmartre, between 
 the Rue Taitbout and the Rue Drouot, it would form the most direct 
 route from that neighbourhood to the Bois de Boulogne. We follow 
 the Boul. Haussmann to the right as far as a square, in the middle 
 of which stands the — 
 
 Chapelle Expiatoire (PL B, 18; //; fee to attendant), erected 
 in 1820-26 to the memory of Louis XYI. and Marie Antoinette, on 
 the site of the old cemetery of the Madeleine, where they were in- 
 terred from 1793 to 1815, when their remains were removed to the 
 royal vault at St. Denis. In front of the chapel is a court flanked 
 with galleries in imitation of ancient tombs , and intended as a 
 monument to other victims of the Revolution. The chapel is in the 
 form of a Greek cross, with a portico, and is covered with a dome. 
 
 The Interiob contains two groups in marble. That on the right, by 
 Bosio, represents Louis XVI. and an angel who addresses him with the 
 words, ^Fils de St. Louis, montez au cielT Below is inscribed the king's 
 will. The group on the left, by Cortoi , represents the Queen supported 
 by Religion, a figure which bears the features of Madame Elizabeth, the 
 king's sister, who was guillotined on 12th May, 1794. Inscribed on the 
 monument is the last letter addressed by the queen to her sister-in-law 
 (comp. p. 215). Staircases on each side of the altar descend to a crypt, 
 which occupies the ground where Louis XVI. was originally interred. 
 
 Farther on, the Boul. Haussmann intersects the Boulevard Males- 
 herbes, another imposing street , extending from the Madeleine to 
 the fortifications [1^/4 M.). — To the right in this boulevard rises 
 the church of — 
 
 St. Augustin (PL B, 15), built by Baltard in 1860-68, in a 
 modernised Romanesque style. The building is in the form of an 
 irregular triangle, towards the base of which rises a dome 80 ft. in 
 diameter and 165 ft. in height, crowned with an elegant lantern, 
 and flanked with four dome-covered turrets. The portal consists of 
 three arches surmounted by a kind of gallery containing statues of 
 Christ and the Apostles, above which are a rose-window and a
 
 6. PARC MONCEAUX. 201 
 
 triangular pediment. The pillars are also embellished with statues 
 of prophets and doctors of the church. 
 
 Interior. The cliurch has no aisles , properly so called. The nave 
 preserves its w^idth the whole way back, while the increasing width of 
 the triangle is filled with chapels increasing in depth as they approach 
 the choir. Above are galleries , which are continued under the dome. 
 The nave is covered with an arched ceiling, borne by arcades of open 
 iron-work, and the columns terminate in figures of angels. The high- 
 altar, standing beneath a sumptuous canopy, is placed above a crypt, 
 which also runs under the nave. The very short transepts terminate in 
 chapels. In the nave are two paintings by D. Maillart: Baptism of St. 
 Augustine (on the left). Death of St. Monica (on the right). The mural paint- 
 ings are by Signol (in the cupola), Bouguereau^ and Brisset; the stained 
 glass by Marichal and Lavergne. — The organist is M. E. Gigout. 
 
 In the adjoining square is a bronze group by Mamhur ^ representing 
 'A Rescue'. 
 
 About 500 yds. farther on, the Boul. Malesherbes passes to the 
 right of the Pare Monceaux, before reaching the outer Boulevards. 
 The park may also be reached by returning to the Boul. Haussmann 
 and following it to the right, to the Avenue de Messine, which di- 
 verges to the N.W. towards the Pare Monceaux. A bronze statue 
 of Shakspeare, by Paul Fournier, was erected in 1888 at the point 
 of divergence. — The — 
 
 *Parc Monceanx, or Pare de Monceau (PI. B, 15), enclosed by 
 a very handsome railing, has four entrances (see Plan), the chief 
 of which is in the Boul. de Courcelles, where a small rotunda, from 
 the former Barriere de Chartres, has been placed. This park has 
 no pretension to vie with the Bois de Boulogne, or even the Buttes- 
 Chaumont, but it affords a pleasant and refreshing oasis in the 
 midst of a well-peopled quarter of the city. 
 
 The park owes its name to a property bought in 1778 by Philippe 
 d'Orle'ans, surnamed Egalit€, father of Louis Philippe, who laid it out 
 in so novel and attractive a style that it soon became one of the most 
 fashionable resorts of the 'beau monde'. Balls, plays , and fetes of the 
 most brilliant description were celebrated here. The Revolution converted 
 the park into national property. Napoleon I. presented it to his chan- 
 cellor Cambaceres, who, however, soon restored it to his imperial master, 
 on account of the great expense in which it involved him. At the Re- 
 storation it again became the property of the house of Orleans, and was 
 employed in 1848 for the 'national ateliers'. At length it was purchased 
 by the city of Paris, and upwards of 25 acres of it were sold by the 
 municipality for building purposes, while the remaining 22^/2 acres were 
 converted into a public park, tastefully laid out in the English style, 
 and accessible to carriages as well as pedestrians. 
 
 The park retains a few relics of its old attractions , such as the 
 Naumachie, an oval piece of water, flanked with a semicircular 
 Corinthian colonnade , and adorned with a statue of Hylas , in 
 bronze, by Morice. Among the sculptures with which the park is 
 embellished are the Young Faun, byF. Charpentier ; the Abandoned, 
 by Cornu ; to the right of the main walk, Boy playing with marbles, 
 by Lenoir; to the left, the Snake-Charmer, by B. de la Vingtrie ; 
 Wounded lionness, by Valton; farther on, to the right, Wounded 
 Cupid, by Mabille ; to the left, the Sower, by Chapu; to the right, 
 the Mower, by Gumery ; behind, the Reaper, by Gaudez. — Statues
 
 202 6. BATIGNOLLES. 
 
 are also to be erected here to Gounod, Chopin, and Bizet, the 
 composers; Corot, the painter; and Guy de Maupassant, the author. 
 From tlie gate into the Avenue Hoche, at the end of which the Arc 
 de TEtoile is visihle, we observe the gilded domes of the ^Russian Church 
 (PI. R, 12), in the Rue Daru. This church was built in 1859-61 in the 
 Byzantine-Muscovite style, from a design by Kouzmine, and is in the form 
 of a Greek cross. The handsome porch is covered with a gilded dome and 
 surmounted with five pyramids, that in the centre being 156 ft. in height, 
 and all of them terminating in gilded domes with Russian crosses. The 
 church is open on Sun. and Thurs., 3-5 o'clock. The interior consists of a 
 vestibule, a nave, and a sanctuary, the last-named being screened off, accord- 
 ing to the usage of the Greek church, with an 'ikonostas', which derives its 
 name from the figures which adorn it. These last, representing Christ, the 
 Virgin, and several Russian saints, were painted by the brothers Sorokine 
 and by Bronnikoff. The rest of the church is adorned with paintings of 
 Scriptural subjects by the same artists and of prophets by Yaseilieff. 
 
 The Batignolles quarter, to the N. of the Pare Monceaux, is a fa- 
 vourite residence for artists, and contains many handsome and tasteful 
 private residences, presenting a pleasing contrast to the monotonous 
 architecture of the ordinary streets of Paris . The traveller will find it 
 worth while to Inspect the Rue Prony, opposite the principal entrance 
 to the park, and several of the side-streets such as the Rues Fortuny 
 and Montchanin, and lastly the Avenue de Villiers and part of the 
 Boul. Malesherhes. In the Place Malesherbes (PI. B, 14) are also 
 several very handsome mansions, particularly one in the style of the 
 16th century. In the gardens flanking the avenue are bronze figures of 
 the Genius of Music, by Bailly, and the Grief of Orpheus, by Verlet, 
 Farther on is a bronze Statue of Alex. Dumas (1824-1870), de- 
 signed by Gustave Dore ; the fine group in front represents Reading, 
 and behind is a Musketeer. 
 
 No. 146 in the Boulevard Malesherbes is the Li/c^e Carnot, formerly 
 the Ecole Monge (PI. B, 11-14), an establishment founded in 1869, to prepare 
 pupils for the government schools. Farther to the X. is the Place Wagram 
 (PI. 11), embelUshed with a bronze statue, by F. de St. Vidal, of A. de 
 Neuville (1835-1885), the military painter. The Place is situated above the 
 Chemin de Fer de Ceinture, not far from the stations of Courcelles and 
 Batignolles (comp. Appx. ), and it is the terminus of a line of omnibuses (F). 
 
 To return hence to the centre of the town by the Avenue de Villiers, 
 we follow the Rue de Constantinople and the Rue de Londres, within 
 the outer boulevards , to the Trinite. Between these sfteets is the Place 
 de TEurope (p. 199). — If we turn to the left at the end of the Avenue 
 de Villiers towards the outer boulevards we soon pass on the right the 
 College Chaptal or Goubaux (PI. B, 14, 15). a building constructed by Train 
 in 1866-72, of stone and bricks of different colours, and tastefully decorated. 
 Farther on is the Place de Clichy (p. 212) , whence the Rue de Clichy also 
 leads to La Trinite'. 
 
 7. La Villette and Montmartre. 
 
 Visitors who are interested in the market at La Villette will see it to 
 most advantage on Monday or Thursday morning (omnibus line M ; 
 tramway to Pantin and Aubervilliers; Chemin de Fer de Ceinture), and 
 may afterwards visit the Buttes-Chaumont and other adjacent points. — 
 Luncheon may be obtained near the Gare du Nord or Gare de TEst (see 
 p. 18). at the Buttes-Chaumont, in the Rue d'Allemagne, near the market 
 {e.g. No. 188), or in the restaurant at the market.
 
 7. GARE DE L'EST. 203 
 
 I. FROM THE BOULEVARDS TO LA VILLETTE. 
 
 St. Laurent. Gare de I'Est. Gare du Nord. Buttes-Chaumont. Market 
 
 and Abattoirs at La Villette. 
 
 We leave the Grands Boulevards beyond the Porte St. Denis 
 (p. 74), and follow the Boulevard de Strasbourg (p. 73), to the 
 left, to the Gare de I'Est. On the right is the Eldorado theatre 
 (p. 32), and on the left La Scala, a 'caf^-concert' (p. 33). Before 
 reaching the station we cross the Boulevard de Magenta, about 
 Y2 M. from the Place de la Republique (p. 72). 
 
 The church of St. Laurent (PL B, 24), immediately to the right, 
 was founded in 593, but has been repeatedly rebuilt and restored. 
 It was finally remodelled in 1865-66, when two bays were added to 
 the nave, and a handsome Gothic facade with a spire was con- 
 structed towards the boulevard. The choir was decorated by Blondel 
 (d. 1853), and the high-altar by Lepautre. In the S. transept is a 
 Martyrdom of St. Lawrence, by Qreuze ; on the opposite side, St. Law- 
 rence among the poor, by Trezel. The chapel of Notre-Dame-des- 
 Malades, in the apse, contains numerous votive offerings. 
 
 The Gare de I'Est, or de Strasbourg (PL B, 24), a handsome 
 building designed by Duquesnay (d. 1849), is situated opposite the 
 end of the Boulevard de Strasbourg. It is at present being altered 
 and enlarged to accommodate the increasing traffic. The facade is 
 surmounted by a sitting figure of the city of Strasbourg. The pa- 
 vilions projecting on each side are connected by a colonnade, on the 
 balustrade of which is a clock-dial with statues of the Seine and the 
 Rhine. Trains, hotels, etc., see pp. 23, 8. 
 
 The Rue de Strasbourg, leading to the W. past the front of the 
 station, joins the Boulevard de Magenta, which brings us in 5 min. 
 to the wide and handsome Rue Lafayette (p. 198). 
 
 The Gare du Nord (PL B, 24), a railway-station constructed in 
 1863-64 by Eittorff, is situated a short distance to the right. The 
 principal part of the extensive facade, which is 170 yds. in length, 
 is surmounted by a pediment crowned with a statue of Paris in the 
 centre and those of eight important foreign cities connected with 
 Paris by the Ligne du Nord. Behind this facade is the great hall, 
 220 yds. long, 77 yds. in width. Though by no means the hand- 
 somest, this station is the most practically arranged in Paris. All the 
 platforms are on the street-level ; and the ticket-offices and waiting- 
 rooms are most conveniently situated. — Lines starting hence, see 
 p. 23 ; hotels in the vicinity, see p. 8. 
 
 The church of St. Vincent-de-Paul (p. 206) is near the station; its facade 
 is turned towards the Rue Lafayette. 
 
 We regain the Rue Lafayette by following the street that leads 
 to the E. in front of the station, and continue in a straight direction, 
 crossing the railway from the Gare de I'Est. 
 
 The Rue Lafayette ends at the Boulevard de la Villette, near 
 the Canal St. Martin. On the left we observe a Rotunda, in which
 
 204 7. LES BUTTES-CHAUMONT. 
 
 is the Custom House, a relic of an old gateway erected at the end 
 of last century by Ledoux. To the right, behind the houses, is 
 the Bassin de la Villette (PL B, 26, 27), a harbour and reservoir 
 (16 acres), 75 ft. above the lowest water-level in the Seine. It is 
 formed by the Canal de I'Ourcq , which connects the Ourcq, an 
 affluent of the Marne, with the Seine. This canal, 54 M. long, cuts 
 off a long curve formed by the river , while the Canal St. Denis, 
 21/2 M. long, a ramification towards the N.E., shortens the water- 
 route between the Upper and Lower Seine by 10 M. The Canal St. 
 Martin (p. 70), 4 M. long, continues the Canal de TOurcq to the S. 
 
 The basin is surrounded by extensive warehouses, which serve to con- 
 vey an idea of the commerce carried on by these waterways of Paris. About 
 1200 loaded barges enter the basin monthly, and two-thirds of these obtain 
 return-cargoes. 
 
 The basin is crossed by a lofty Foot Bridge, the single arch of which 
 has a span of 310 ft. At the other end, in the Rue de Crimee, is a hy- 
 draulic Draw Bridge, worked by the water of the canal. 
 
 We now follow the Rue d'Allemagne as far as the broad Avenue 
 de Laumiere, which leads to the right to theButtes-Chaumont. On 
 the left, at the end of this avenue, is the large Mairie of the 19th 
 Arrondissement, a modern building in the style of Louis XIII., by 
 Davioud and Bourdais. The Salle des Mariages is embellished with 
 paintings by Gervex and Blanchon. 
 
 The park of the *Butte3-Chaiimont (PI. B, 30, 29) lies on the 
 N.E. side of Paris, at the W. end of the hill of Belleville. It extends 
 in the form of an irregular crescent over an area of about 55 acres, 
 but does not cover the whole of the 'buttes' (hills), part of which is 
 stUl a barren waste ('calvl montes'). On the summit of these 
 hills once rose the gibbet of Montfaucon, where numerous crim- 
 inals and others were hanged. The gallows was removed in 1761, 
 and the place afterwards became notorious as a haunt of malefactors. 
 About the year 1865 the authorities, induced by sanitary consider- 
 ations, began to remove the heaps of rubbish accumulated here, and 
 it was resolved to convert this ill-favoured locality into a park 
 for the benefit of the artizans of this quarter of the city. The 
 peculiar nature of the ground afforded an opportunity of laying it 
 out in a novel and picturesque manner, and the task was skilfully 
 executed by M. Alphand, the engineer, and M. Barillet (d. 1874), 
 gardener-in-chief of Paris, at an outlay of 3,412,620 fr. 
 
 The quarries formerly worked here have been transformed 
 into a rocky wilderness surrounded by a small lake, while the ad- 
 jacent rugged surface is now covered with gardens and walks shaded 
 by trees. A cascade falling from the height of 100 ft. into an arti- 
 ficial stalactite grotto (formerly the entrance to the quarries) is 
 intended to enhance the attractions of the scene. The highest rock 
 is surmounted by a miniature Corinthian temple, an imitation of 
 the Temple of the Sibyl at Tivoli in Italy. This hill commands an 
 admirable view in the direction of St. Denis ; the best *View of the 
 city itself, with its ocean of houses, is obtained from the second
 
 7. MARCH^ DE LA VILLETTE. 205 
 
 summit to the S. An iron cable bridge, 70 yds. in length, crosses from 
 one of the rocks to another, while others are connected by means 
 of a stone arch , so as to facilitate access to the different points of 
 interest. The temple may also be gained by a path among the rocks, 
 reached by a boat across the lake (5 c.). Here and there are bronze 
 sculptures : on the side next the main entrance, The Rescue, by 
 F. Rolard; Eagle-hunter, lay Desca, on this side of the large bridge; 
 Corsair, by Oge, near the great waterfall ; Wolf Hunt, by Hiolin, in 
 the upper part of the park ; nearer the side towards the city, 'Ega- 
 litaire', by Captier; beside the small cascade beyond the restaurant, 
 The Ford , by C. Lefevre. — The Chemin de Fer de Ceinture 
 (p. 24) is carried through the E. end of the park by means of a cut- 
 ting and two tunnels, and in the vicinity is the Belleville- Villette 
 station (see Appx."). 
 
 There are three Cafis-Restaurants in the park ; one near the suspension- 
 bridge, one on the S. side of the hill (with view of Paris), and one above 
 the railway cutting. 
 
 In 1871, the Buttes-Chaumont was one of the last positions occupied 
 by the insurgents, who held their ground here till May 2Tth, when they 
 were driven out by an incessant cannonade from Montmartre. 
 
 In the Belleville quarter, to the S.E, of the Buttes-Chaumont, is the 
 handsome church of *St. Jean-Baptiste (PI. B , 33), built in the Gothic 
 style of the 13th cent, by Lassus (d. 1857), and consecrated in 1859. The 
 chief portal is flanked hy two towers, 189 ft. in height, which are con- 
 spicuous from every part of the city. Mural paintings in the transept by 
 Leloir and Maillet. — A cable-railway descends hence to the Place de la 
 Republique (10 c). 
 
 The Rue d'Allemagne (p. 204) leads to the fortifications of the 
 city, where it terminates at the Porte de Pantin (see p. 206). To the 
 left, within the 'enceinte', about 2/4 M. from the Buttes-Chaumont, 
 is situated the March^ de la Villette (PI. B, 31), the only cattle- 
 market in Paris. Visitors are freely admitted to the market, which 
 presents a busy scene , especially on Monday and Thursday morn- 
 ings. It consists of three large pavilions, like those of the Halles 
 Centrales, constructed by Baltard and Janvier, and covers an area 
 of ten acres. The central hall is capable of containing 4600 oxen, 
 that on the right about 7000 calves and pigs , and that on the left 
 22,000 sheep. Most of the cattle arrive by a branch of the Ceinture 
 railway, on the E, side. Behind the market are stables and offices, 
 at the back of which runs the Canal de I'Ourcq. 
 
 Over 272 million head of cattle annually enter the market. The bull- 
 ocks come chiefly from Normandy, Anjou, and Poitou ; the cows from the 
 Ile-de-France; the calves from Orleanais and Champagne; the sheep from 
 various provinces and from abroad ; and the pigs from Maine , Poitou, 
 and Brittany. 
 
 Visitors are also usually permitted to visit the adjoining Abat- 
 toirs de la Villette, or slaughter-houses, beyond the canal. The 
 chief entrance to them is in the Rue de Flandre, on the N.W. side, 
 beside which are two sculptured groups of animals, by A. Lefeuvre 
 and Lefevre-Deslongchamps. The busiest time here is also in the 
 morning , but the scene is not one which will attract many visitors,
 
 206 7. ST. VINCENT-DE-PAUL. 
 
 though the premises are kept scrupulously clean. The buildings, 
 which are to be extended, include about 20 courts, with 250 scalding- 
 pans. The butchers of the abattoirs are not retail dealers, but sell 
 the meat wholesale here or at the Halles Centrales to the butchers 
 of the town. The slaughter-house for pigs is by itself , next the 
 fortifications. At the end next the market are a Refrigerator and an 
 Electric Factory. — The market and abattoirs together have cost the 
 city about 60 million francs. 
 
 On the left bank of the Seine are two other large slaughter-houaes, 
 the Abattoir de Villejuif (PI. G, 23), near the Place d'ltalie, and the Abat- 
 toir de Grenelle (PI. R, 133, near the Place de Breteuil. But these are both 
 about to be superseded by a single establishment between the Rue de 
 Dantzig and the Rue Brancion (PI. G, 11). 
 
 The neighbouring quarters of Anhervilliers (25,000 inhab.), Pantin 
 (21,800 inhab.), and Le Prd-Si-Gervais (8100 inhab.) are uninteresting. The 
 new Mairie at Pantin (PI. B, 31. 34) is built in the Renaissance style. — 
 About i\U M. to the right, on the hill behind Le Pre-St-Gervais, to which 
 a small tramway plies (5 c), is the village of Les Lilas (6400 inhab.), with 
 another tasteful mairie. This village lies on the electric tramway from 
 Paris (Place de la Republique) to Romainville (see the Appx.). 
 
 II. MONTKARTRE. 
 St. Vincent-de-Paul. Butte Montmartre. Cemetery of Montmartre. 
 
 Those who have already inspected the Bassin de la Villette and 
 the Buttes-Chaumont may take a cab to the Gare du Nord, which 
 is about 2 M. from the Abattoirs, or they may use the tramway com- 
 ing from Aubervilliers, leaving it at the Rue du Faubourg-St-Denis, 
 near the station. 
 
 From the Gare du Nord (p. 203} we descend the Rue La- 
 fayette for a short distance to the church of St. Vincent-de-Paul, 
 which may be reached from the boulevards by ascending the same 
 street or the Rue d'Hauteville. 
 
 *St. Vincent-de-Patd (PL B, 24), erected in 1824-44, by Le- 
 pere and Hittorff (d. 1867) , is a more successful example of the 
 basilica style than Notre-Dame-de-Lorette (length 264 ft. , width 
 120 ft.). The church is approached by two semicircular inclines, 
 and by a broad flight of 46 steps. Above this spacious amphitheatre 
 rises a projecting portico of twelve fluted Ionic columns, bearing a 
 pediment with a relief by Lemaire, representing St. Vincent-de- 
 Paul with a cross in his hand, between Faith and Charity. The 
 two somewhat feeble towers flanking the facade , 138 ft. in height, 
 are connected by a balustrade with statues of the Evangelists. The 
 door under the portico is embellished with reliefs by Farochon 
 (d. 1871), representing Christ and the Apostles. 
 
 Inteeioe. The church consists of a nave flanked with double aisles, 
 the latter being partly occupied by chapels, and partly by galleries. The 
 roof is borne by 84 Ionic stuccoed columns. The open roof is tastefully 
 decorated. The windows of the aisles are filled with stained glass by 
 Mardchal and Grignon. 
 
 The nave is adorned with a celebrated **Frieze by Eippolyte Flandririy 
 the best pupil of Ingres (p. xlii), representing a procession of saints, 
 apostles, prophets, martyrs, and popes. The conception of this admirable
 
 7. BTJTTE MONTMARTRE. 207 
 
 composition , which is Flandrin's masterpiece , and remarkable for the 
 classic beauty of its forms , is based on the mosaics of the church of S. 
 Apollinare Nuovo at Ravenna. In the dome of the choir is another 
 fresco, by Picot (d. 1868), representing St. Vincent- de- Paul kneeling 
 before Christ on his throne, and presenting children to him. The frieze, 
 also by Flandrin, represents the seven sacraments. The high-altar is 
 adorned with a handsome Crucifixion in bronze, by Rtide (d. 1855). Fine 
 wood-carvings in the choir. The chapel of the Virgin at the back of the 
 choir contains a fine group of the Virgin and Child by Carrier-Belleuse, 
 and paintings by Bouguereau^ representing the Annunciation, the Visitation, 
 the Adoration of the Magi, the Adoration of the Shepherds, the Flight into 
 Egypt, and Jesus found by his Mother. Excellent organ. 
 
 The Rue St. Vincent-de-Paul, behind the church, intersects 
 the Boulevard de Magenta, and ends at the Hopital Lariboisiere 
 (PL B, 23), erected in 1846-53, and called after the countess of that 
 name, who bequeathed 2,900,000 fr. to the poor of Paris. Visitors 
 are admitted on Sun. and Thurs., from 1 to 3 p.m. The chapel 
 contains the tomb of Mme. de Lariboisiere (d. 1851), by Marochetti. 
 
 A little to the N. of the hospital, beyond the Boul. de la Chapelle, is 
 the handsome church of St. Bernard (PI. B, 23), with its fine spire, 
 erected in 1858-61 , by Magne , in the Gothic style of the 14th century. 
 The paintings, pulpit, stations of the Cross, stained glass by Gsell-Laurent, 
 and several good altar-pieces in the transept may be inspected. 
 
 The Boul. de Magenta ends at the Boulevards Exterieurs, be- 
 tween the Boul. de la Chapelle and the Boul. de Rochechouart. To 
 the N. it is continued to St. Ouen (p. 212) by the Boulevard Barb es 
 and the Boulevard Ornano. 
 
 The conspicuous dome rising a little to the left of the Boulevard 
 Barbes belongs to the Magasins Dufayel^ a large establishment for the sale 
 of furniture, etc., on the system of payment by instalments. A visit to the 
 interior is not uninteresting. The facade on the other side, in the Rue de 
 Clignancourt, near the Butte Montmartre, is noteworthy. 
 
 A little to the W. , in the Boul. de Rochechouart, is the College 
 Rollin (PL B, 20), a large edifice, finished in 1876, on the site of 
 the former Abattoirs de Montmartre. It is adjoined by the Square 
 d'Anvers, which is embellished with a column bearing a bronze 
 Statue of Armed Peace, by Coutan, and with bronze statues of Sedaine 
 (1719-1797) and X»Jd€rot (1713-1784), byLecointe. Facing the col- 
 lege is the Trianon cafe-concert (p. 33). 
 
 The Butte Montmartre, near the top of which we have now 
 arrived, is a hill famous in the annals of Paris, rising to a height 
 of 330 ft. above the Seine, and containing ancient quarries of gyp- 
 sum (from which, when calcined, is obtained 'plaster of Paris'). 
 According to tradition, St. Denis, the first bishop of Paris, and his 
 companions suffered martyrdom here in 270, and the name of the 
 hill is supposed to have once been Mons Martyrum. Others derive 
 the name from Mons Martis, from a temple of Mars which is said 
 to have stood here. This point can be reached only by a long detour 
 or by flights of steps. The most direct of the latter, leading to the 
 left from the Place St. Pierre, has 266 steps. 
 
 The heights of Montmartre witnessed the final struggle between the 
 French troops and the Prussian and Russian allies on 30th March, 1814, 
 and also played an important part in the sieges of 1870-71. On 18th
 
 208 7. EGLISE DU SACRfi-C(EUR. 
 
 March, 1871, the insurgent soldiers, having assassinated the generals 
 Clement-Thomas and Lecomte, took possession of the cannon on the 
 Montmartre, which had been entrusted to a body of the National Guard. 
 Thus began the Communard rebellion of 18th March to 28th May, 1871. 
 The insurgents were dislodged by the victorious troops on 24th May, and 
 the batteries of Montmartre were then directed against the Communards 
 who occupied the Buttes-Chaumont (p. 204) and Pere-Lachaise (p. 179). 
 
 The Eglise du Sacre-Coeur (PI. B, 20), crowning the summit 
 of the hill, though still unfinished, has been used for service since 
 1891 . It is an imposing edifice in the Romanesque-Byzantine style, 
 from designs by Abadie, and will be surmounted by a large dome, 
 with a tower behind. The progress of the building has been slow, 
 for very extensive substructions were required, costing 3,500,000 fr., 
 while of the 25,000,000 fr. at which the total cost is estimated a 
 considerable portion has yet to be raised by subscription. The ap- 
 f roach is at present by the little Rue de la Barre, behind the church. 
 Visitors are admitted to the church itself without charge , to the 
 rrypt on payment of 25 c, and to the scaffolding of the dome on 
 payment of 50 c. (ticket- office to the right, in the court). To the 
 light of the facade the huge bell known as the ^SavGyarde\ presented 
 by the province of Savoy, now awaits the completion of the campanile 
 behind the choir. The bell is shown to visitors for a charge of 50 c. 
 (25 c. on Sun. and holidays). 
 
 The 'Savoyarde' weighs about 19 tons alone, nearly 20 tons with its 
 tongue, and with all its accessories over 32 tons. It is about 10 ft. in height, 
 as much in diameter, and 31 ft. in circumference at the base. Its note is 
 low C major. Though at present the largest bell in France, it will be 
 eclipsed by the 'Cloche de la Paix' which it is said Russia is going to 
 present to this church. 
 
 The slopes of the Butte next the city have been laid out as a 
 Public Garden^ huge supporting-walls having been built to retain 
 the necessary soil. To the left of the church is a very large Reser- 
 voir (2,420,000 gal.) with three stories. The water in the first story 
 is pumped up from another reservoir at the foot of the hill, whither 
 it is brought from Bercy. The upper stories are destined for spring- 
 water. Visitors apply to the keeper, to the left. 
 
 In clear weather a fine *View of Paris is obtained from the road, 
 or still better from the platform, in front of the church. 
 
 The principal features from left to right, seen from the corner of the 
 street, are as follo\Y8 : in the foreground, St. Vincent-de-Paul and the Gare 
 du Nord ; farther off, the Buttes-Chaumont, the two towers of Belleville, 
 the tower of Menilmontant, and Pere-Lachaise with its 'sugar-loaf and cre- 
 matorium; to the right, nearer us, the Mairie of the 10th orrondissement; 
 beyond St. Viucent-de-Paul, the campanili of St. Ambroise, the Colonne de 
 Juillet, and the dome of St. Paul's; in front, the Chapelle des Arts et 
 Metiers; more remote, still to the right, the dome of La Salpetriere; 
 St. Gervais, the Hotel de Ville, Kotre Dame, Tour St. Jacques, St. Etienne- 
 da-Mont, and the Pantheon; next, St. Eustache and the Halles Centrales, 
 with the domes of the Sorbonne, the Val-de-Grace, and the Observatory; 
 nearer, the twin towers of St. Sulpice, the tower of St. Germain-des-Pres, 
 and the Louvre; in the distance, the tower of Montrouge; then comparatively 
 near, to the right, the imposing Opera House, above which rise the spires 
 of Ste. Clotilde; to the left the Vendome Column; again to the right the 
 dome of the church of the Assumption, the gilded cupola of the Invalides,
 
 7. CEMETERY OF MONTMARTRE. 209 
 
 the Eiffel Tower, and the domed halls of the Exhibition of 1889, with 
 the Machinery Hall to the left; nearer, still to the right, the campanile 
 of La Trinite; the Madeleine, the Palais de Tlndustrie; then the dome of 
 St. Augiistin, the towers of the Trocade'ro, the Arc de Triomphe de TEtoile, 
 and the fort of 3Iont Valerien. On the horizon rise the hills of Chatillon, 
 Clamart, and Meudon, on which in clear weather the Hospice de Fleury 
 may be made out. 
 
 Behind the reservoir lies the old church of St. Pierre-de-Mont- 
 martre, a relic of a Benedictine monastery founded in 1147, by 
 Louis VI, Beside it is a Mount Calvary, with mediocre sculptures, a 
 Calvary, etc. (adm. 25 c). A new parish church is to be built in 
 the Rue des Abbesses, a little to the S.W. 
 
 In front of the reservoir and on the other side of the new church 
 are several Panoramas (adm. 1 fr. . on Sun. and holidays 50 c.). 
 
 At the foot of the Butte, to the N., at some little distance from the 
 Sacre-Coeur, are the church of Notre- Dame-de-Clignancourt (18.59-1863) and 
 the handsome Renaissance Mairie of the ISth Arrondissement (1888-1892). 
 
 Descending once more to the Boulevards Exterieurs, we follow 
 them to the "W. for about 3/4 M., to the Cemetery of Montmartre. At 
 the end of the Boul. de Rochechouart , -where it is joined by the 
 Rue des Martyrs, is the little Cirque Fernando (p. 33). The Boul. 
 de Rochechouart is continued westwards by the Boul. de Clichy, 
 leading past the Place Pigalle and the Place Blanche. A short 
 avenue leads to the right (N.) to the cemetery. 
 
 The Cemetery of Montmartre, or Cimetiere du Nord (PI. B, 16, 
 17), the second burial-ground of Paris , though inferior to Pere- 
 Lachaise, is also worthy of a visit. Hours of adm., see p. 180. 
 
 The approach was lowered in 1888, when the Viaduc Caulain- 
 court, about 200 yds. long, was carried over the cemetery, uniting 
 the Rue Caulaincourt, to the N. of the Butte Montmartre, with the 
 Boul. de Clichy. The viaduct is now the main carriage-road to the 
 Butte. 
 
 In the short avenue to the right of the entrance are four tombs 
 of (70) Polish refugees, the first of which bears the inscription, ^Exo- 
 riare aliquis nostris ex ossibus ultor!^ ('may an avenger one day spring 
 from our ashes'). — In the transverse avenue are several noteworthy 
 monuments, among them that of the architect LaMrccJs5Me(d. 1860). 
 We descend a flight of steps to the left and reach the — 
 
 Carrefour de la Croix. Beneath the cross are interred the 
 victims of the 'coup d'etat' of 1852. To the left on the side next the 
 principal avenue is the vault of the *Cavaignac Family, to which 
 belonged the author Godefroy (d. 1845) , and the general Engine (d. 
 1857), president of the republic in 1848. The recumbent figure of 
 the latter, in bronze, is by Rude. To the right, under the viaduct: 
 J. Duprato, bronze medallion and lyre by J. Thomas; Castagnary 
 (d. 1888), politician, bronze bust by Rodin; J?ei/;e(Stendal; d. 1842), 
 author, medallion after David d'Angers. Farther on, near the avenue : 
 *Feyen-Perrin (d. 1888), painter, with a bronze bust and a statue 
 
 Baedeker Paris. 12th Edit. 14
 
 210 
 
 7. CEMETERY OT' MONTMARTRE. 
 
 of a flsher-j?irl strewing flowers, ty Gnilbert. Under the yiadnct : 
 Jean Gerome fd. 1891), with a statue of Grief by J. L. Gerome. 
 
 We now follow the Avenue Dubuisson, beyond the cross. Near 
 the wall at the end, *Ad. Porlier (d. 1890), with a bronze statue of 
 a woman strewing flowers, by L. Morice. 
 
 The Jewish Cemetery is a little farther on, to the right of the 
 Avenue Cordier. To the left, near the entrance, *Osiris Family, with 
 a colossal statue of Moses, after Michael Angelo. At the end of the 
 walk, on the left. '^Halevy, the composer (d. 1862), with a statue 
 by Duret. 
 
 We proceed straight on, and regaining the principal cemetery, 
 
 follow the Avenue Montbbbllo, one of the most interesting in the 
 
 cemetery. To the left, Miecislas Kamienski. a Polish volunteer who 
 
 ell at Magenta in 1859, with recumbent bronze figure by Franceschi. 
 
 CIMETIERE MONTMARTRE. 
 
 et Cheminsprincipaux 
 aT-ecles 
 
 ISumeros des Diviaans. 
 
 P.Chouvaloff^ a child's tomb with angel by R.Carnielo. — Left, *Rohart 
 Family, with angel in bronze. Farther on is a large block of marble 
 marking the grave of Paul Delaroche (d. 1856), the painter. Behind, 
 Chas. Maury [d. 1866), the composer. • — Right, Marshal Lannes 
 (d. 1809), Due de Montebello. '^Princess Soltikoff{d. 1845). a chapel 
 covered with gilding and painting. — Left, Horace Vernet (d. 1863), 
 the painter; a marble sarcophagus. 
 
 We now enter the Avenue du Tunnel, leading to the now 
 disused 'concessions temporaires' and 'fosses communes', which are 
 covered with streets and houses. The furnace at the beginning of 
 this avenue is used for the destruction of the withered garlands, 
 flowers, etc., collected in th6 cemetery. To the right, Leon Foucault 
 f d. 1868). the natural philosopher. A little farther on, *A. de Neuville 
 (d. 1885), battle-painter; monument representing the gate of the
 
 7. CEMETEFiY OF MONTMARTRE. 21 1 
 
 cemetery at St. Privat, near Metz, with a bust of the deceased and a 
 figure of France, by Fr. de St, Vidal. 
 
 We retrace onr steps for a few yards and turn to the right into 
 the AvBNUB CoRDiBB. Left, Murger ( d. 1861), author of the 'Vie 
 de Boheme', with a statue of Youth by Millet. Left, *Lcuise Thouret 
 (d. 1858), with the recumbent figure of a girl in marble, by Cavelier. 
 Right, Gozlan (d. 1866), the author. Adjacent, on the left, is the 
 tomb of*Theophile Gautier ( d. 1872), the poet, a sarcophagus with 
 a statue of Calliope, by Godebski, bearing, among others, the follow- 
 ing inscription : — 
 
 '•Voiseau s''en va, la feuille tombe, 
 Vamouv s'iteint. car c'est Vhiver; 
 Petit oiseau. viens .^ur ma tombe 
 Chanter quand Varbre sera vert\ 
 
 Farther on, to the right, *Gust. Guillaumet{di. 1887), the painter, 
 with allegorical figure and bronze medallion by Barrias. 
 
 We now ascend by the grave of Gozlan and proceed towards the 
 right to the Avbnuk de Montmokbxcy. Right : Duchesse d'Abrantes 
 (d. 1838), wife of Marshal Junot, and their son ; medallion by David 
 d' Angers. Adjacent, Ary Scheffer ( d. 1858), the painter; a chapel 
 in which also rests Ernest Renan [d. 1892"), author and critic, 
 f^cheffer's nephew. — Right: Nourrit (d. 1839), a singer. 
 
 We here turn to the left and follow the Avbnije be la Cloche. 
 On the right : Victor Masse (d. 1884), composer, with bronze orna- 
 mentation on the handsome tomb. To the left: De Braux d'Anglure 
 ( d. 1849) ; a bust and bas-relief in bronze. To the right, in the Chemin 
 Alph. Baudin (see below) : A. L. Thiboust (d. 1867), the dramatist; 
 monument with a relief in marble. In the avenue, on the right, 
 in the second row of graves, repose Heinrich Heine (d. 1856), the 
 poet, and his wife Maihilde (d. 1883); simple tombstone with a 
 marble tablet. — Farther on, Famille Daru, including Count Daru 
 (d. 1829), the constant companion of Napoleon I., and his repre- 
 sentative at the negotiations of Pressburg, Tilsit, and Vienna, 
 Minister of War in 1813. Then, Viollet-le-Duc{d. 1879), architect. 
 
 Opposite is the Chemin Due, crossing the Chemin Troyon, 
 which traverses the most interesting part of the cemetery, contain- 
 ing numerous handsome modern monuments. Right: Troyon 
 (d. 1865), the painter. Among the trees, to the left : R. Deslandes 
 {d. 1890), dramatist, bust by Guilbert. Nefftzer [i. 1876), chief 
 editor of 'La Presse' and founder of 'Le Temps', a fine statue in 
 bronze, by Bartholdi. Farther on, Carlotta Patti (d. 1889), singer; 
 medallion by Lormier. — In the main walk, beyond Troyon, to the 
 right: Aglae Didier (d. 1863), author. Left: Clapisson {d. 1866), 
 composer; H. Storks (d. 1866), recorder of Cambridge, marble mon- 
 ument, with medallion. *Mery (d. 1866), aiithor; statue of Poetry, 
 in bronze, by Lud. Durand. Right: *Baudin, 'mort en de'fendant 
 le droit et la loi, le 3 d^c. 1851 : ses concitoyens, 1872' ; a handsome 
 recumbent figure in bronze, by Millet (the remains were removed to 
 
 14*
 
 212 7. CEMETERY OF MONTMARTKE. 
 
 the Pantheon in 1889). A little to the right , Martin Bernard (d. 
 1883), 'representative of the people'. To the right of the Chemin 
 Troyon : Rouviere [d. 1865), tragedian ; medallion and bas-relief by 
 Preault, representing the deceased as Hamlet. Left: *Chaudey (d. 
 1871), editor of the 'Siecle', shot by the Communards ; an expressive 
 medallion, with a quotation from the journal. Right: * Ward Family, 
 with a large Christ in bronze. Left: Afene(d. 1879), sculptor. Right: 
 *Ro3tan (d. 1866), professor of medicine; marble figure in high- 
 relief; Larmoyer, with a bas-relief in stone. Left : ^Marc-Lejeune ,• 
 a chapel, surmounted by a sarcophagus with four symbolical statues. 
 
 We have now again reached the Avenue de Montmorency (see 
 p. 211). Left : Duchesse de Montmorency-Luxembourg (d. 1829) and 
 Marquise de Mortemart (d. 1876) ; a large obelisk. Right : Polignac 
 (d. 1863), officer ; a large and rich chapel. 
 
 A little farther on is a flight of steps descending to the Avbnub 
 Samsox. Right: *Samson (d. 1871), actor; bronze bust by Crauk. 
 Farther on, beyond the Avenue du Tunnel, to the right : Dupotet 
 de Sennevoy, 'Chef de I'Ecole magnetique moderne', with a fine 
 marble bust by Bracony. Adjacent, to the left: Gustave Ricard (d. 
 1873), painter, with a marble bust by Ferru. 
 
 The Avenue Samson curves to the left, and the continuing walks 
 lead straight back to the Carrefour de la Croix and the entrance. 
 
 In tlie lower part of the cemetery are three interesting tombs of musi- 
 cal composers. At tlie end of tlie Avenue des Anglais, tlie first diverging 
 from the Avenue Samson, reposes Jacques Offenbach (d. 1880) under a rich 
 monument of porphyry with a bronze lyre and palm. Not far off" lies 
 Ldo Delibes (d. 1891), with a medallion by Chaplain. In the Avenue des 
 Carrieres is the grave of Berlioz (d. 1869), with a medaDion by Godebski. 
 
 From the cemetery we return to the Boul. de Clichy, and follow- 
 ing it to the right, soon reach the Place de Clichy or Flace Moncey 
 (PI. B, 17), in which rises the Monument of Moncey, erected in 1869. 
 This colossal group in bronze, by DouMemard, 19 ft. in height, on 
 a pedestal 26 ft. high, adorned with bas-reliefs, represents Marshal 
 Moncey (d. 1842) defending Paris, with a dying soldier beside him, 
 in reference to the fact that the marshal distinguished himself in 
 the defence of the capital in 1814. 
 
 Opposite the monument of Moncey the Avenue de Clichy ascends to 
 the N., and farther on bends to the left, while the Avenue de St. Ouen 
 turns a little to the right. The former is the tramway-route to Asnieres 
 (p. 293) and Gennevilliers fp. 293), and the latter to St.'Ouen and St. Denis 
 (p. 338). — Clichy (30,700 inhab.) and St. Ouen (26,000 inhab.) are uninterest- 
 ing. The chateau of St. Ouen, where Louis XVIII. signed his famous de- 
 claration of 14th May, 1814, no longer exists , and the park is now a 
 Race Course. 
 
 A little beyond the Place de Clichy, to the left of the Eue de Clichy, 
 which leads to La Trinite (p. 199), is the Square Vintimille, where a bronze 
 Statue of Berlioz (1803-1869), by Alf. Lenoir, was erected in 1886. 
 
 The outer boulevards lead on to the W. from the Place Clichy to 
 (1/2 M.) the Pare Monceaux (p. 201) and (1 M.) the Arc de Triomphe de 
 I'Etoile (p. 154).
 
 213 
 
 8. Quartier du Temple and ftuartier du Marais. 
 
 Archives and Imprimerie Nationales. Mus^e Carnavalet. 
 Place des Vosges. 
 
 The traveller who purposes visiting the Archives, the Imprimerie Ra- 
 tionale, and the Musee Carnavalet on one day must, of course, choose a 
 day (Thurs.) on which they are open, and should be provided with the 
 necessary orders (see p. 214). On Sun. orders are not required for the 
 Musee Carnavalet or the Archives. The former should be visited first, as it 
 is opened earlier. — Luncheon, at the Place de la Bastille (see pp. 13, 15). 
 
 The Quartier du Temple, to the S.W. of the Place de la Re- 
 publique (PI. R, 23, 24, 26, 27; III), owes its name to the chief 
 stronghold of the Knights Templar in France, a relic of which, the 
 Tour du Temple, the prison of the royal family in 1792 and 1793, 
 stood here until 1811. 
 
 The site of the Temple is now occupied by a market and a square. 
 The Marche du Temple was at one time important, and before its 
 reconstruction in 1863-65 was a picturesque old 'cloth-fair". Now 
 only a part of it is occupied by clothes-dealers. The Carreau, or 
 exchange for second-hand dealers and old-clothesmen, is on the first 
 floor, reached by staircases from the square (open 9-12 ; adm. 5 c). 
 
 The Square du Temple is embellished with five bronze statues : 
 Be'ranger (1780-1857), by Doublemard; the 'Retiarius', by Noel; 
 'This age is pitiless', by Schcenewerk ; the Harpooner, by J. Richard ; 
 and Diogenes, by Marioton. The handsome modern building at the 
 E. end is the Mairie of the 3rd Arrondissement (du Temple). 
 
 To the right, between the Rue du Temple and the Rue de Tur- 
 bigo, is the church of Ste. Elisabeth, dating from the 17th cent, 
 but enlarged in 1826. The fonts in white marble, to the right of 
 the door, were erected in 1654. The small cupola of the choir 
 is adorned with an Apotheosis of St. Elizabeth, by Alaux, and there 
 are paintings by Biennoury, Hesse, Roger, and Lafon, in a chapel 
 to the left of the entrance. The tine wood -carvings of Biblical 
 scenes (16th cent.), were brought from a church at Arras. 
 
 The old Rue du Temple leads towards the Hotel de Ville. We 
 follow it as far as the (10 min.) broad Rue de Rambuteau, leading 
 to the Halles Centrales (p. 171), and to the left to the — 
 
 Archives Nationales (PI. R, 23 ; ///), established in the old 
 Hotel de Soubise. This building occupies the site of the mansion 
 of the Connetable de Clisson, erected in 1371, of which there still 
 exists in the Rue des Archives, to the left of the facade, a handsome 
 gateway flanked with two turrets (restored in 1846). Down to 1696 
 the mansion belonged to the powerful Guise family , after which it 
 came into the possession of the family of Soubise. The present 
 Palais des Archives chiefly consists of buildings erected by Fran- 
 cois de Rohan, Prince de Soubise, at the beginning of the 18th cent., 
 and others recently added or reconstructed. The entrance is in the 
 Rue des Francs-Bourgeois. The court is surrounded by a handsome
 
 214 8. ARCHIVES NATION ALES. 
 
 Coriuthian colonnade by Lamer; the pediment, with its Corinthian 
 and composite columns, is adorned with sculptures by R. Lelorrain. 
 The decorations of some of the rooms are among the best examples 
 of the style of Louis XV. in Paris. 
 
 By a decree of the constituent assembly a committee was ap- 
 pointed in 1794 to examine and classify the official documents pre- 
 served in the public depots. This body finished its labours in 1801, 
 and in 1808 the records were transferred to their present repositories. 
 
 The national archives are divided into four departments — the 
 'Secretariat', the 'Section Historique', the 'Section Administrative', 
 and the 'Section Legislative et Judiciaire'. Visitors are admitted 
 for purposes of research daily, 10-3 o'clock, except on holidays, on 
 previous application at the Bureau des Renseignements. The 'Musee' 
 consists of a collection of the chief treasures of the Archives, but 
 several documents are represented only by facsimiles. 
 
 The Uusee des Archives, or Musie PaUographique^ is open to the public 
 on Sun., 12-3; alsu on Thurs. , during the same hours, by permission 
 obtained from the director. The principal objects are labelled, and the 
 catalogue (1 fr.) alao contains interesting information about the building. 
 The musee is not heated in winter. 
 
 Grocxd Flock. — I. Salle, empty. — II. Salle. Earliest Documents 
 (627-1641), in sixty glass-cases numbered from left to right round the room 
 and then returning by those in the centre: Cases 1 and 2. Merovingians. 
 Cases 3-9. Carolingians (^monogram of Charlemagne at No. 3i). Cases 9-60. 
 Capetians. Some of the documents are remarkable for their ealigraphy 
 or drawings and miniatures as well as fur historic interest. In Case 16 is 
 a funeral scroll of Vital, Abb^ de Savigny, with verses attributed to Heloise 
 (1122-23); in Case 17 is the will of Abbe Suger (1137). beautifully written. 
 Case 30: No. 883. Charles V. Case 33: No. 401. Charles V. Case 35: 
 Nos. 411, 412. Duke and duchess of Berry (1339; 1402). Case 39: No. 447. 
 Figure of Joan of Arc: several documents with interesting signatures. 
 Case 55. Edict of Nantes signed by Henri IV (1598). 
 
 III. Salle des Sceaux. Reproductions of the finest seals in the Ar- 
 chives. Also an allegorical painting of little artistic value, but historically 
 celebrated. It dates from the reign of Henri IV, and represents the vessel 
 of the Church on its voyage towards the harbour of Salvation, surrounded 
 with boats bringing believers to it, and with others containing assailants. 
 It was discovered in a church of the Jesuits, and aiforded an argument 
 against them when the order was suppressed in 1762. 
 
 IV & V. Salles des Traitis and des Documents Strangers; in 69 glass- 
 cases. Cases 1-14. Treaties of alliance and peace, from the treaty between 
 Richard Coeur-de-Lion and PhiJip Augustus (1195) to the Conventions of 
 Erfurt (1-^0^); 15-17. Great Britain ; 18-22. Belgium; 23, 24. Netherlands ; 
 25-28. Germanv; 29. Sweden; 30. Denmark; 31, 32. Norway; 33-36. Austria- 
 Hungary; 37-43. Spain; 44, 45. Portugal; 46-48. Italy ; 49-57. Papal See; 58, 
 59. Russia; 60-63. Eastern Europe; 64-68. African and Asiatic states; 69. 
 United States of America. — Salle IV, formerly a salon, is decorated like 
 the other apartments from designs by G. Boffrand ; on the wall are fine 
 panels above which are reliefs by Lamb. Sigisb. Adam and J. B. Lemoine. 
 
 FiEST Floor. — The modern staircase has a ceiling-painting by Jobbi- 
 Duval. A copy of the large plan of Paris, known as 'Turgofs plan' (1734- 
 1739), is shewn here ; also busts of keepers of the archives. Salle 1, or former 
 'Bed-Chamber of the Princess de S jubise, is richly decorated with carved 
 panels (mythological subjects) and paintings. A gilded balustrade (restored) 
 marks the spot where the bed stood; but the two original chimney-pieces 
 are no longer extant. The two pastorals, at the back of the chimney-piece 
 to the right and above the door t) the left, are by Fr. Boucher; the other 
 paintings by Trimolihres. — Glass-cases 61-65, behind the balustrade, con-
 
 a ARCHIVES NATION ALES. 215 
 
 tain ancient documents of unusual size or otherwise remarkable. Gases 
 66-77, in the centre: documents of the 17-18th cent., including 852. Treaty 
 of the Pyrenet-s (1659J; 879. Declaration of the Clergy of France in 1682, 
 887. Revocation of the Edict of Nantes (1685j by Louis XIV. (these two in 
 case 69); letters from celebrities of the period. 
 
 Salle II, or "Salon, also handsomely decorated, with eight cartouches 
 and urnamented ceiling. The Ibrmer, the chief wurk of Ch. Naioire (painted 
 173T), represent the story of Psyche. — Glass-cases 78-53. from right to 
 left : Docuiatnti of the end of the 18th Centunj^ including the Oath taken at 
 the Jeu de Paume (in case 7;)), papers relating to the B.istille (81), Con- 
 stitutions ol' 1791, 1793, 'an II1\ and 'an VI11\ — Cases Si-SG, at the end: 
 Papers relating to Marie Antoinette ; the will of Louis XVI., executed at 
 tiie Temple on 29th Dec, 1792, and the last letter of Marie Antoinette, 
 written in the Conciergerie on 16th Oct., 1793. (The authenticity of these 
 two documents is, however, doubtful; the letter does not bear the queen's 
 signature.) Journal of Louis XVI., speech delivered by him before the 
 Convention, letter of Louis XVI., etc. Near the middle of the room is 
 a table from the cabinet of Louis XVI.. on which Robespierre, when 
 wounded, was brought before the 'Comite du Salut Public' at the Tuileries. 
 
 Salle III. Continuation of Documents of the reigns of LouisXV. and Louis 
 XVI. Cases87-116 From 1715 to 1792. — Paintings by 2?oMc/<er (at the entrance 
 and at the end, to the ri^'ht), Tremolieres, Rtstoul, and C. Vanloo. 
 
 Salle IS"". Documents of the end of the 18th Cent, and 1800-1815. Cases 
 117-152. Paintings by Boucher (to the right), Restout., and C. Vunloo. 
 
 Adjoining the Palais des Archives is the Ecole des Charles, 
 founded in 1820, a school for the training of palaeographers. 
 
 The Palais des Archives is situated within the old Quartier du 
 Marais, which extends from the Rue du Temple to the grand houle- 
 vards and to the Rue de Rivoli and Rue St. Antoine. Once a fashion- 
 able quarter with several still handsome mansions, it is now quite 
 given over to trade and manufactures. 
 
 Opposite the Archives is the Mont-de-Piete, or great pawnbrok- 
 ing establishment of Paris, which enjoys a monopoly of lending 
 money on pledges for the benefit of the 'Assistance Publique'. 
 
 The loans are not made for less than a fortnight, but articles may be 
 redeemed within that time on payment of the fees. The sums advanced 
 vary from twu-thirds to four-fifths of the value of the articles, the maxi- 
 mum lent being 10. DUO fr. at this establishment, and 5U0 fr. at the branch- 
 offices. The interest and fees, which before ls85 were as high as9V2per cent, 
 are now reduced to 7 per cent, with a minimum of 1 fr. The pledges are sold 
 after fourteen months from the time when the borrower has failed to redeem 
 them or to renew his ticket; but within three years more the excess of 
 the price realised over the sum lent may still be claimed. The Mont-de- 
 Pidte lends upwards of 56,0(X).(KJOfr. annually on about 2^/4 million articles. 
 The sale of unredeemed pledges produces about 4,(XX),000 fr. annually. 
 Loans upon deeds up to 50U fr. were authorized in 1892. 
 
 Adjacent to the Mont-de-Piete is the church of Notre-Dame- 
 des-B Lanes- Manteaux , the insignificant relic of a convent which 
 stood on the site of the pawn-office. In the Rue des Francs-Bour- 
 geois, farther on, at the corner of the Rue Vieille-du-Temple, rises 
 a Gothic tower with arcades and a grating, perhaps a relic of the 
 Hotel Barbette, where Louis of Orleans was assassinated in 1407 
 by order of Jean sans Peur, Duke of Burgundy. — To the left, a 
 little farther up the Rue Vieille-du-Temple, is the — 
 
 Imprimerie Nationale (Pi. R, 23; HI), or government print- 
 ing-office, established in the old Hotel de Strasbourg, which
 
 216 8. IMPRIMERIE NATION ALE. 
 
 once belonged to the well-known Cardinal de Rohan (d. 1803). The 
 court is adorned with a copy in bronze of the statue of Gutenberg 
 by David d' Angers (d. 1856) at Strassburg. The printing-office 
 employs about 1200 workpeople of both sexes. The types are 
 cast, the paper made, and the binding executed within the same 
 building. Oriental characters are particularly well represented. The 
 chief business consists in printing official documents of all kinds, 
 books published at the expense of government, geological maps, and 
 certain playing-cards {viz. the 'court cards' and the ace of clubs, 
 the manufacture of which is a monopoly of the state). Visitors are 
 admitted on Thurs. at 2 p.m. precisely with tickets obtained from the 
 director. The inspection takes 1-1 V2 ^^r. 
 
 A little to the N. of the Imprimerie, in the Rue Chariot, is the 17th 
 cent, church of St. Jean et St. Frangois , formerly a Capuc'dn chapel. It 
 contains a number of paintings (badly lighted), among which is St. Louis 
 visiting the plague stricken, by Ary Schetfer (first to the left, in the nave). 
 There are also eight tapestries referring to a 'Miracle of the Host" that 
 took place in Paris in 1290. At the entrance to the choir are statues of 
 St. Francis of Assisi (by G. Pilon) and St. Denis (by J. Sarrazin). 
 
 Lower down the Rue Vieille-du-Temple. to the S. of the Rue 
 des Francs-Bourgeois, is the Hotel de Holiande (No. 47), a hand- 
 some edifice of the 17th cent., once occupied by the Dutch ambas- 
 sador to the court of Louis XIV. The gateway is adorned with fine 
 sculpture, and the court contains a large bas-relief of Romulus and 
 Remus, by Regnaudin. 
 
 Beyond theRue Vieille-du-Temple the Rue des Francs-Bourgeois 
 passes on the right the old Hotel Laynoignon, dating from the 16th 
 century. Farther off, to the left, in the Rue Sevigne, is the — 
 
 *Musee Carnavalet (PI. R, 26; V), or MusSe Historique de la 
 Ville, containing a collection of Parisian antiquities and the new 
 Municipal Library, which was established here in 1871. The name 
 is a corruption of Kernevalec, a lady of that name having once been 
 the proprietor of the mansion, which was afterwards the residence 
 of Mme. de Sevigne for eighteen years (1677-96). The building, 
 which dates from the 16th and 17th centuries, was begun from 
 designs by Lescot and Bullant, and completed by Du Cerceau and 
 F. Mansart. It was purchased by government in 1869, and thor- 
 oughly restored. The sculptures on the facade and those of the 
 Seasons in the court, facing the entrance, are attributed to Jean 
 Ooujon (p. 102). The eight other statues are of no value. In the 
 centre is a fine bronze Statue of Louis XIV., by Ant. Coyzevox, 
 brought from the old Hotel de Ville. 
 
 The Museum is open to the public on Sun. and Thurs. 11-4. Sticks and 
 umbrellas must be given up. Descriptive labels everywhere. Those whose 
 time is limited should ascend at once to the first floor by the staircase 
 to the left at the end of the court (see below). 
 
 Ground Floor. Right Wing (entrance beneath the archway): Anti- 
 quities., in 9 small rooms. The first rooms contain fossils and monuments 
 of the stone age ; stones from the Arena in the Rue Monge and other 
 Roman buildings (p. 271). — The following rooms contain building ma- 
 eria./*, sarcophagi and fragment of sarcophagi, some of which are made
 
 8. MUSlfiE CARNAVALET. 217 
 
 of the remains of ancient monuments, and one contains a skeleton; bas- 
 reliefs and other sculptures; Roman mill-stones, etc. 
 
 Sunk Floor (open in summer only; reached from the laat room but 
 one in the right wing): Sarcophagi. In one of the cellars are plaster casts 
 of the skeletons found in the Arena. 
 
 Ground Floor (continued). The Main Building, to the left as we 
 come from the preceding rooms, passing the exit-staircase on the right, 
 contains four rooms with SLiditiona.1 Antiquities ; fragments of Gallo-Roman 
 buildings; IGth cent, chimney-piece; earthenware, glass, bronzes, coins, 
 etc., found in Gallo-Roman and in Merovingian and mediaeval tombs; 
 tomb-inscriptinns, etc. — Continuation of the Ground Floor, see p. 218. 
 
 First Floor (reached by the staircase at the end of the fourth of the 
 above rooms, or by the staircase to the left in the first court) contains 
 Miscellaneous Collections, some of great interest. On the staircase (to the 
 library, p. 218) are facsimiles of ancient plans of Paris; busts of Mme. 
 de Sevigne and Jean Gouion ; etc. 
 
 Ox TUE S. Side of the (jvrden are two rooms and two galleries, with 
 Views of Paris, engravings, and paintings; character-scenes, and various 
 relics. In the first room are articles referring to the famous bank estab- 
 lished by Law (1716-1720). inclading eight plates from the Dutch Indies with 
 caricatures. Among the character scenes may be mentioned Jeaurat's' Dis- 
 pute at the Fountain', to the left, in the first gallery. In the second room 
 are portraits of magistrate?; miniatures; line fan; etc. 
 
 At the End of the Garden are four rooms, the first two of which 
 also contain Plans of Paris., including one of the old Boulevard du Temple; 
 collection of 208 snuff-boxes of historic interest (1789-1348); relief-plan of 
 the neighbourhood of St. Germain-en-Laye and Marly, etc. In the 3rd and 
 4th are Ceilings and Panelling from an ancient mansion of the time of 
 Louis XIV. The 3rd room also cimtalns a bronze statuette of the Duke of 
 Bordeaux as a child; a votive tablet of 1609; bust of the Pi ince Imperial, 
 by Carpeaux ; etc. In the 4th room is a valuable c dlection of Porcelain 
 of the RevoltUionary Period., made in almost every ease at Nevers (.whence 
 the yellow instead of red). In the 1st glass-case, opposite the entrance : 
 'Tasse a la GuilLitine', in Berlin porcelain. The ceiling is by Lebrun 
 (Olympus, the Muses, etc.). — The adjoining Staircase descends to the 
 garden (p. 218) ; upon it are flags, slabs from chimney-pieces, a cabinet 
 with dies for coins, the manifesto of the Duke of Brunswick in 1792 ; etc. 
 On the N. Side of the Garden are two galleries and a room containi ig 
 Relics of the Revolutionary Period: paintings, portraits, decorations, coins, 
 watches, porcelain, etc. In the first gallery, to the left, the Oath in the Jeu 
 de Paume, completed reduction of the painting sketched by David ip. 138); 
 the National Federation at the Cliamp-de-Mars in 1792; jointed figure 
 representing Voltaire. In the central room, which has a fine ceiling, are 
 a curious clock, several Sevres vases, wood-carvings of the Regency, and 
 stamps. The second gallery contains coins, ornaments, fans, etc. 
 
 Large Room, leading back to the main building : Authentic Relics of the 
 Revolutionary Period. In the centre. Model of the Bastille, made from a 
 stone of that building. Hung from the ceiling is the banner of the Emi- 
 gres, with the arms of France and the Allies, and the Hydra of the Revolu- 
 tion. On the entrance-wall. Cabinet with a representation of the Fall of 
 the Bastille; declaration of the rights of men; weapons; playing cards ; 
 bindings; Constitution of 1793 bound in human skin; busts,' portraits, 
 medallions, miniatures, etc. Exit-wall: engravings; curtains; headdresses; 
 cockades, belts, gloves, boots. Fireplace-wall: weapons; instruments of 
 punishment; lettres de cachet; portrait of Latude, who incurred the di-^- 
 pleasure of Mme. Pompadour and was confined for thirty-six years in the 
 Bastille; souvenirs of his ultimate escape. Other wall: Cabinet decorated 
 with patriotic scenes; decimal clock; swords of honour ofLaTourdWu- 
 vergne (1743-1800) and Garibaldi (1807-188>) ; sabre of Gdn^ral Gardanne 
 (17i)6-1818); etc. 
 
 Last Room: Relict of the Revolutions in 1S30 and 1848: paintings, 
 water-colours, decorations; glass, cups; snuff-box with miniature paint- 
 ing of the Kntry of Louis XVIII.; portrait of Louis Blanc; statuette of
 
 218 8. PLACE DES VOSGES. 
 
 LedruRullin; etc. At the eutrance, sabre and otber articles presented to 
 Sergeant Mercier, who refused to expel the deputy Manuel from tbe Chamber 
 for his opposition to the war with Spain (1823). — Exit-Staikcase (con- 
 tinuation of the above collectionj: iron fastenings and bolts of the dungeons 
 of the Conciergerie; plans for the completion of the Louvre, etc. 
 
 Ground Floor (continuatiun). The Gakdex is surrounded with con- 
 structions not belonging to the Hotel Carnavalet. In the middle, to the 
 left, the Arc de Nazareth^ a gateway from the old street of that name in 
 the Cite, with sculptures by Jean Goujon, and a tasteful uaodern railing. 
 Opposite, to the right, a pavilion of the time of Louis XIV. Behind, 
 Fagade of the old Ouild-house of the Drapers^ by Jacques Bruant (17th cent.). 
 In the galleries, to the right and left, are Fragments of Buildings of the 
 Middle Ages, the Renaissance, and the ITth and 16th centuries. Under the 
 pavilion to ihe right are an equestrian relief of Henri IV and a fragment 
 of a vault, both from the old Hotel de Ville. At the sides, statues of 
 Public Security and Hope, by Fr.Anguier; opposite and farther on, statues 
 of eight Apostles, of the school of G. Pilon. 
 
 End Galleries: Relics of Paris. The first gallery, to the right, is 
 devoted to the Falais-Ropal, and contains a relief model of the galleries 
 of the Palais, executed in 1843; paintings; curious engravings; medal- 
 lions, etc. In the second gallery are relics of the old Hotel de Ville; 
 statues of the Comtes de Chabrol and de Rambuteau; fragment of an 
 altar of the 16th century. The third gallery contains a collection of Car- 
 icatures of numerous celebrities of the time of Louis Philippe; plaster 
 statuettes and busts, by Dantan the Younger. 
 
 The Bibliotheque de la Ville, founded in 1871, to replace the library 
 destroyed in the Hotel de Ville, already consists of about 80,000 vols, and 
 70,C)00 engravings and charts, all illustrative of the history of Paris and 
 the Revolution. It occupies part of the first floor and is reached by the 
 above-mentioned staircase, at the end of the court. It is open to readers 
 on week-days, 10-4 in winter, and 11-5 after Easter (closed in Easter week 
 and Aug. 15th-0ct. 20th). 
 
 A little beyond the Musee Camavalet the Rue des Francs-Bour- 
 geois ends at the Place des Vosges (PI. R, 26 ; 7), formerly called 
 i^i& Place Roy ale. The garden in the centre, planted with limes and 
 plane-trees, and enclosed by a railing, is adorned with an Equestrian 
 Statue of Louis XIII., in marble, by Dupaty and Cortot, which was 
 erected in 1829 to replace a statue erected by Richelieu in 1639 and 
 destroyed in 1792. The angles of the square are adorned with 
 fountains. — A house on the S. side, at the corner of the Rue Bira- 
 gue, is marked by a tablet as the birthplace of Mme. de Sevigne 
 (1626-1696). 
 
 The Place des Vosges occupies the site of the court of the old Palais 
 des Tournelles, where the tournament at which Henri II was accidental- 
 ly killed took place in 1565. Catherine de Medicis caused the palace 
 to be demolished, and Henri IV erected the square which still occupies 
 its site. The houses, uniformly built of brick and stone, with lofty roofs, 
 are flanked with arcades on the groundtloor. The children who make 
 it their playground impart a little life to this sequestered nook; but at 
 other times it presents an almost monastic appearance. It is difficult to 
 believe that this was the fashionable quarter of Paris in the reign of 
 Louis XIII., when the 'place' may be said to have been the Palais-Royal 
 of the period. The Place des Vosges was first so named after the Revo- 
 lution , in honour of the department of that name, which had been the 
 first to send patriotic contributions to Paris, and this name was revived 
 in 1848 and again in 1870. 
 
 The Rue du Pas-de-la-Mule, to the N.E. of the square, leads 
 direct to the Boul. Beaumarchais (p. 72), near the Bastille (p. 68).
 
 8. BIBLIOTHfiQUE DE L' ARSENAL. 219 
 
 An interesting return-route from the Bastille tu the centre of 
 the town leads via the Boulevard Henri IV (p. 70) and the quays 
 on the right hank. 
 
 To the left of the Boulevard Henri IV rises the Caserne des 
 Celestins^ on the site of a celebrated convent. To the left diverges 
 the Rue de Sully, in which is situated the valuable Bibliotheque 
 de V Arsenal [Fi. K, 25; V), occupying part of the old arsenal of 
 Paris, whi'-h extended from the Seine to the Bastille. The library 
 is open daily, 10-4, except on Sundays and holidays and during the 
 vacation (loth Aug. to 1st Sept.). After the Bibliotheque Nationale 
 it is the richest library in Paris, especially in ancient works and in 
 theatrical literature (35,000 numbers). 
 
 The Boulevard Henri IV crosses the two arms of the Seine and 
 the E. end of the lie St. Louis (p. 228) by means of the Pont Sully, 
 built in 1874-1876. On the right bank, upstream, between the 
 river and the Boulevard Morland, is the former lie Louviers, united 
 with the quay in ld40. Here are situated the Magasins and Archives 
 de la Ville. Beside the bridge is the Monument of Barye (1790- 
 1875), the famous animal-sculptor, with reproductions of his most 
 celebrated works: the Centaur (p. 105). Lion and Serpent (p. 15U), 
 War and Peace. The medallion is by Marqueste. On the island is 
 the Hotel Lambert (p. 228). 
 
 On the right bank, near the bridge, at the beginning of the Quai 
 des CeTestins, is the old HfAel la Valette^ now the Ecole Massillon, a 
 handsome building of the 16th cent., with a monumental facade 
 recently restored. 
 
 Farther on, at the corner of the Rue de IHotel-de- Ville and Rue 
 Figuier, rises the old Hotel de Sens, or palace of the archbishops of 
 Sens when they were metropolitans of Paris. It is a Gothic building 
 of the 15th cent., with turrets and a donjon in the court (now private 
 property). 
 
 The Quai de I'Hotel-de- Ville leads hence to the Hotel de Ville 
 in 5-6 min. (pp. 63-65).
 
 THE CITE AND THE LEFT BANK OF THE SEINE. 
 
 The Ciie (PL R, 20, 23, 22; F), as already observed (p. xxi), 
 is the most ancient part of Paris. Here lay, in the time of Caesar, 
 the Gallic town of Lutetia Parisiorum ; and the Paris of the Romans 
 and the Franks was confined to the same site, with the addition of a 
 small settlement on the left bank of the Seine surrounded by forests 
 and marshes. Under the Frankish monarchs the Church established 
 her headquarters here. At a laterperiod the town gradually extended 
 on the right bank, where by the end of the 13th cent, there were 
 194 streets, while the two older quarters contained 116 only. The 
 Cite, however, still retained its prestige as the seat of the old Royal 
 Palace and of the cathedral of Notre-Dame. On one side of Notre- 
 Dame rose the Episcopal Palace and the Hotel-Dieu, originally an 
 asylum for pilgrims and the poor ; on the other side was the CloUre 
 Notre-Dame^ or house of the Canons^ who play so prominent a part 
 in the history of the university. In the Cite the predominant element 
 in the population was the ecclesiastical , while the burgesses and 
 the men of letters chiefly occupied the districts to the N. (right bank, 
 la Ville') and S. (left bank, VUniversite) respectively. — The Cite 
 has long ceased to be the centre of Parisian life, but it possesses the 
 two finest sacred edifices in Paris, the Cathedral of Notre-Dame and 
 the Sainte-Chapelle. The Hotel-Dieu still exists, but the site of the 
 royal palace is occupied by the Palais de Justice. 
 
 The semicircular part of Paris which lies on the left bank of the 
 Seine forms fully one-third of the whole city, its distinctive feature 
 consisting of numerous learned institutions , the chief of which is 
 the Sorbonne, or university, in the Quartier Latin. The adjoining 
 Faubourg St. Oermain is the aristocratic quarter, where ministers, 
 ambassadors, and many of the nobility reside ; and at the W. end 
 of this part of the town are several large military establishments. 
 The chief objects of interest on the left bank are the Palais du 
 Luxembourg with its gallery of modern works of art , the Pantheon, 
 the Musee de Cluny, the Jardin des Plantes, the Hotel des Invalides, 
 and the Champs-de-Mars. 
 
 9. The Cite and the duartier de la Sorbonne. 
 
 Any day but Monday sliould be chosen for a visit to this district, for 
 on that day the Sainte-Chapelle, the Musee de Cluny, and the Pantheon are 
 closed. — Luncheon may be taken in the Place du Chatelet, the Boul, 
 St. Germain, the Boul. St. Michel, or near the Ode'on Ccomp. pp. 13, 15).
 
 9. PALAIS DE JUSTICE. 
 
 221 
 
 I. PALAIS DE JUSTICE AND SAINTE-CHAPELLE. NOTRE-DAME. 
 Tribunal de Commerce. Pont-Neuf. Hotel-Dieu. 
 The Cite is approached from the right bank of the Seine by the 
 Pont an Change fp. 63), and the Boulevard du Palais, or by the 
 Pont-Neuf Qp. 225). 
 
 The *Palais de Justice (PI. R, 20 ; F) occupies the site of the an- 
 cient palaoe of the kings of France, which was presented by Charles 
 VII. in 1431 to the Parlement, or supreme court of justice. In 1618 
 
 Place Daii-plmxe 
 
 Principsaes salks Ecu.l™etage 
 + SaU.cs et cabinets au 2® eta jfe 
 
 «H hPassagfes et entrees 
 ; — »• rrindg mnr corridors 
 
 --^':-=::3 1 ; ,...: u/i. 
 
 BOTlle-^ard. ^ du Entree 
 
 Palaiis 
 
 and again in 1776 the palace was so much injured by fire, that nothing 
 of it now remains except the Tour de VHorloge, at the N.E. corner, 
 near the Pont au Change, the Tour de Cesar and the Tour de Mont- 
 gomery on the N. side, the pinnacled Tour d' Argent , the Sainte- 
 Chapelle or palace-chapel, the Salle des Oardes, and the Kitchens
 
 222 9. SAINTE-CriAPKLLE. 
 
 of St. Louis. The clock in the Tour de I'Horloge, adorned with two 
 figures representing Justice and Piety, originally by Pilon, is the 
 oldest public clock in France. It was constructed in 1370 by Henri 
 de Vic, a German clockmaker, and was restored in 1685 and 
 In 1852. The wanton destruction of a great part of the building on 
 22nd May, 1871, forms another of the numerous crimes of which 
 the Commune was guilty. The damage has since been repaired. 
 
 The Palais is open daily, except i^undays and holidays, and visitors may, 
 of course, enter the courts (in session 11-4) where they may have an oppor- 
 tunity of hearing some of the famous pleaders. The great size of this build- 
 ing and its complicated arrangement (comp. annexed Plan) render a visit 
 somewhat perplexing to strangers. Besides the main entrances in the 
 Boulevard de Paris and the Place Dauphine there are various side-entrances. 
 Most of the courts are on the first floor. The Court of First Instance., with 
 most of its offices, lies to the right of the Salle des Pas-Perdus (p. 223; 
 civil courts) and to the left of the court of the Ste-Chapelle (see below; 
 Police Correctionnelle). The Cour de Cassation is beyond the Salle daa 
 Paa-Perdus and the Appeal Court beyond the court of the Ste-Chapelle (see 
 below). 
 
 The principal entrance is by the Cour du Mai or Cour d'Honneur, 
 adjoining the Boulevard du Palais, and separated from it by a hand- 
 some railing. The Doric pediment of the facade is adorned with 
 statues of France, Plenty, Justice, and Prudence, and is covered 
 with a quadrangular dome. This entrance brings us to the Galerie 
 Marchande (see p. 223). 
 
 The **Sainte-Chapelle, the most interesting portion of the Pa- 
 lais de Justice, lies to the left of the main entrance, in the game 
 court as the Police Correctionnelle (p. 224). It is open to the pub- 
 lic, 11-4 or 5 daily, except Mon. and holidays (fee). It is seen to 
 advantage only in bright weather. This was the ancient palace- 
 chapel, erected in 1245-48 during the reign of St. Louis by Pierre 
 de Montereau for the reception of the sacred relics, now at Notre- 
 Dame (p. 229), which St. Louis is said to have purchased from Jean 
 de Brienne, King of Jerusalem, and his son-in-law Baldwin, Em- 
 peror of Constantinople, for 3 million francs. The chapel (115 ft. 
 long, 36 ft. wide), which has been restored recently , is a perfect 
 gem of Gothic architecture, but unfortunately is partly concealed by 
 other portions of the Palais. In 1871 it narrowly escaped destruc- 
 tion, as it was almost entirely surrounded by a blazing pile of build- 
 ings. The only service now performed here is the 'Mass of the 
 Holy Ghost', celebrated annually on the re-opening of the courts 
 after the autumn vacation. The interior consists of two chapels, one 
 above the other. 
 
 The Lower Chapel, consisting of nave and aisles, was used by 
 the domestics of the palace. It contains the tombs of numerous 
 canons of the Ste-Chapelle. A spiral staircase ascends to the — 
 
 Uppbk Chapel, in which the court attended divine service. 
 The proportions of this chapel, which is 66 ft. in height, are 
 remarkably light and elegant. Nearly the whole of the wall-surface 
 is occupied by 15 large windows (49 ft. by 13 ft.), with magnificent
 
 9. SATNTE-CHAPELLE. 223 
 
 stained glass framed in beautiful tracery. The stained glass, part 
 of which dates from the time of St. Louis, has been recently 
 restored. The subjects are from the Bible and the lives of saints. 
 The glass in the rose-window, dating from the 15th cent., repre- 
 sents subjects from the Apocalypse. The polychrome decoration of 
 the walls harmonises well with the coloured windows. Against the 
 pillars are placed statues of the twelve Apostles. Behind the hand- 
 some altar is the Gothic canopy, in wood , where the sacred relics 
 were formerly preserved. One of the two small spiral staircases 
 here, in gilded wood, was executed in the 13th cent. ; the other is 
 modern. — We quit the chapel by the portal of the upper church, 
 turn to the right, and pass through a glass-door into the first vesti- 
 bule of the Palais. 
 
 The first vestibule of the Palais, called, the Galerie Marchande, 
 is also used by the members of the bar as a 'vestiaire'. The 
 advocates in their black gowns are frequently seen pacing up and 
 down the different galleries whilst the courts are sitting (from 11 
 to 4 o'clock). The staircase in the middle, adorned with a statue of 
 Justice, leads to the rooms of the Cour d'Appel^ which present no 
 attraction. 
 
 Turning to the right, at the extreme end of the gallery, we enter 
 the Salle des Pas-Perdus, serving as a vestibule to most of the seven 
 Civil Chambers constituting the Court of First Instance. This hall 
 (restored since 1871), one of the largest of the kind in existence, 
 is 240 ft. long, 90 ft. in width, and 33 ft. in height. It consists of 
 two vaulted galleries, separated by arcades with Doric pillars. Many 
 historical reminiscences attach to this part of the building. Before 
 the fire of 618, this was the great hall of the palace, where the 
 clergy of the ^basoche' (a burlesque translation of basilica, or royal 
 palace) were privileged to perform moral plays and farces. On the 
 right side is a monument erected by Louis XVIII. in 1821 to the 
 minister Malesherbes, who was beheaded in 1794, the defender of 
 Louis XYI. before the revolutionary tribunal ; the statue is by J. Du- 
 mont, the figures emblematic of France and Fidelity are by Bosio, 
 and the bas-relief by Cortot. Nearly opposite, a similar monument 
 was erected in 1879 to Berryer (d. 1868), a celebrated advocate, 
 with a statue by Chapu, between figures of Eloquence and Fidelity. 
 
 To the right of the Galerie des Prisons, which begins between 
 the vestibule and the Salle des Pas-Perdus, are the halls of the 
 Cour de Cassation. The first of these is the Chambre Criminelle, 
 with a richly-carved ceiling. Adjoining it is the Galerie St. Louis, 
 adorned with a statue of St. Louis and frescoes by Merson. The 
 second hall is the Chambre des Requetes. also with a fine ceiling; 
 the third, the *Salle Civile, recently completed and still more mag- 
 nificent, has a painted and gilded cassetted roof and is adorned with 
 a painting of Christ, by Henner, and others by Baudry. 
 
 At the end of the gallery is the Vestibule de Harlay, on the
 
 224 9. TRIBUNAL DE COMMERCE. 
 
 side next to the Place Dauphine , the facade of which is seen on 
 the way to the Pont-Neuf. This hall is embellished with statues of 
 four monarchs who were eminent as legislators : St. Lonis and Phi- 
 lip Augustus on the N., and Charlemagne and Napoleon I. on the 
 S. side. The staircase in the middle, with a figure of Justice hy 
 Perraud, leads to the left to the Cour d' Assises , and to the right to 
 the Chamhre des Appels de la Police Correctionnelle. 
 
 The Galerie de la Sainte-Chapelle , parallel to the Galerie des 
 Prisons, leads from the Vestibule de Harlay to the new parts of the 
 Palais. To the right, about halfway along the gallery, is the 1st 
 Chamhre de la Cour d'Appel^ handsomely decorated like those of the 
 Cour de Cassation, with a ceiling-painting by Bonnat. At the 
 end are a mediaeval Crucifix, which once stood in the Grand' Chamhre 
 du Parlement, and two gilded Renaissance scutcheons, with four 
 allegorical figures Farther on, the gallery brings us to the Galerie 
 Marchande and to the neighbourhood of the Sainte-Chapelle, which, 
 however, is not entered from this side (see p. 222). 
 
 Turning to the right, we proceed to the four Chambres de Police 
 Correctionnelle, Nos. 8 and 9 on the first floor, Nos. 10 and 11 on the 
 second. "We may also reach this point from the Galerie Marchande by 
 other corridors (comp. PI., p. 221). The special entrance to these 
 courts is in the Cour de la Sainte-Chapelle (p. 222). 
 
 Quitting the Palais by tlie principal entrance, we observe to the left 
 of the flight of steps one" of the entrances to the Conciergerie (PI. R, 20; 
 F), a prison famous in the annals of France, which occupies the lower 
 part of the Palais de Justice adjoining the Seine. (Open on Thursdays. 
 Visitors enter from the quay. Permission must be obtained from the 
 Prefet de Police, at the Prefecture, Rue de Lutece, opposite the Palais, 
 between 10.30 a.m. and 3 p.m.) Most of the political prisoners of the first 
 Revolution were confined here before their execution. Profound interest 
 attaches to the small chamber or cell in which Marie Antoinette wag 
 imprisoned, now converted into a chapel. Adjoining this chamber, and 
 now connected with it by an archway, is the cell in which Robespierre 
 was afterwards confined. Beyond these is the Hall of the Girondists, now 
 a prison-chapel. — The so-called Cuisines de St. Louis are also situated in 
 this part of the building. (Permission, see above.) 
 
 Opposite the Palais de Justice , on the E. side of the Boul. du 
 Palais , rises the Tribunal de Commerce (PI. R, 20 ; V), built by 
 Bailly in the Renaissance style in 1860-66. It is surmounted by 
 an octagonal dome, 135ft. high, which, being in the line of the 
 Boulevard de Sebastopol , is visible from the Gare de I'Est. The 
 interior, open to the public on week-days, deserves a visit. A grand 
 staircase ascends to the Audience Chamber and the Bankruptcy 
 Courts. On the first landing are statues of Industrial Art by Pascal, 
 Mechanical Art by Maindron , Commerce by Land by Cabet , and 
 Maritime Commerce by Chapu ; and at the top are Caryatides by 
 Dubut. Enclosed within the building is a quadrangle surrounded 
 by two colonnades, one above the other, above which are Caryatides 
 by Carrier-Belleuse supporting the iron framework of the glass- 
 covered roof. The Salle d' Audience on the first floor, to the left of
 
 9. PONT-NEUF. 225 
 
 the staircase , wainscoted with oak, is adorned with paTiels in imi- 
 tation of porcelain painting, and with pictures by Fleury The chief 
 hearings are on Monday. 
 
 The cliief Flower Market in Paris is lield on Wed. and Sat. behind the 
 Tribunal. On Sun. there is a Bird Market. 
 
 Leaving the Tribunal de Commerce, we cross the boulevard to 
 the Tour de I'Horloge, and skirt the Quai de I'Horloge, on the left 
 side of which are entrances to the Conciergerie (p. 224), and the 
 Cour de Cassation (p. 223). 
 
 • The W. Facade of the Palais de Justice, towards the Place Dau- 
 phine, was constructed by Due. The gravity of the style accords 
 well with the purpose of the building. Eight engaged Doric columns 
 and two corner-pillars support the rich entablature. The six alle- 
 gorical figures below the windows represent Prudence and Truth, 
 by Dumont; Punishment and Protection, by Jouffroy; Strength and 
 Justice, by Jaley. Three inclined slopes ascend to the entrance of 
 the Vestibule de Harlay (p. 223). 
 
 The *Pont-Neuf (PL R, 20; V), farther on, at the W. end of 
 the island, a bridge 360 yds. in length and 25 yds. in width, 
 crossing both arms of the Seine , was constructed in 1578-1604, 
 but was remodelled in 1852. The end next the left bank was re- 
 stored in 1886. The masks supporting tlie cornice on the outside 
 are copies of those originally executed by A. du Cerceau. On the 
 island, halfway across the bridge, rises an *Equestrian Statue of 
 Henri IV, by Lemot, erected in 1818 to replace one which had 
 stood here from 1635 to 1792. when it was melted down and con- 
 verted into cannon. By way of retaliation Louis XVIII. caused the 
 statue of Napoleon on the Vendome Column, another of the emperor 
 intended for the column at Boulogne-sur-Mer, and that of Desaix in 
 the Place des Victoires to be melted down in order to provide ma- 
 terial for the new statue. The Latin inscription at the back is a 
 copy of that on the original monument. At the sides are two reliefs 
 it! bronze, which represent Henri IV distributing bread among the 
 besieged Parisians, and causing peace to be proclaimed by the Arch- 
 bishop of Paris at Notre-Dame. 
 
 In the i6th cent, the Pont-Neuf was the scene of the recitals of 
 Tabarin, a famous satirist of the day, and it was long afterwards the 
 favourite rendezvous of news-vendors, jugglers, showmen, loungers, and 
 thieves. Any popular witticism in verse was long known as 'un Pont-Keuf '. 
 
 The bridge commands an admirable *View of the Louvre. The 
 large edifice on the left bank is the Monnaie (p. 248), and beyond 
 it is the Institut (p. 246). 
 
 In returning to the Boul. du Palais by the Quai des Orfevres, on 
 the left bank, we pass the S.W. portion of the Palais de Justice, oc- 
 cupied by offices of the 'prefecture de police'. The houses on this 
 side are to be removed, so as to leave the Palais free. 
 
 The Prefecture de Police (PI. R, 19, 20; V; office-hours 10-4) 
 occupies tlie old municipal barracks and two 'hotels d'ctat-major' 
 
 liAEDKKKit. Paris. 12r.h Edit. 15
 
 226 9. HOTEL-DIEU. 
 
 in the Boul. du Palais, adjoining the Pont St. Michel (p. 230}. 
 From this point radiate all the threads which constitute the partly 
 visible and partly invisible network of police authority which ex- 
 tends over the whole city, at a cost to the municipality of over 
 32 million francs per annum. There are three main departments, 
 those of the central administration , and of the commissariats of 
 police and city police. The Prefect has his private offices, besides 
 which there is the General Secretariat, with three subdivisions. The 
 first of these is for the personnel, materials, archives, accounts, 
 and treasury, the other two for the Parisian police and the market- 
 police respectively. The Lost Property Office is among those men- 
 tioned above, Quai des Orfeyres 36. 
 
 In the Rue de Lutece , opposite the Palais de Justice , is the 
 modern bronze statue, by A. Boucher, of T^. iJenawdof [1536- 1653), 
 philanthropist and publisher of the first newspaper in France (1631). 
 
 The Hotel -Dieu [PI. R, 22; F), a little farther on, with its 
 facade towards the Place du Parvis-Notre-Dame [see below), was 
 erected on this site in 1868-78, by Diet, at a cost of 45 million 
 francs, of which nearly one-half was paid for the site. This hospital 
 is admirably fitted up, with 559 beds, and three medical chairs in 
 connection with it. The original Hotel-Dieu, which stood to the 
 right of the Place, on both banks of the S. arm of the Seine, was 
 the oldest hospital at Paris and probably in Europe, having been 
 founded in 660, under Clovls II. 
 
 This establishment is one of the twenty hospitals of the 'Assistance 
 Publique', which have an aggregate of upwards of 12,000 beds. The number 
 of patients annually discharged includes 45-50.000 men. 36-40,000 women, 
 and i6-18r000 children; the average annual deaths in the hospitals in- 
 clude about 7000 men , 5000 women . and 3000 children. The Assistance 
 Publique expends annually about 36,000,000 fr. on its various benevolent 
 institutions, which assist about 467,000 persons each year. 
 
 The Place du Parvis-Notre-Dame [PI. R, 22; F), in front of 
 the Cathedral, on the S. side of which the Hotel-Dieu was formerly 
 situated, is embellished with an Equestrian, Statue of Charlemagne^ 
 in bronze, by Rochet. 
 
 The *Cathedral of Notre-Dame [PI. R 22, V; admission, see 
 p. 228), founded in 1163 on the site of a church of the 4th cent., 
 was consecrated in 1182, but the nave was not completed till the 
 13th century. The building has since been frequently altered, and 
 has been judiciously restored since 1845 ; but the general effect is 
 hardly commensurate with the renown of the edifice. This is owinf 
 partly to structural defects, partly to the lowness of its situation^ 
 and partly to the absence of spires. It is, moreover, now surrounded 
 by lofty buildings which farther dwarf its dimensions; and, lastly, 
 the adjacent soil has gradually been raised to the level of the pave- 
 ment of the interior, whereas in 1748 the church was approached by 
 a flight of thirteen steps. 
 
 During the Revolution the cathedral was sadly desecrated. A decree 
 was passed in August, 1793, devoting the venerable pile to destruction, but
 
 9. NOTRE-DAME. 227 
 
 this was afterwards rescinded, and the sculptures only were mutilated. 
 On 10th Nov. in the same year, the church was converted into a 'Temple 
 of Reason', and the statue of the Virgin replaced by one of Liberty, while 
 the patriotic hymns of the National Guard were heard instead of the usual 
 sacred music. On a mound thrown up in the choir burned the 'torch of 
 truth' , over which rose a 'temple of philosophy' , in the Greek style, 
 adorned with busts of Voltaire, Rousseau, and others. The temple con- 
 tained the enthroned figure of Reason (represented by Maillard, the ballet- 
 dancer), who received in state the worship of her votaries. Damsels clothed 
 in white, with torches in their hands, surrounded the temple, while the 
 side-chapels were devoted to orgies of various kinds. After 12th May, 1794, 
 the church was closed, but in 1802 it was at length re-opened by Napoleon 
 as a place of divine worship. 
 
 In 1871 Notre-Dame was again desecrated by the Communards. The 
 treasury was rifled, and the building used as a military depot. When the 
 insurgents were at last compelled to retreat before the victorious troops, 
 they set fire to the church, but fortunately little damage was done. 
 
 The *Facaub, the finest part of the cathedral, dating from the 
 beginning of the 13th century, and the earliest of its kind, has 
 served as a model for the facades of many other churches in the 
 N.E. of France. It is divided into three vertical sections by plain 
 buttresses , and consists of three stories, exclusive of the towers. 
 The three large recessed portals are adorned with sculptures, which, 
 so far as they have survived the ravages of the Revolution, are fine 
 specimens of early-Gothic workmanship. Those on the central portal 
 represent the Last Judgment; the noble modern figure of Christ on 
 the pillar in the middle is by G. Dechaume. The portal on the 
 right (S.) is dedicated to St. Anne, and that on the left [N.), by 
 which the church is generally entered , to the Virgin , both being 
 adorned with sculptures relating to these saints. The relief repre- 
 senting the burial of the Virgin is noteworthy. This story is con- 
 nected with the one above it by the Galerie des Rois , a series of 
 niches containing modern statues of twenty-eight French kings 
 replacing those destroyed during the Revolution. Above the gallery, 
 in the centre, rises a statue of the Virgin, with two angels bearing 
 torches, to the right and left of which are figures of Adam and Eve. 
 — The centre of the second story is occupied by a large rose-win- 
 dow, 42 ft. in diameter, with the simple tracery of the early-Gothic 
 style. At the sides are double pointed windows. — The third story 
 is a gallery composed of pointed arches in pairs, about 26 ft. in 
 height, borne by very slender columns, each double arch being 
 crowned with an open trefoil. Above this gallery runs a balustrade, 
 surmounted with figures of monsters and animals ; and the facade 
 then terminates in two uncompleted square towers , each pierced 
 with a pair of pointed windows, about 54 ft. in height. The lateral 
 portals also deserve inspection. The S. door of the transept is em- 
 bellished with fine iron-work. The spire above the cross, 147 ft. in 
 height, and constructed of wood covered with lead, was erected in 
 1859. The exterior of the choir has a charmingly light and elegant 
 effect, with its bold flying buttresses and windows surmounted by 
 pediments. — Fountain, see p. 229. 
 
 16*
 
 228 9. NOTRE-DAME.. 
 
 The Interior is open to visitors the whole day, and the choir 
 from 10 to 4 ; tickets admitting to the sacristy, treasury, and chap- 
 ter-house (50 c.) are procurable on week-days from the verger at 
 the entrance to the choir in the right aisle. On Sundays and festiv- 
 als the choir is closed after divine service. 
 
 The church, which consists of a nave and double aisles, crossed 
 by a single transept, is 139 yds. long and 52 yds. broad. The double 
 aisles are continued round the choir, affording the earliest example 
 of this construction. The choir is semicircular in form, as in most 
 early -Gothic churches. The chapels introduced into the spaces 
 between the buttresses of the aisles and choir are in a late-Gothic 
 style. The vaulting, 110 ft. high in the nave, is borne by 75 pillars, 
 most of which, unlike those in other Gothic buildings, are round. 
 Above the inner aisles runs a triforium borne by 108 small columns, 
 and the clerestory is pierced with 37 large windows. The ancient 
 stained glass of the roses over the principal and lateral portals is 
 worthy of inspection. To the right of the S. portal are two marble 
 slabs in memory of 75 victims of the Commune (p. 179). The 
 pulpit, designed by Viollet-le-Duc, and executed by Mirgen, is a 
 masterpiece of modern wood-carving. Organ, see below. 
 
 The Choir and Sanctuary are separated from the ambulatory 
 and from the nave by very handsome railings. The choir- 
 stalls and the reliefs in wood, chiefly representing scenes from the 
 history of Christ and the Virgin, should be noticed. In the sanctuary 
 are a new high-altar, completed in 1874, a Pietk in marble by 
 N. Coustou (known as the Vow of Louis XIII.), and statues of 
 Louis XIII. and Louis XIV., also by Coustou (p. 104). 
 
 The choir-screen is adorned with twenty-three interesting re- 
 liefs in stone, representing scenes from the life of Christ, by Jehan 
 Bavy and his nephew Jehan de Bouteillier, completed in 1351, and 
 once richly gilded. 
 
 The clioir-cliapels contain a number of monuments, chiefly of former 
 archbishops of Paris. Beginning at the sacristy: Archb. Affre (d. 1849), 
 by Debay, Archh. Sibour (d. 1757), by Dubois; Comte cfEarcourt (d. 1718), 
 representing a dead man rising from the tomb, by Pigalle ; Archh. Darhoy 
 (1871), by Bonnassienx ; his predecessor Cardinal Marlot (d, ISdS) : Bifhop 
 Matiffas de Bucy (d. 1304). behind the high- altar; Cardinal de Belloy (d.iSOB), 
 a group in marble by Deseine. representing the prelate at the age of ninety- 
 nine giving alms ; Archh. de Quelen (d. 1839), by G. Dechaume ; Cardinal 
 de Noailles (d. 1729), by the same, in a chapel adorned with frescoes by 
 Maillot; Archb. Juigni (d. 1811), by Cartellier; Archh. de Beaumont (d. 1781); 
 monument of Marshal Guihriant (d. 1643), and his wife Renie du BeC'; 
 Cripin. 
 
 The Oi'gan., built by A. Cavaille-CoU, is one of the finest instruments 
 in Europe, with COOO pipes (the largest about 32 ft. in height), 10 octaves, 
 86 stops, 110 registers, 5 manuals, and pedals with 22 pedal-combinations. 
 The organist is M. Sergent. The choir of Notre-Dame has a reputation 
 for its 'plain song\ 
 
 At the beginning of the retro-choir, on the right (S.) side, is the en- 
 trance to the Sacristy (adm, 10-4, 50 c), erected in 1846-48 by Viollet-le-. 
 Due in the same style as the cathedral. In this and in the adjoining 
 Chapter House is the —
 
 9. ILE ST. LOUIS. 229 
 
 Treasurt, most of the objects in which are modern and of little art- 
 istic value. A sacristan shows and e.x plains the various objects , with 
 the usual unsatisfactory haste of such guides. The communion vessels, 
 in the mediaeval style, presented hy Kapolcon III., are noteworthy. The 
 ancient objects include a large Greek cross, enamelled (12th or 13th cent.), 
 silver busts of SS. Denis and Louis, and various chalices, reliquaries, and 
 vestments of the 13-16th centuries. Among the objects of historical interest 
 are the coronation robes of Kapoleon I. and the blood-stained clothes and 
 other mementoes of the archbishops Affre (p. 69), Sibour (p. 246), and 
 Darboy (p. 179). 
 
 Towers. The *View from the towers of Notre-Dame (223 ft. in 
 height), one of the finest in the city, embraces the course of the Seine 
 with its numerous bridges and the principal public edifices in the 
 environs. The entrance to the towers is outside the church, by the 
 N. tower, to the left of the portals. The ascent may be made in 
 summer from 9 to 5, on payment of 50 c. [including the bells). 
 The platform on the summit is reached by 397 steps. In the S. tower 
 hangs the great Bourdon de Notre-Dame, one of the largest bells in 
 existence, weighing 16 tons; the clapper alone weighs nearly half- 
 a-ton. Another bell here (not used) was brought from Sebastopol. 
 
 At the back of the Cathedral is another 'place', occupying the site of 
 the old archiepiscopal palace, in the centre of which rises the tasteful 
 Fontaine Notre-Dame^ designed by Vigoureux , and erected in 1845. The 
 water is poured from the mouths of dragons subdued by angels info a 
 double basin; and above them rises a Gothic canopy borne by columns, 
 and enshrining a statue of the Virgin and Child. 
 
 At the S.E, end of the He de la Cite, not far from the fountain just 
 described, stands the Morgue (open daily), a small building re-erected in 
 1864, where the bodies of unknown persons who have perished in the 
 river or otherwise are exposed to view. They are placed on marble 
 slabs, kept cool by a constant flow of water, and are exhibited in the 
 clothes in which they were found. The process of refrigeration to which 
 the bodies are subjected makes it possible to keep them here, if necessary, 
 for three months. The bodies brought here number about 800 annually, 
 one-seventh being those of women. The painful scene attracts many 
 spectators, chiefly of the lower orders. 
 
 The He St. Louis (PI. R,22; F), an island above that of the Cite, with 
 which it is connected by means of the Pont St. Louis, a few paces to the 
 N. of the Morgue, is a "dull and retired spot, though close to the busiest 
 parts of Paris. It contains, however, several mediaeval buildings of some in- 
 terest. The most important of these is the handsome Hotel Lambert, Rue 
 St. Louis 2, near the upper (S.E.) end of the island. It was built in the 
 17th cent, for Lambert de Thorigny, and decorated with paintings by Le- 
 brun and Lesueur. The ceiling-painting of the 'Gallerie de Lebrun'' repre- 
 sents the marriage of Hercules and Hebe. Voltaire once visited Mme. de 
 Chatet here. The mansion now belongs to Prince Czartoryski, who admits 
 visitors. — The adjacent Boul. Henri IV (p. 70) crosses to the right hank 
 by one half of the Pont Sully, and to the Halle aux Vins (p. 269) on the 
 left bank by the other half. — Monument of Barye, see p. 219. 
 
 II. FROM THE CITE TO THE MUSEE DE CLUNY. 
 
 Fontaine S^ Michel. St. Severin. Ecole de Medecine. 
 
 Approaching the left bank from the Cite by the T?oiil. du Palais 
 
 de Justice (p. 221), we cross the narrower arm of the Seine by the 
 
 Pont St. Michel (PI. R, 19 ; V\ a handsome bridge, rebuilt in 1857, 
 
 which commands a fine view of Notre-Dame. At the S. end of the
 
 230 9. ST. SfeVERIN. 
 
 bridge we reacli the Boulevard St. Michel, the principal artery of 
 traffic on the left bank, forming a link in the line of boulevards 
 traversing Paris from the Gare de I'Est to the Carrefour de I'Obser- 
 vatoire (p. 287). 
 
 On the right, in the Place St. Michel, we observe the Fontaine 
 St. Michel, a fountain 84 ft. high and 48 ft. in width, erected in 
 1860. The monument, which stands too low to be effective, con- 
 sists of a niche in the form of a Roman triumphal arch, containing 
 a group of St. Michael and the dragon in bronze, by Buret, placed 
 on an artificial rock, from which the water falls into three basins 
 flanked with griffins. At the sides of the niche are columns of 
 red marble bearing bronze figures of Truth, Wisdom, Power, and 
 Justice. 
 
 The first street to the left beyond the fountain penetrates an old-fashr 
 ioned part of Paris to the church of 'St. Severin (PI. E, 19; F), one of 
 the oldest in Paris, dating chiefly from the 13th and 15th centuries. It 
 consists of a nave and aisles flanked with chapels. The facade is now 
 composed of a portal of the 13th cent., brought from a church in the Cite 
 which was taken down in 1837, with a handsome tower of the 15th cent, rising 
 ahove it. The Intekiok is also worthy of inspection. The spacious nave 
 has two rows of windows, the lower row corresponding to the triforium 
 of other churches. The *StaiDed Glass in the large upper windows dates 
 from the 15th and 16th cent., that in the other windows and in the chapels 
 is modern. The handsome modern high-altar in marble and gilt bronze 
 (1893) hps two reliefs, representing St. Severinus the Abbot healing Clovis 
 and St. Severinus the Hermit ordaining St. Cloud as a monk (p. 296). The 
 groined vaulting of the double ambulatory should be noticed. The modern 
 mural paint'ngs in the chapels are, from right to kft, by Paul Flandrin, 
 Eeim and Signal, Schnetz and Biennoury, Muraf, Hippolyte Flandrin. Alex. 
 Hesse, Cornu, Girdme, Lenoir, Jobb^-Duval, Mottez, and Richomme ; but all 
 are faded and rendered obscure by the stained-glass windows. The chapels 
 at the end, dedicated to Kotre Dame de I'Esperance and Notre Dame des 
 Sept Douleurs, contain sculptures and votive ofTerings. 
 
 A little farther on, near the Rue Lagrange, is the small and ancient 
 church of St. Julien-le-Pauvre (PI. R, 19-22; V), the chapel of the former . 
 Hotel-Dieu. It is an unassuming edifice in the Gothic style of the 12th cent., 
 without portal or tower, but the choir and side-apses are interesting. It is 
 now occupied as a Greek church; services on Sun. and festivals at 10 a.m. 
 In the left aisle is a statue of Jlontyon (1733-1820), the well-known philan- 
 thropist. The entrance is Xo. 11 in the same street, through a narrow and 
 dirty court. 
 
 Returning to the Boul. St. Michel, we next cross the Boulevard 
 St. Oermain, near the Thermes and the Hotel de Cluny (p. 231). 
 This modern boulevard forms, with the Boulevard Henri IV, a thor- 
 oughfare on the left bank from the Place de la Bastille to the Place 
 de la Concorde, a distance of 23/4 M. Though these streets are by 
 no means so important as the Grands Boulevards, their point of 
 junction is one of the busiest spots in Paris. 
 
 A few paces to the right, in the Boul. St. Germain, is the Ecole 
 de Medecine (PL R, 19 ; F), a huge block of buildings of the 18th 
 cent., between the boulevard and the Rue de I'Ecole-de-M^decine. 
 The modern facade towards the boulevard, by Ginain, is in the same 
 severely plain style as the W. facade of the Palais de Justice, the 
 facade of the new Hotel des Postes, etc. The two caryatides, by
 
 9. HOTEL DE CLUNY. 231 
 
 Crauk, represent Medicine and Surgery. The handsome court is 
 flanked with an Ionic colonnade , at the end ol -.vhich rises a bronze 
 statue of Bichat, the anatomist (1771-1802), hy lavid d'Angers. 
 
 On the opposite side of the street is a large new addit'on, con- 
 taining the Ecole Pratique or laboratories. Adjacent, to the left, is 
 the refectory of an old Franciscan monastery, where the revolution- 
 ary 'Club des Cordeliers' held its meetings, now occupied by the 
 Musee Dupuytren, a valuable pathological - anatomical collection, 
 open to students and visitors with a permit from 10 to 4. 
 
 The Library (90,000 vols.) is open to students and medical men daily, 
 except on Sundays, holidays, and in vacation (Sept. and Oct.), 11-6 and 
 7.30-10.30 o'clock. The Ecole also possesses a Museum of Comparative 
 Analomy, or Mus6e Ovfila^ so named after its celebrated founder (d. 1853) ; 
 it is open on the same c'»nditions as the library. 
 
 Bronze statues of P. Broca (1S24-18S0), surgeon and anthropologist, by 
 P. Choppin, and of Danton (1759-1794). as 'organiser of the n tional defence', 
 by A. Paris, have been erected on the open space to the W. of the Ecole 
 de Medecine. 
 
 The *H6tel de Cluny (PL R, 19 ; V), which is entered from the 
 Rue du Sommerard (No. 14), occupies part of the site of a Roman 
 palace supposed to have been founded by the Emperor Constantius 
 Chlorus, who resided in Gaul from 292 to 306. Julian was proclaimed 
 emperor by his soldiers here in 360 ; and this was the residence of 
 the early Prankish monarchs until they transferred their seat to the 
 Cite (p. 220). The only relics of the palace stiU existing are the 
 ruins of the Thermes, or baths once connected with it (p. 239). 
 
 In 1340 the ruins came into the possession of the wealthy Bene- 
 dictine Abbey of Cluuy (near Macon, in S. Burgundy), and in the 
 i5-16th cent, the abbots caused the present Hotel de Cluny to be 
 erected on the site of the ancient palace. This edifice still retains 
 its mediaeval exterior almost intact, and is a remarkably fine speci- 
 men of the late-Gothic style with several Renaissance features. 
 The most interesting part is the facade in the court. 
 
 The Revolution converted this estate into national property, 
 and in 1833 the Hotel de Cluny came into the possession of M. Alex. 
 du Sommerard, a learned and indefatigable antiquarian. On his 
 death in 1842 the edifice with its valuable collections was purchased 
 by government, and united with the Thermes, which had hitherto 
 belonged to the municipality of Paris. The collection has since 
 been largely extended. 
 
 Admission. The Muse'e de Cluny et des Thermes is open to the public 
 every day except Mon. and certain holidays (p. 52), from 11 to 4 on Sun. 
 and 11 to 5 on weekdays in summer (April Ist-Oct. 1st), and from IL to 4 
 in winter. Catalogue in paper covers 4 fr., in boards 5 fr. Explanatory 
 labels everywhere. Sticks and umbrellas must be given up (no fee). 
 
 The *Mu3ee de Cluny comprises a most valuable collection of 
 mediaeval objects of art and products of industry. As there are 
 upwards of 11,000 objects, a single visit will hardly afford an idea 
 of even the most important.
 
 232 
 
 9. MUSEE DE CLUNY. 
 
 Gkound Floor. I. Room. Carvings and sculptures of various 
 kinds. Railing, panels, chests, and statues in wood, of different 
 dates. "Weights and measures, etc. 
 
 //. Room. To the right and left of the entrance, Gothio benches 
 with canopies, now fitted with shelves on which are busts of saints, 
 tasteful statuettes, and small groups of saints in wood of the 15th 
 and 16th centuries. In the glass-cases, an extensive collection of 
 shoes from Europe, Africa, China, Japan, India, America, etc. On 
 the walls are farther wood-carvings. Between the windows on the 
 left, a marriage-chest of the 16th century. Similar chests on both 
 sides and by the fireplace. — The stone chimney-piece is adorned 
 with high-reliefs dating from 1562. 
 
 Bide next Boulevard St. Germain 
 
 Garden. 
 
 I- IX. Rooms on Ground Floor. 
 
 South. 
 
 Rue 
 
 III. Room. Entrance-wall : *709. Large carved altar-piece in 
 gilded and painted wood, of the end of the 15th cent. ^ to the right, 
 *712. Flemish altar-piece (16th cent.); to the left, 816, 788. Holy 
 Women and Pieta (16th cent.). In the centre : 1422. German Gothic 
 reading-desk, of the end of the 15th cent. ; Swiss prie-dieu of the 
 same period. By the windows on both sides : medals. On the other 
 wall : no number, *Altar-piece, larger than and as fine as that op- 
 posite; to the right, 715. Calvary, triptych in carved wood (16th 
 cent.); to the left, *710. German triptych in carved wood, painted 
 and gilt, of the end of the 15th cent., upon a French credence of 
 the 15-16th centuries. Several fine Gothic cabinets. 
 
 IV. Room. Furniture of the 16th and 17th centuries. Medals and 
 counters relating to the history of France and Paris ; small plaques 
 and medals of the 15-16th centuries. The chimney-piece, with a
 
 9. MUS^E DE CLUNY. 233 
 
 bas-relief representing Actseon changed into a stag, dates from the 
 16th century. 
 
 V. Room. Collection Audeoud, presented to the museam in 
 1885. This consists of Italian and Spanish works of art of the 17th and 
 18th cent., amongst which we first notice an Adoration of the Magi, 
 composed of about 50 statuettes in rich costumes, with expressive 
 faces and well arranged (Neapolitan, 17th cent.). In the corner to 
 the right is a similar but smaller work, also noteworthy. Then a 
 large glass-case containing painted .statuettes and groups of the 
 Massacre of the Innocents and the Last Supper, etc. At the back, 
 richly sculptured and gilt Tabernacle, from the top of an altar, 
 with a statue of St. Antony of Padua holding the Infant Christ, a 
 Spanish work of the 17th century.' Fine carved, inlaid, and painted 
 furniture. Richly framed mirrors, one with a Madonna and angels' 
 heads in the centre. Small 'carvings; portions of a Spanish bed; 
 leathern hangings, etc. ; . . 
 
 Corridor. Italian paintings (14- 16th cent.}; -panels from' a 
 Spanish altar (15th cent.) ; Spanish altar-piece (15th cent.). - , > 
 
 VI. J?oo?n, lighted from the roof, with doors to the garden (p. 239) 
 and to the Thermes (p. 239), and, like the following room,- sur- 
 rounded with a gallery, which is accessible from the first floor 
 only. *5cwifi<wres,especially religious statues, bas-reliefs, and orna- 
 ments. To the right, monuments of the Grand Masters of the order 
 of St. John of Rhodes. By the walls, several altars of the 13-15th 
 cent.; statues and alabaster -reliefs of the 14th cent., etc. On 
 cabinets, interesting groups and statuettes, including a Coronation 
 of the Virgin (15th cent.), five *Statuette3 of mourners from the 
 tomb of Philippe le Hardi, by Claux Sinter, at Dijon (end of 14th 
 cent.), and a marble Presentation in the Temple (14th cent.). Above, 
 tapestries of the 15th century. In the middle. Angel of the Annun- 
 ciation, an Italian work of the 14th cent. ; several statues of the Virgin 
 and of saints (14-15th cent.); Virgin at Calvary (16th cent.), etc. 
 
 VII. Room, to the left of the corridor. Gallery, see above. On 
 the walls are three admirable pieces of *Flemish tapestry, of the be- 
 ginning of the 16th cent., belonging to a series of ten pieces, re- 
 presenting the history of David and Bathsheba. In the glass-cases, 
 ecclesiastical vestments and ornaments, lace, antique stuffs, girdles, 
 headdresses , etc. Around are interesting sculptures : to the left 
 of the entrance, 283. Prophet; to the right of the entrance, 282. 
 Astronomy, 284. Grammar, on a frieze in high relief; behind, Virgin ; 
 farther on, 298. Saint; 460. Flora, a caryatid (all these of the 16th 
 cent.) ; 448. Marble group of the Fates, attributed to O. Pilon, with 
 a bas-relief of his school on the pedestal; 251. Madonna and Child 
 (I6th cent.); 461. Salutation, 463. Queen of Sheba, 462. Judgment 
 of Solomon, and (to the right of the door to the next room). 453. 
 Bearing of the Cross, 454. Entombment, 455. Ascension, six bas- 
 reliefs of the 16th century. — On the other side of the doorway :
 
 234 9. mds:6e de cluny. 
 
 479. Entombment, an Italian work of the 17th cent. ; 457. Christ 
 appearing to Mary Magdalen, Flemish bas-relief of the 16th century. 
 On a table in front of the doorway: 450. Venus and Cupid, by 
 J. Cousin- 456. Sleep, 449. Ariadne deserted, both dating from the 
 1 6th century. Hanging from the ceiling, Venetian lantern (1 6th cent.). 
 
 VIII. Room. Continuation of the tapestry, ecclesiastical vest- 
 ments, lace, etc.; *Hangings, mantles and collars of the Order 
 of the Holy Ghost, founded by Henri III in 1579 (comp. p. 133). 
 In the centre, *Lantern of a Venetian galley (16th cent.); two 
 handsome monolithic columns (16th cent.) supporting two statues 
 (15th cent.) ; before these, fragments from the Tuileries. On the 
 right side of the room, Statuettes of the 15th and 16th cent. : 563. 
 Rape of the Sabines, after Giov. da Bologna; 564. Fame; no num- 
 ber, Genius from a tomb, by G. Pilon or Giac. Ponzio ; bas-relief 
 from the Chateau d'Anet; Shepherd. On the left side of the room: 
 487. Venus and Cupids (17th cent.) ; 735. Gilded wooden statuette, 
 a German work ; Virgin in high relief (No. 273) and other sculptures 
 of the 16th cent; portion of a chimney-piece by C. de Vriendt. At 
 the end, sculptured fragments from the old Hotel de Ville. 
 
 IX. Room. Sumptuous Carriages of the 17th and 18th cent., 
 sledges, rich trappings, Sedan chairs, etc. In particular, four car- 
 riages, richly adorned and painted. Models of similar carriages. 
 
 First Floor. We return to the corridor between Rooms VI. 
 and VII. and ascend a wooden staircase with the arms of Henri IV, 
 formerly in the Palais de Justice. 
 
 In the Corridor are weapons and suits of armour. 
 
 1st Room, to the left. French, Flemish, and Dutch Faience^ 
 Earthenware, etc., of the 16-18th centuries. 1st Glass-Case, to 
 the left: French faience from Aprey, Lille, Sinceny, etc.; reticulated 
 vase from Miinden. 2nd Case. Earthenware from Germany and 
 Limbourg. 3rd Case : Palissy and Oiron *Faience (16th cent.). 4th 
 Case : Specimens from Sceaux, Paris, Niedervillers, Strassburg, 
 Marseilles, Alcora (Spain), and Moustiers. 5th Case : *Rouen. 6th 
 Case : Nevers. 7th Case : Dutch faience (Delft). 8th Case : Various ; 
 3962. German guild 'masterpiece', representing a pulpit. Tiles, etc. 
 
 2nd Room, opposite. Magnificent collection of * Italian Faience 
 of the 15-18th cent., contained in eight glass-cases, and classed 
 according to schools. From right to left: Case I. Faenza; II. Chaf- 
 fagiolo and *Deruta ; III. *Deruta ; IV. *Gubbio (majolica) and 
 Castel-Durante ; V-VII. Urbino ; VIII. Venice, Castello, and Castelli. 
 — Above Case VI. and before the next case are bas-reliefs in painted 
 terracotta by Luca delta Robbia and his school (loth cent.). 
 
 3rd Room (to the right of R. 2). *Tapestries of the 15th cent. ; 
 those in the lower row are known as the 'tapestry of the lady and 
 the unicorn' ; those above represent the history of St. Stephen and 
 the discovery of his relics. Fine carved chimney-piece (legend of
 
 9. MUSfiE DE CLUNY. 235 
 
 the Santa Casa of Loretto) and ceiling from a house in Rouen (16th 
 cent.). Handsome oaken doors. Works in Oold^ Silver, Olasa, and 
 and ^Enamel. 
 
 Case 1, near the windows: *Ecclesia8tical work in gold, reliquaries, 
 book-covers, crosses, croziers, etc. (12-13tli cent.). —Case 2: •Limoges en- 
 amels (15tli cent.) by the Pt'nicauds; *4578. Calvary, by Nardon Pinicaud 
 (1503). — Case 3: •Limoges enamels (16-17tb cent.) ; •4G17-4630. Large oval 
 medallions representing scenes from the Passion , by Lionard Limosin • 
 4679. Eleanor of Austria, wife of Francis I., and portraits (on each side) 
 of the Duke and Duchess of Guise, also by Leonard Limosin ; 4691, 4593-96, 
 4603, 4611, 4612. Cup?, coffer, and plates, by Pierre Reymond; 4599-4600. 
 Cups, by Jean Courteys; 4613. Plate, by F. 0. Mouret; no number, ^neas 
 and Dido, foot of a goblet, by P. Reymond; etc. — Case 4: *4689. Cathe- 
 rine de Medicis in her mourning-cabinet, and upwards of thirty smaller 
 enamels, by Pinicaud^ Courteys, Limoiin, Cottly Noylier, Suzanne Courts etc. 
 — Case 5 : 4639-54. Sixteen scenes from the life of the Virgin and the Pas- 
 sion, by P. Reymond. Enamels by P. Courteys, Laudin (2. St. Catharine 
 and a Baptism"^of Christ), and the Noyliers. At the top are acquisitions 
 bought in 1893 at the sale of the famous Spitzer Collection. Lowest shelf : 
 Casket with ivory carvings of the 12th and 15th cent. 5 three gilt and 
 chased glasses (14th cent.)-, enamels of the 12th. 15th, and 16th cent.; 
 hunting-horn (lllh cent.); reliquaries (phylacteries) and portable altar 
 (13th cent.); ivory box (9th cent.). 2nd shelf: Three magnificent enamels 
 (16th cent.); plaque from a book-binding (9th cent.); monstrance of the 
 loth cent, (not from the Spitzer collection) ; ivory crozier and chandelier 
 of the 12th cent.; ivory plaque (6th cent.); wooden cup (15th cent.). 
 
 In the two cases in the second row: Venetian glass. Also, in the second 
 case, German loving cups and a lamp from a mosque (13th cent.). Then 
 a collection of wood-carvings from cabinets. At the back two other cases 
 with glass; in the case to the riL'ht, Venetian glass: 4779-4782. Basin and 
 plates (16th cent), with p;iintings of Psyche bringing to Juno the vase of 
 Proserpine, Delilah and Sampson, Juno and Isis, Birth of Bacchus. In 
 the case to the left: German and Dutch glass, etc. On the first of these 
 cases: 4610. Enamelled plate (Judgment of Paris), by L. Limos'n; on the 
 second : 4606. 'Plat de Moise', by P. Pinicaud. On the wall, nine large 
 plaques of enamel on copper, representing divinities and allegorical subjects, 
 by Pierre Courteys, brought from the old Chateau de Madrid in the Bois de 
 Boulogne (p. 158). These are the largest enamels known (5 ft. 6 in. x 3 ft. 
 4 in.). Here and beside the doors are interesting cabinets (1336. Venetian 
 marriage-che?t; 16th cent ) and statues of the 16th and 17th centuries. At 
 the end of the room is a stand with frames containing leaves of MSS., 
 miniatures, etc. 
 
 4th Room. *Hispano- Moorish Faience with metallic glazing 
 (14-17th cent.) and *Rhodian Faience of the same period, made 
 by Persian workmen. A few bronze vases are also placed here; also, 
 at the left side, enamels and Chinese jade carvings. On the windows, 
 old stained glass. 
 
 5th Room. Objects illustrating the Jewish religion : furniture, 
 goldsmith's work, jewels, MSS., embroideries. The chimney-piece 
 dates from the 15th century. 
 
 6th Room. Altar-shutters of the Flemish school (1632) , repre- 
 senting the donor with his patron saints and an emperor presenting 
 the deed of gift; paintings of the Italian school ofthel6-16th cent. ; 
 1745. Portrait of Charles V., of the school of Janet (16th cent.) ; 
 4763. Mosaics by David Ghirlandajo (15th cent.), — Case 1 :. Musi- 
 cal instruments, psaltery, mandolins, pocket-violins used by dan- 
 cing-masters, violin by Amati. Case 2: Collection of caskets. By the
 
 236 9. MUS^E DE CLUISY. 
 
 wall: *Venetian cabinet of the 16th cent., representing the facade 
 of a palace, adorned with plaques of ivory and mother-of-pearl, 
 paintings, bronze-gilt statuettes, etc. Florentine cabinet, with costly 
 mosaics (17th cent.), and three Italian writing-tables inlaid with tin 
 (all of the 18th cent.). Near the windows, Cabinets of the 16th cen- 
 tury; etc. 
 
 7th Boom. Flemish cabinets of the 17th cent. ; two ancient Chin- 
 ese vases in cloisonne enamel; etc. The ceiling-painting was exe- 
 cuted in the 17th century. ■ 
 
 8th Room. State-bed of the time of Francis I. (16th cent.);. to the 
 right and left, 1431, 1432. French cabinets (16th cent.). — To the 
 right of the chimney-piece : 1424. Cabinet from Clairvaux Abbey, 
 time of Henri II (16th cent.). — Opposite the windows : 1426,' 1425. 
 Cabinets (16th cent;). -Central glass-case: MSS. with miniatures 
 o'f the 13-16th cent., including portraits of Columbus (No. 1817) 
 and Palissy (1818). Above, statuettes; 743. Wooden figure of the 
 "Virgin (15th cent.); *855'. Wood-carving representing two women 
 fighting. At the 1st window, moulds for pastry (16-18th cent.). 
 At the 2nd window : tobacco-graters (17th cent.) in carved wood 
 and ivory; sets of draughtsmen, etc. (16th and 17th cent.); wooden 
 combs (16th cent.), ivory snuff-boxes, pepper-boxes, etc., nut- 
 crackers, handles of knives in wood (16-17th cent.)., " 
 
 9th Room. Works in Ivory, etc. — Small glass-case in the 
 centre, to the right: no number, *Plaque from a consular diptych 
 of the 5th or 6th cent, (purchased in 1894 for 21,000 fr.); 1058. 
 Pastoral staff in boxwood and ivory (13th cent.); to the right, 1033, 
 1034. Fragments of boxes of the 6th cent. ; book-covers, etc., of 
 the 5th or 6th to the 12th cent.; to the left, 1035. Marriage of Em- 
 peror Otho II. and Theophano, daughter of the Greek emperor Ro- 
 manus II., in 973 ; 1051. Reliquary casket of the 12th cent. ; 1374. 
 Oriental casket. — In the large glass-case: 1052. Reliquary of St. Yved 
 in ivory, 12th cent.; 1037. Madonna, 10th cent. ; two Madonnas, 
 14th and 17th cent. ; 1106. St. Catharine, 15th cent.; 5296-97. 
 Two lions' heads of rock-crystal, 3rd or 4th cent., found in a tomb 
 on the Rhine, together with an ivory statuette (1032) with the attri- 
 butes of several deities (between the lions' heads). At the back : 1060. 
 Reliquary with 51 bas-reliefs of Scriptural subjects (14th cent.); 
 1090. Coffer of the same style and period; Madonnas, etc. — In the 
 1st glass-case to the left : Powder-horns, graters, snuff-boxes, knives 
 and forks with ivory handles, etc. (18th cent.). In the 2nd case to 
 the left: Wax medallions and medals (1298. Margaret of Valois, 
 Queen of Navarre; 1580). — On the side next the entrance, 1461, 
 1462. Carved ebony furniture of the 17th cent, and portions of cab- 
 inets of the same period (others opposite). Case between the cab- 
 inets : Ivory carvings and wooden statuettes ; no number, Adam and 
 Eve, by Francheville (? 17th cent.) ; to the right, 1153. Figure resem- 
 bling the Manneken Pis at Brussels and by the same artist ,Duquesnoy
 
 9. mus£e de cluny. 237 
 
 (1619). *1113. Yirtue chastising Vice, attributed to Giovanni da 
 Bologna, on a round pedestal of the 19th cent, ; below, 1056, 1057. 
 Venetian coffers (13th cent.). — First window towards the garden : 
 Carved distaffs and spindles (16th cent.) ; girdle of chastity. 
 Between the windows and by the back-wall : 1458, 1457. Ebony 
 cabinets (17th cent.). In the adjoining glass-cases, statuettes, 
 busts, medallions, ivory carvings of the 16-18th centuries. — First 
 window towards the court: 1081. Altar-piece in the form of a 
 triptych, adorned with bas-reliefs in ivory (14th cent.) ; several other 
 reliefs in ivory (14-15th cent.), some perforated and of great deli- 
 cacy, e.gr. 1177. Diptych of the 17th cent., with tablets no larger 
 than a nutshell, containing 102 figures. 718. Spanish triptych in 
 carved wood (16th cent.). Between the windows, on the right: 
 1079. Oratory of the Duchesses of Burgundy, 14th century. — Sec- 
 ond window : in the centre, no number. Fine triptych in high-relief 
 (14th cent.); 1062 and 10.63-1066 (to the right), Scenes from 
 the Passion and legends of martyrs (14th cent.); to the right and 
 left, leaves of diptychs of the 14th and 15th cent. , with Biblical 
 scenes; 1055, 1069-73. Boxes with mirrors of the 14th century. 
 
 10th Room. Works in iron, locksmith's work, bronzes, etc. 
 
 Case 1, on the side next the court: Locks, knockers, etc. (15-lTth cent.); 
 iron coffer inlaid with gold and silver (17th cent.). — Case 2 (at the next 
 window): Locks, flat bolts, etc. (14-lbth cent.). — Case 3, by the end-wall : 
 Keys. — Case 4 (above Case 3): 5112. German drinking-horn (I5thcent.); 
 5708. Spurs of Francis I. ; 5(X)3, above, .Statuette of St. Catharine of Bologna 
 (17th cent.); 5073. French chalice (17th cent.); censers, etc — 1409. Cre- 
 dence-table of the 16th cent. ; above, no number, "Bronze Statuette of Joan 
 of Arc (1-oth cent.). 5114. Florentine mirror mounted in damascened iron 
 (16th cent.) ; 5105-8. Panels in embossed and gilded copper, from a chapel 
 (Ital., 16th cent.). — Case 5: Huntsman's kit of knives and instruments 
 (16th cent.). — Case 6 (above) : 5189, 5190. Pewter ewer and basin, by 
 Fr. Briot; 5131. Silver goblet fl6th cent.) in the shape of a lady in the 
 costume of the period. — Case 7, on the side next the garden: Locks, bolts, 
 and knockers (l6th cent.). — Case 8: Small plaques; bosses from horses' 
 bits (16th cent.); cork-screws, pincers, etc. fl7-l-th cent.). — Case 9. 6599. 
 Double girdle of chastity (Italian); 7219-7221. Ea.^^t^'rn betel- cutters; 5711. 
 Piece of armour of the 16th cent. ; 5967. Key-bearer of the reign of Louis X^'. 
 — On a credence-table of the 16th cent.: 1271. Italian relief in iron of the 
 Wise Virgins (16th cent.). — Case 10: 'Locks and 'Keys of the 16th cent- 
 ury. — Cases 11 & 12: Statuettes and other bronzes. — Case 13, in front of 
 the chimney-piece: 6054. Iron coflers. To the right, bronze measures. — 
 To the left: Italian andirons (16th cent.); serpents of the 17th century. — 
 Case 14: Bronze knockers; bolt and lock of the 15th cent. ; 6126. Torture- 
 belt. At the sides of this case : Bell-metal font from a church near Ham- 
 burg (14th cent.); leaden baptismal basin (14th cent.); hinge-ornaments 
 from Notre Dame; pot-stand, etc.; 5844. Fine locksmith work; smoothing 
 irons , etc. Italian celestial globe (1502). -Goldsmiths bench and tools, 
 German work of 1565, inlaid and carved, the iron portions delicately en- 
 graved. Hanging from the roof, Lantern of the 16th cent., with the arms 
 of Lorraine. — The chimney-piece dates from the 16th century. 
 
 nth Room. *Objects in the precious metals, etc. Case to the 
 right of the entrance next the garden : Large collection of spoons, 
 forks, table requisites, etc., of the 16-17th cent. ; girdles; crosses; 
 collar of the Order of S. Annunziata; purses of tlie same period; cases
 
 238 9. MVStE DE CLUNY. 
 
 of instrmneiits of various kinds. Nest case : *SMp in gilded and en- 
 amelled bronze , with inova"ble figures of Charles V. (in gold) and 
 Ms dignitaries, a piece of mechanism executed in the 16th century. 
 Following case: Watches of the 17-18th cent. ; rings, some of great 
 size (15th cent.) ; 5129. Mirror (closed), 16th cent. ; 5278. Portrait 
 of Francis I. On the wall: 5068. Abbot's crozier, 16th cent.; 5069. 
 Crozier of the 17th cent. ; 5070. Processional banner (loth cent.), 
 representing a 'miracle of the Host' that occurred at Paris in 1290 ; 
 5066. Crozier of the 14th century. On the same wall and opposite, 
 Six Flemish tapestries, of the beginning of the 16th century. 
 
 In the central cabinet : **Nine gold crowns, found at Guerrazar near 
 Toledo in 1858 and 1860, the largest of which, inlaid with pearls. 
 Oriental sapphires, and other jewels, is said by the inscription (prob- 
 ably added when the crown was converted into a votive offering) to 
 have belonged to the Gothic king Reccesvinthus (649-72); 4980. 
 Crown of Queen Sonnica (?). — In the glass-case on the left, next 
 the garden : *5014. French reliqnary of the 15th cent. ; 5015-5017. 
 Reliquaries of the same period, German works, the first by Hans 
 Greiff, a famous Nuremberg goldsmith; 5005. Golden rose of Bale, 
 presented by Pope Clement Y. to the Prince-Bishop of Bale (14th 
 cent.); 5022-5029. Reliquaries and monstrances (15th cent.). — In 
 the glass-case on the right, next the garden : 5042. Large double cross 
 in gilded copper, forming a reliquary, richly decorated with filigree- 
 work and jewels, a valuable Limoges work of the 13th cent. ; *5044. 
 Processional cross, in silver, gilded, engraved, and enamelled, with 
 statuettes at the ends representing the Virgin, St. Peter, Mary Mag- 
 dalen , etc. , a very interesting Italian work of the 14th cent.; 5043. 
 Archiepiscopal cross in silver-gilt filigree , lavishly enriched with 
 jewels, pearls, and antique cut gems , and containing eight small 
 reliquaries (Limoges, 13th cent.) ; between the crosses on the right, 
 5019. Italian reliquary (15th cent); reliquaries, chalice, monstrance 
 (14-15th cent). 
 
 By the first window : *5299. Chess-board with men of rock-crystal, 
 a German work of the 15th cent. ; other objects in precious metal 
 or gems, chiefly of the 15- 17th centuries. — By the second window : 
 Gallic torques and other objects, in massive gold, found near Rennes 
 in 1856; 4989. Merovingian military ornament, in gold (end of a 
 sword-belt); 4990. Merovingian scabbard, mounted in gold; 5280. 
 Buckle of a belt (17th cent.) ; 1040. Cover of a book of the Gospels, 
 ivory with gold filigree, 10th cent. ; no number, Coffer in sHver-gilt 
 filigree work, embellished with pearls and gems ; 5041. Double cross, 
 in silver-gilt, adorned with precious stones, filigree work, and reliefs 
 (13th cent.) ; *5103. Prize for crossbow-shooting , in silver-gilt, 
 embossed and chased (German, 15th cent.); 5076. Silver clasp, 
 gilded and enamelled, a German work of the 14th cent. ; etc. 
 
 End- wall: French seals, with coats -of-arms (17-18th cent.). 
 *4958. Golden antependium presented by Emp. Henry II. (d. 1024)
 
 9. THERMES. 239 
 
 to the cathedral of Bale, 3ft. high and 51/2 ft. wide, with em- 
 bossed reliefs, a n^ost interesting specimen of the goldsmith's art, 
 probably executed by Lombard artists under Byzantine influence. 
 The tapestry and carpet also come from Bale (16 -17th cent.). 
 
 In the adjoining case, next the garden : Astrolabes, compasses, 
 clocks of the 16-17th cent. ; set of instruments of a German archi- 
 tect of the 16th cent., etc. — Next case : Covers of a Gospel; Last 
 Supper in chased and gilded copper with enamels, Limoges work of 
 the 12th and 13th cent. ; censers and vessels used as hand-warmers 
 (13th and 16th cent.); Italian reliquaries of the 14-1 6th cent.; 
 abbots' croziers (12-14th cent.) ; etc. 
 
 We return to Room 8. On the right is the — 
 
 ]2th Room. State-bed (17th cent.). To the left, English astro- 
 nomical clock (17th cent.). On the chimney-piece: 937. The 
 Child Jesus in an attitude of benediction, a statue by Duquesnoy. 
 At the window: Collection of book-bindings (16-18th cent.). 
 
 We next enter the rich Gothic *Chapel, which is borne by a 
 pillar in the centre. To the left, Large Flemish altar-piece, loth 
 century. Opposite, Gothic chairs and stalls. On the site of the altar, 
 in a projecting apse, Large wooden reliquary (15th cent.). In front, 
 large copper reading-desk. At the end: Christ, a wooden statue of 
 life-size, 12th cent.; statues of the Virgin and St. John, from an 
 Italian 'Calvary', 13th cent.; wooden doorway (15th cent.). 
 
 From this chapel a staircase descends to a small garden-c urt. affording 
 a view of the exterior of the chapel-apse. Immediately to the left, at the 
 foot of the staircase, is a door leading into R. VI (p. 237), from which the 
 Thermes are entered. 
 
 The Thermes, or ruins of the baths once belonging to the an- 
 cient palace of the emperors (p. 231), are on the side adjoining the 
 Boul. St. Michel. The fact that the largest hall, which was the 
 Frigidarium, or chamber for cold baths, is 65 ft. in length, 31^/2it. 
 in breadth , and 59 ft. in height , will serve to convey some idea 
 of the imposing dimensions of the ancient Roman palace. The archi- 
 tecture is simple, but the masonry is so substantial that the weight 
 and moisture of a garden which lay above it for many years down 
 to 1810 have left it uninjured. The vaulting is adorned with ships' 
 prows, in allusion to the fact that Lutetia lay on a navigable river, 
 whence the modern armorial bearings of Paris are said to be derived. 
 A number of the Roman antiquities found at Paris are preserved 
 here, but they will not interest ordinary visitors. To the left is a 
 statue of the Emp. Julian, in Greek marble, found at Paris. Opposite, 
 in the lower part of the hall, originally occupied by the piscina or 
 swimming-bath, is a mosaic of the Gallo-Roman period. The Tepi- 
 darium, or warm bath, was in the part adjoining the boulevard, 
 now destitute of vaulting. 
 
 The * Garden, or Square Cluny, the only entrance to which is 
 through the court of the 'hotel' (p. 231), contains interesting medi- 
 aeval sculptures and architectural remains, including a large Roman-
 
 240 9. SORBONNE. 
 
 esqne portal from the Benedictine clinrcli at Argentenil. Facing 
 the Hotel de Cluny is a cast of the fine Madoi^na de Notre-Dame 
 at Paris. . - 
 
 About 300 yda. beyond the Hotel Cltiny, the Boul. St. Germain reaches 
 the Place Maubert, with a monument to Etienne DoUt (p. 246). 
 
 III. FROM THE MUSEE DE CLTJNY TO THE PANTHEON. 
 
 Sorbonne. College de France. Bibliotheque Ste. Genevieve. St. Etienne- 
 
 du-Mont. 
 
 Ascending the Rne de la Sorbonne,; opposite to the entrance 
 to the Hotel de Clnny, -sve see in froiit.of us the ^new buildings of 
 the Sorbonne facing the Rue des-Ecoles' (facade, see- below). . 
 
 The Sorbonne (PL R, 19; FJ , a building erected in 1629 by 
 Cardinal Richelieu for the Theological FacuUy oiAhk'[]xi\\e,TS,\ty of 
 Paris, but practically rebuilt since 1885 (the church excepted), is 
 now also the seat of the Faculties of Literature and Science (de$ 
 Lettres et des Sciences). The two other faculties belonging to the 
 university (jurisprudence and medicine) occupy separate buildings 
 (pp. 244, 230). - _ ., :,. ' . . „. : 
 
 The Sorbonne was originally . a _kind, of hostel founded, by, .Ro6er<, dis_. 
 Sorbon. the confessor of St. Louis,' in 1253, for' the. reception of poor stud-; 
 ents of theology and their teachers: but -it- soon acquired' such a high 
 reputation that it became the centre of the scholastic theology, and its. 
 name came to be applied to.the^theolOiJ:ical faculfy itself. This establish- 
 ment has exercised considerable influence on Catholicism in France. While 
 violently hostile to the Reformation', the Sorbbnne'was har'^^y.^^ss str(in^ly 
 opposed" to the Jesuits': and for a'Lmg period it rejected the authority of 
 the 'Unigenitus' bull- directed ag'ainsf the Jahsenists ll'''13); The faculty 
 next came intocolli^sion with the philosophers. of the ISth cent., of whose 
 witticisms it was frequently the butt ,' until it was' abolished by the Re- 
 volution. :.;.■■. 
 
 In 1808j whenNapoleonl; founded the present university (under 
 which term the French include the authorities who superintend 
 the education of the, whole country), the building was handed over 
 to the three faculties. mentioned above. The total number of stud- 
 ents in the five faculties, is. about 14; 000. The lectures are open to 
 the public gratis.: Aboiit the. raiddle: of August prizes founded in 
 1733 by Legfcndre, : a canon of Notre-Dame, are annually distributed 
 here among the pupils,of the lyceums of Paris and Versailles. 
 
 Extensive rebuilding operations, after A'en of s plans, have been 
 going on at the Sorbonne for several years, but are now approaching 
 completion. The edifice is a vast pile, 270 yds. long and 110 yds, 
 broad, having been considerably extended to the N. and S. The 
 main part is now on the N., presenting a huge facade to the Rue des 
 Ecoles, with two rounded pediments (Sciences, by Mercie ; Letters, 
 by Chapu) and eight statues : Chemistry (to the left), by Iiijalbert; 
 Natural History, hy Carlier ; Physics, 'by Lefeuvre ; Mathematics, 
 by Suchetet; History, by Cordonnier; Geography, by Marqueste; 
 Philosophy, hy Longepied ; and Archeology, by Paris. 
 
 The vestibule on this side contains statues of H'.mer, hy Delaplanche, 
 and Archimedes, by Falgtiihre. In the centre are the principal entrance
 
 9. COLLJ^GE DE FKAJsCE. 241 
 
 and the staircase to the galleries of the great amphitheatre (see below) . 
 The upper vestibule is adorned with mural paintings illustrating Letters, 
 by Flameng (to the right of the principal duorj, and Science, by Chartran 
 (to the left). Flameng's paintings represent: Founding of the Sorbunne; 
 Abelard and his school ^ Establishment of the lirst printing-press at the 
 Sorbonne^ Etienne Dolet, Amyot Kunsard Marot, Rabelais, Ramus, La- 
 boetie, Brantome, Budteus, L Estoile, and Montaigne ; Kichelieu laying the 
 foundation of the Sorbonne chapel 5 the Rector of the Sorbonne and 
 Henri IV ; Larochefnucauld, RoUin, principal of the College de Beauvais, 
 at Paris; Quinet. Willemain, Guizot, Michelet, Cousin, and Renan. At 
 the side, a statue of the Republic , by Delhomme. Charlran's paintings, 
 also beginning at the duor, represent : Louis IX, studying mathematics ; 
 Ambroise Pare tying arteries; B. Palissy teaching mineralogy; Buffon, 
 De Jussieu, Daubenton, Pascal and Descartes. Lavoisier and Berthdllet, 
 Cuvier, Laennec (inventor of the stethoscope), Arago. — The Large Amp/ti- 
 theaire (adm. Sun. 10-1, Thurs. 11;^), which hi. Ids 3000 persons, contains 
 six statues: Sorbon by Crauk, Richelieu by Lamon, Descartes by Coutan, 
 Pascal by Barriat, Rollin by Chaplain, and Lavoisier by Dalou. The end 
 of this hall is decorated with a large allegorical 'Painting by Puvis de 
 Chavannes , the cupola by Oallnnd. i'he otber roums (nut shown to the 
 public) have paintings by Wencker^ Benj. Constant, Lerolle, Cazin, Jobbi- 
 Duval, VHermitte, Roll, and Jiaph. Collin. 
 
 The Church of the Sorbonne, the usual entrance of which is 
 in the Place de la Sorbonne, is the only part of the original build- 
 ing that is to be preserved. It was built by Richelieu in 1635-59 
 and is surmounted by a conspicuous dome. — In the interior, to the 
 left of the entrance, is a large picture by Hesse : Robert de Sorbon 
 presenting young students of theology to St. Louis ; to the right, 
 the tomb of the Du(; de Richelieu {^d. 1822), who distinguished 
 himself in the Russian service and as minister under Louis XVIII. 
 The left transept contains the History of Theology, a large picture 
 by Timbal, and the marble *Tomb of Cardinal Richelieu (d. 1643), 
 designed by Lebran, and executed by Oirardon in 1694. The car- 
 dinal is represented in a semi-recumbent posture , supported by 
 Religion, while Science stands by in an attitude of grief. The last 
 statue has been particularly admired. In the right transept is a 
 Scourging of Christ, in marble, hy Ramey the Younger, etc. The 
 pendentives of the dome are painted by Ph. de Champaigne. 
 
 A public passage, to the ri^iht of the church, lead-^ through the Sor- 
 bonne (10 make room for which a street was demolished here), emerging 
 opposite the Ljce'e Louis-le-Grand (p. 242). 
 
 Opposite the church of the Sorbonne is the small Place de La 
 Sorbonne, beyond which, in the Boul. St. Michel, is the Lycee St. 
 Louis, formerly the College d'Harcourt, founded in 1280. 
 
 A little way behind the Sorbonne is the College de France (PI. R, 
 19; V), founded by Francis I. in 1530, entirely rebuilt at different 
 times between 1611 and 1774, restored and extended in 1831, 
 and about to be extended once more. The original name, 'College 
 des trois langues', denoted its dedication to students from different 
 provinces. The inscription 'Docet omnia' over the entrance indi- 
 cates that its sphere embraces every branch of science. The lectures 
 are intended for the benefit of adults, and are of a popular charac- 
 ter. The public are admitted gratis, ladies included. The college, 
 
 Bakde,kkb. Paris. 12th Edit. 16
 
 242 9. PANTHEON. 
 
 wMcli contains 40 chairs, is not connected with the university, but 
 is under the direct control of the minister of public instruction. A 
 bronze statue of Claude Bernard (1813-78), the physiologist, by 
 Guillaume, has been erected in front of the side of the College 
 facing the Rue des Ecoles. Adjacent is a statue of Dante (1265- 
 1321), by Aube. In the court on the side next the Rue St. Jacques 
 is a statue of BudcEus {Budi; 1467-1540), one of the learned 
 founders of the institution, by L. Bourgeois. 
 
 Farther on, the Rue dea Ecoles passes the Square Monge (p. 246j and 
 ends behind the Halle aux Vins (p. 269), near the Jardin des Plantes (p. 264). 
 
 We now ascend the old Rue St. Jacques, passing the Lnjcie 
 Louis-le- Grand (recently in great part rebuilt), formerly the Col- 
 lege de Clermont belonging to the Jesuits, and reach the wide and 
 handsome Rue Soufflot, which leads to the Jardin du Luxembourg 
 (p. 262) and to the Pantheon, with its imposing dome. 
 
 The *Pantheoii (PI. R, 19, V; admission, see below) stands 
 on the highest ground in the quarters of the city on the left bank, 
 occupying the site of the tomb of Ste. Genevieve (422-512), the 
 patron saint of Paris. The chapel erected over her tomb was 
 succeeded by a church , which having fallen to decay was remov- 
 ed about the middle of last century. The present edifice, de- 
 signed by Soufflot, was completed in 1790 , the foundation-stone 
 having been laid by Louis XV. in 1764. The new church was also 
 dedicated to Ste. Genevieve, but in 1791 the Convention resolved 
 to convert it into a kind of memorial temple, which they named 
 the 'Pantheon', inscribing on it the words, 'Aux grands hommes la 
 patrie reconnaissante' . It was restored to religious uses in 1806, but 
 was again made a temple after the July Revolution in 1830. Once 
 more consecrated in 1851, it was finally secularised in 1885 for the 
 obsequies of Victor Hugo. 
 
 Admission. The Pantheon is open daily, except Men., from 10 to 4. 
 For the dome and vaults an order is necessary from the Administration 
 des Beaux Arts, Rue de Valois 3 (Palais-Royal), for which application 
 should be made in writing. 
 
 ExTEHioE. The edifice is of most imposing dimensions, and its 
 form is that of a Greek cross (with equal arms), 370 ft. long and 
 276 ft. wide , surmounted by a dome 272 ft. in height and over 
 75 ft. in diameter. The dome rests on a lofty cylinder or drum en- 
 closed by an open Corinthian colonnade, and is crowned with a 
 lantern. A huge colonnade consisting of twenty-two fluted Corin- 
 thian columns, 81 ft. in height, resembling that of the Pantheon 
 at Rome, forms the portico, to which eleven steps ascend. The 
 tympanum, 117 ft. long and 23 ft. high, contains a fine *Group of 
 sculptures by David d' Angers (d. 1856), illustrative of the inscription 
 mentioned above. The principal figure, 16 ft. in height, represents 
 France distributing wreaths to her sons, who form spirited groups 
 on each side.
 
 9. PANTHEON. 243 
 
 To the left, under the protection of Liberty, are a number of illastrions 
 men, including Malesherbes^ Mirabeau, Monge, and Finelon; ih^n Manuel ; 
 Camot, the celebrated general of the Republic; Bertfiollet, the chemist, 
 and Laplace, the astronomer. In the second row are the painter David, 
 Olivier, Lafayette, Voltaire, Rousseau, and the physician Bichat. To the 
 right, beside the figure of History, are soldiers of the Republic and of 
 the Empire , with Bonaparte (Ihe only portrait) among them ; behind 
 him an old grenadier, emblematic of discipline, and the drummer-boy of 
 Areola as the representative of youthful bravery. In the angles of the 
 pediment are students of the University and the Ecole Polytechniqne. 
 
 Under the portico are two groups in marble by Maindron 
 (d. 1884) : Ste. Genevieve imploring Attila, the leader of the Huns, 
 to spare the city of Paris; and the Baptism of Clovis by St. Remigius. 
 
 Interior. Three handsome bronze doors form the entrance to 
 the simple but majestic interior. On each side of the aisles is a 
 Corinthian colonnade, bearing a gallery running round the church. 
 Over the centre of the edifice rises the dome, which, according to 
 Soufflot's design, was to have rested on columns, but these proved 
 too weak for the weight of the superstructure. J. Rondelet, who 
 succeeded Soufflot in 1781, substituted pillars, connected by massive 
 arches, for the original columns, to the detriment, however, of the 
 general effect produced by the nave. The dome consists of three 
 sections, one above the other, the second of which is adorned with 
 paintings by Oros. The paintings on the spandrels, by Carvalho, 
 after Oerard, represent Death, France, Justice, and Glory. 
 
 The interior of the Pantheon is decorated with paintings and other 
 works of art of a national and historical character (some still unfinished). 
 The paintings are not frescoes , but oil-paintings on canvas fastened to 
 the wall by a coat of white-lead ('■toile maroufl-^e"). Beside the principal 
 door are statues of St. Denis, by Perraud, and St. Remigius, by Cavelier. 
 On the wall of the nave, to the right, Preaching of St. Denis, by Oaland; 
 •Childhood of Ste. Genevieve, by Puvis de Chavannes, in the archaic style 
 and pale dead colour peculiar to the artist. On the left, Martyrdom of 
 St. Denis, by Bonnat ; Ste. Genevieve interceding with Attila, by Delaunay. 
 Above these and the following paintings ore smaller compositions, more 
 or less related to the lower scenes. At the first pillar-', to the right and 
 left, statues of St. Martin, by Cahet and Becquei , and St. Germain, by 
 Chapu. Right transept: Coronation of Charlemagne, and Charlemagne aa 
 restorer of literature and science, by H. Livy ; at the end, Pilgrimage to 
 Ste. Genevieve and Procession with her relics, by Maillot, and a piece of 
 tapestry, 'Gratia Plena"; to the left. Baptism of Clovis and his Vow at 
 the battle of Tolbiac, by Blanc. To the right of the choir. Death of Ste. 
 Genevieve, hj J. P. Laurens; and a statue of the saint, hy Guillaume. By 
 the pillar, statues of St. Gregory of Tours, by Frimiet, and of St. Ber- 
 nard, by Jouffroy. Ti;e paintings on the left side, by Puvis de Chavannes, 
 will probably also refer to Ste. Genevieve. On the vault of the apse is 
 Christ showing to the Angel of France the destiny of her people, a mosaic 
 hy Hubert. Left transept : St. Louis as a boy, administering justice, found- 
 ing the Sorbonne and the Quinze-Vingts, and a captive of the Saracens, by 
 Cabanel ; above, a procession of saints. To the right: Joan of Arc at 
 Domre'my, before Orleans, at Rheims , and at the stake in Rouen, by 
 Lenepveu; at the end, famous Frenchwomen, by Humbert, and a piece of 
 tapestry, 'Pro Patria'. — Against the pillars are placed statues of St. Jean 
 de Matha, by HioUe, and of St. Vincent de Paul, by Falguiere. 
 
 The Dome is reached by a staircase (425 steps) in the left (N.) 
 transept. We ascend 139 steps to the roof, and then 192 more to 
 
 16*
 
 244 9. BIBLIOTHilQUE STE. GENEVIEVE. 
 
 the first section of the dome, where we obtain a view of the paint- 
 ing in the second section , executed by Oros , in 1824. This large 
 composition, which finds many admirers, covers a surface of 352 sq. 
 yds., and represents Ste. Genevieve receiving homage from Clovis 
 (the first Christian monarch) , Charlemagne , St. Louis , and Louis 
 XVIII.; above are Louis XVI., Marie Antoinette, Louis XVII., and 
 Madame Elisabeth , the victims of the Revolution. — We may now 
 ascend by 94 steps more to the lantern , which commands a mag- 
 nificent view of the city and environs , but less interesting than 
 that from the Tour St. Jacques or Notre-Dame , as its position is 
 not so central. 
 
 The entrance to the Vaults (Caveaux)^ which are uninteresting, is 
 at the end of the building, to the left. They are supported by 20 pillars, 
 and divided by partitions of masonry. 
 
 Mirabeau was the first person whose remains were deposited here 
 (1791), and near him was placed Marat, the most furious of the Jacobins, 
 who fell in 1793 by the hand of Charlotte Corday; but their bodies were 
 afterwards removed by order of the Convention. 
 
 To the left, near the entrance, is a monument in poor taste, erected to 
 J. J. Rousseau (1712-178S), and on the other side, to the left, is a mon- 
 ument to Voltaire (1694-1778), with a statue by Houdon. Both tombs are, 
 however, empty, the remains of the two philosophers having been secretly 
 removed after the Restoration, and interred in some unknown spot, as a 
 kind of paltry retaliation for the desecration of the tombs of St. Denis. — 
 Opposite Voltaire's tomb is that of Soufflot (1713-1781), the architect of the 
 Pantheon, a plaster-model of which is shown beneath Ihe left transept. 
 Farther on, to the left, is a vault in which are placed the remains of General 
 Lazare Camoi (1753-1825), member of the Convention, Oeneral Marceauiil&d- 
 1796), La Tour d'Auvergne (1743-18C'0), 'the first grenadier of France', Baudin 
 (1811-1851), representative of the people (p. 21 if, and President Carnot (1837- 
 1894). Then the tomb of Victor Hugo (1802-1885). On the other side are the 
 tombs of Marshal Lannes (1769-1809), Lagrange (1736-1813), the mathema- 
 tician, Bougainville (1729-1811), the circumnavigator, and a number of senat- 
 ors of the first Empire. In these vaults a remarkably loud echo may he 
 awakened. The egress from the vaults is on the W. side, near the prin- 
 cipal portal (fee optional). 
 
 The Pantheon was the headquarters of the insurgents in June, 1848, 
 and was also one of the chief strongholds of the Communards in 1871 ; and 
 on both occasions the neighbouring barricades were only stormed by the 
 troops after a severe struggle. On the latter occasion the insurgents had 
 placed gunpowder in the vaults for the purpose of blowing up the build- 
 ing, but were dislodged before much damage had been done. 
 
 Opposite the portal of the Pantheon, to the left, are the Mairie 
 of the 5th Arrondissement, erected in 1849, and the bronze Statue of 
 J. J. Rousseau (1712-1778) , by P. Berthet, erected in 1889. On 
 the right is the Ecole de Droit, or school of jurisprudence connected 
 with the university , begun by Soufflot , the architect of the Pan- 
 theon, in 1771, and recently enlarged. 
 
 A little to the left, in the Rue dT^lm (No. 45), is the Ecole Normale 
 Sup^rieure (PI. G, 19; F), founded in 1794 for the training of teachers for 
 the 'lyce'es'. It has produced manv famous writers and savants. The build- 
 ing dates from 1845. — Not far off is the Val-de-Grace (p. 288). 
 
 The Bibliotheque Ste. Genevieve, a long building on the N. side 
 of the Place du Pantheon, was built by Labrouste in 1843-50. On the 
 walls are inscribed names of celebrated authors of all nations. The
 
 1). ST. ETIENNE-DU-MONT. 245 
 
 collection of books was founded by Cardinal de la Rochefoucauld in 
 1624 in the Abbey of Ste. Genevieve, and greatly augmented by the 
 library of Cardinal Le Tellier, archbishop of Rheims, in 1710. The 
 library now contains 35,000 MSS., (on the lower floor), of the 11th 
 to the 17th cent., some of them illuminated -with beautiful mini- 
 atures; numerous 'incunabula', or specimens of the earliest printing 
 (1457-1520); and about 25,000 engravings and curiosities, including 
 a portrait of Queen Mary Stuart, presented by herself to the monastery. 
 The printed books number 200,000 vols., including a nearly complete 
 collection of Aldines, or books by the celebrated firm of Manutius at 
 Venice (so called from Aldus, the elder member of the firm; 15th 
 and 16th cent.), and Elzevirs, or books printed by the family of that 
 name at Leyden and Amsterdam (16th and 17th cent.); and also 
 most of the periodicals published in the 17th and 18th centuries. 
 
 The vestibule contains busts of famous French authors ; and on the 
 staircase is one of Oerinff . veho in 1469 established at the Sorbonne the 
 first printing press used in Paris. Above the landing is a copy, by Baize, 
 of Eaphaels School of Athens in the Vatican. At the sides are medallions 
 (also by Bal7,e) emblematic of Science. Art, Theology, and Jurisprudence, 
 and busts of Larochefoucauld and Labrouste. At the entrance to the hall 
 is a fine piece of Gobelins tapestry. Study surprised by night, after Baize. 
 
 The 'Rkading Roojx (Salle de Lecture) on the first floor, 330ft. in 
 length, 66 ft. in width, and 42 ft. in height, is very skilfiilly constructed. 
 The vaulting is borne by seventeen iron girders, supported in the centre 
 by sixteen slender columns; and 420 readers can be accommodated. — 
 The library is open to the public daily, except in the vacation (Ist to 
 15th Sept.), from 11 to 4 , and from 6 to 10 p.m.; in the evening it is 
 frequented almost exclusively by students. On the tables to the right are 
 about 300 periodicals (nearly all French) for the use of readers. 
 
 At the N. E. corner of the Place du Pantheon rises — 
 
 *St. Etienne-du-Mont (PI. R, 22; V), & late-Gothic church, 
 the choir of which was begun in 1517. The incongruous Renaissance 
 facade was added in 1620. To the left of the portal is a tower, 
 flanked vsith a round turret, probably part of an earlier building. 
 
 The Interior consists of a nave and two aisles. Slender round pil- 
 lars, twelve on each side, united by a gallery halfway up, bear the lofty 
 vaulting, from which spring the ribs terminating in pendent key-stones. 
 The choir is separated from the nave by a "Jubd, or rood-loft, of exquisite 
 workmanship, by Biard (1600-05), round the pillars of which two graceful 
 spiral staircases ascend. — The Pulpit, by Lestocart, from designs by La- 
 hire (d. 1655), is borne by a Samson, and adorned with numerous statuettes. 
 
 Most of the paintings are of the 18th cent. ; but the S. chapels con- 
 tain some modern works. The stained glass (restored) dates from 1568 
 and is ascribed to Pinaigrier. 
 
 The 5th Chapel on the right contains a 'Holy Sepulchre' with lifesize 
 figures in terracotta, dating from the end of the 16th century. Farther on, 
 to the right on the wall of the choir-ambulatory, are three large pictures, 
 two of them being votive ofl'erings to Ste. Genevieve presented bv the citv, 
 by Largiimre (1696) and De Troy (1726). and the third, the Stoning of S't. 
 Stephen, by Abel de Pujol. — The 2nd Chapel on the same side contains 
 the Tomb of Ste. Oenevi^ve (p. 242), with a sarcophagus, which is said to 
 date from the period of her death, but is probably not earlier than 1221. 
 The first chapel on the left side of the choir contains the Martyrdom of 
 ten thousand Christian soldiers under Maximian, a mural painting of the 
 16th century. On the fete of Ste. Genevieve (3rd Jan.) numerous wor- 
 shippers flock to St. Etienne-du-Mont.
 
 246 9. ECOLE POLYTECHNIQUE. 
 
 On 3rd Jan., 1857, Archbishop Sibour was assassinated in this church 
 by Verger, an ex-priest. 
 
 A relic of the old Attey of Ste. Genevieve still exists in the 
 square tower, in the transitional style, to the right of St. Etienne, 
 which now forms part of the Lycie Henri IV (formerly the Lycee 
 Napoleon), and is separated from the church hy the Rue Clovis. 
 
 Opposite the lower end of the Rue Clovis is the College Ecossais, 
 the great seat of Scottish continental learning from the 14th cent, 
 and latterly a centre of Jacohite influence. The huilding, dating 
 from the 17th cent,, contains a number of Stuart relics and tablets 
 to the memory of James 11. and the Earl of Tyrconnel. 
 
 Nearly at the back of St. Etienne, to the N.E. , is the Ecole 
 Polytechnique (PI. R, 22; V), for the education of military engin- 
 eers, staff-officers, telegraphists, and officials of the government 
 tobacco-manufactory. It was founded by Monge in 1794. 
 
 On the other side of the building is the Rue Monge, which con- 
 nects the Boul. St. Germain with the Avenue des Gobelins. At the 
 angle formed by the Rue Monge and the Rue des Ecoles is the Square 
 Monge, with bronze statues of Voltaire, after Houdon, and F. Villon, 
 by Etcheto, and two stone statues from the old Hotel de Yille, etc. 
 
 A little lower down, to the right of the Rue Monge, is the Eg- 
 lise St. Nicolas-du- Chardonnet, dating from the end of the 17th cent- 
 ury. Beyond this are the Boul. St. Germain and the Place Mau- 
 bert, where a bronze statue , by Guilbert, was erected in 1889 to 
 Etienne Dolet, burned in 1546, in the reign of Francis I., for 'im- 
 piety and atheism'. The reliefs represent Paris raising Freedom of 
 Thought, and the Arrest and Execution of Dolet. 
 
 The Rue Lagrange leads straight on to Notre-Dame (p. 226), passing 
 behind St. Julien-le-Pauvre (p. 230). The Boul. St. Germain leads, on the 
 left, to the Boul. St. Michel , and, on the right , to the quays in front of 
 the Jardin des Plantes. 
 
 10. Quarters of St. Germaifi and the Luxembourg. 
 
 I. INSTITUT. HOTEL DES MONNAIES. ECOLE DES BEATJX-AE-TS. 
 
 In this route, which includes several museums, the visitor should begin 
 with the collections that are opened at the earliest hour. Tuesday and 
 Friday are the only days on which all the museums are open; but the 
 collection at the Ecole des Beaux-Arts is public only on Sunday. The 
 museum at the Mint is of little interest except to specialists. — Luncheon 
 may be taken near the Luxembourg (pp. 13, 14). 
 
 The Pont des Arts (PI. R, 20 ; /F), between the Old Louvre and 
 the Institut, an iron bridge for foot-passengers only, constructed in 
 1802-4, derives its name from the 'Palais des Arts', as the Louvre 
 was once called. It commands a fine view up and down the river. 
 
 The Institut, a somewhat clumsy edifice, covered with a dome, 
 is situated on the left bank of the Seine, at the S. end of the Pont 
 des Arts, and opposite the Louvre. The crescent-shaped facade is 
 flanked with wings adorned with arcades. In front of the Corinthian 
 portico rises a Statue of the Republic, by Soitoux (1848 or 1850}.
 
 10. INSTITUT. 247 
 
 The institution was originally founded by Cardinal Mazarin for the 
 education of youths from the newly-acquired provinces of Roussillon, 
 Pignerol, Flanders, and Alsace , and was called the College Ma- 
 zarin, but was popularly known as the College des Quatre Nations. 
 The building was erected in the latter half of the 17th cent., 
 on the site of the Hotel de Nesle, to which, according to tradition, 
 Margaret of Burgundy, wife of Louis X., used to cause young strang- 
 ers to be brought to minister to her pleasures, and afterwards to 
 be assassinated and thrown into the Seine. During the Revolution it 
 was used as a prison, but in 1795 it was ceded by the Convention to 
 the Academies, or societies of savants, who had hitherto met in the 
 Louvre. Its name was then changed to the Palais de I'lnstltut, and 
 it was not again employed as a school. 
 
 The Institut de France embraces five different academies : the 
 Academic Fran^aise, the Academic des Inscriptions et Belles- Lettres, 
 the Academic des Sciences, the Academic des Beaux- Arts, and the 
 Academic des Sciences Morales et Politiques. Each of these has 40 
 ordinary members, except the Academie des Sciences, which has 
 66 ; and all except the Acade'mie Fran^aise have honorary , cor- 
 responding, and foreign members. The annual meetings are open 
 to the public. Each ordinary member receives a salary of 1200 fr. 
 Vacancies are filled by the votes of the members in whose depart- 
 ments they occur, subject to the approval of government. 
 
 The title of 'Membre de I'lnstitut' is the object of the highest ambition 
 of every literary and scientific Frenchman. All their meetings take place 
 at the Palais de VInstitut, and are, of course, extremely interesting, as the 
 most eminent French savants take part in the discussions. The grand 
 meeting of the five departments combined is held on 25th October. Tickets 
 of admission are issued at the secretary's office. The Institute has the 
 control of a large number of money-prizes, amounting in the aggregate 
 to about 525,000 fr. (21,000^.) per annum. 
 
 1. The Acadimie Frangaise is mainly occupied vpith the superintend- 
 ence of the French language and its orthography, and with the publication 
 or revision of ilxsi Dictionnaire de la Langue Frangaise or de V Acadimie, and 
 the Dictionnaire Historique de la Langue Frangaise. It also distributes 
 various prizes, such as the Pi-ix Montyon, a sum of 22,463 fr. annually, 
 bequeathed by a famous philanthropist of that name for the purpose of being 
 awarded to the poor man who should be held to have done the most vir- 
 tuous action during the year. The money, however, is now divided among 
 a considerable number of deserving persons. Another prize of 21,940 fr. 
 is awarded to the author of the literary work considered most useful to 
 the cause of public morality. The Prix Oobert (11.249 fr.) rewards the 
 most eloquent work on the history of France. The Prix Jean Eeynaud 
 (10,000 fr.) is intended for young poets 'de vertu singuliere'. The annual 
 meeting takes place in May ; the weekly meetings are on Thursday, 3 to 
 4.30 p.m. 
 
 2. The Acadimie des Inscriptions et Belles-lettres is chiefly devoted 
 to the study of the ancient languages and to archaeological research , and 
 publishes its Mimoires periodically. Prix Oobert (10,835 fr.) for the most 
 erudite work on French history; etc. Annual meeting in July; weekly 
 meeting every Friday, 3-5 p.m. 
 
 3. The Acadimie des Sciences cultivates the study of mathematics and 
 natural science. Its publications consist of Mimoires and Comptes-Rendus 
 des Siances. Prix B riant (109,000 fr.), to be bestowed for the solution of cer- 
 tain problems relating to Asiatic cholera ; PiHx Camot (11,000 fr.) to be divided
 
 218 10. HOTEL DES MONNATES. 
 
 annually among f5 workmen's widows wilh families to support. Annual 
 meeting in December ; weekly meetings on Mondays, 3-5 p.m. 
 
 4. The Acad^mie des Beaux-Arts^ for the promotion of painting, sculp- 
 ture, architecture, and musical composition. One of its tasks is the public- 
 ation of a Dictionnaire de la Langue dee Beaux-Arts. Annual meeting on 
 the first Saturday in October ; weekly meetings on Saturdays, 3-5 p.m. 
 
 5. The Acadimie des Sciences Mornles et Politiqves, for the study of 
 philosophy, history, and political economy, publishes Mimoires. Annual 
 meeting in April; weekly meeting every Saturday, 12-2 p.m. 
 
 In the small squares to the W. and E. of the Institut are statues 
 of Voltaire (1694-1778), by Caille, and Condorcet (1743-1794), by 
 J. Perrin. 
 
 The courts of the Institut are used as a public thoroughfare. 
 The flrst on the right contains the entrance to the Salle des Seances 
 Solennelles, formerly the chapel, situated under the dome. This 
 saloon and the vestibule are embellished with statues of authors, 
 scholars, and artists. On the other side of the court is the Biblio- 
 theque Mazarine, which is open to the public daily, 11 to 4 or 
 5 o'clock, except on Sundays and holidays (vacation from 15th Sept. 
 to 1st Oct.). It contains 300,000 vols, and 5800 MSS., 80 models 
 of Pelasgic monuments from Italy, Greece, and Asia Minor, and 
 several ancient works of art. — The second court contains the rooms 
 in which the ordinary meetings are held and the library of the In- 
 stitut (no admission). 
 
 In the pavilion next the statue of Voltaire, is the small Mtuie de Mme. 
 de Caen (not open to the public; adm. on request at No. 1 Rue de Seine). 
 The Countess de Caen (d 1870) bequeathed the greater part of her proper- 
 ty to the Institute, for the support of art-students in Rome, on the condi- 
 tion that each beneficiary should contribute an original work to the musee, 
 which now contains a considerable number of paintings, sculptures, and 
 architectural designs. 
 
 The Hotel des Monnaies (PL R, 20; IV), or La Monnaie, the 
 Parisian Mint, is a large building to the left of the Institut and 
 near the Pont-Neuf (p. 2^25), erected in 1771-75. The facade, 
 132 yds. in length, and adorned with Ionic columns, is surmounted 
 by allegorical figures of Peace, Plenty, Commerce, Power, Wisdom, 
 and Law. 
 
 The Monnaie contains a Musee Monetaire, or collection of coins, 
 which is shown on Tuesdays and Fridays, 12-3 o'clock, to visitors 
 provided with an order from the Director. This order, which must 
 be applied for in writing, also admits to the workshops ; it is avail- 
 able for 4-5 persons. 
 
 The Museum is reached by the staircase to the right of the entrance. 
 
 The vestibule contains specimens of the metals used in coining. -- A 
 cabinet to the right of the vestibule contains a glass-case with ancient 
 coins, and presses with medals. The cabinet to the left contains speci- 
 mens of postage-stamps. 
 
 The numerous glass-cases in the principal saloon contain an interest- 
 ing collection of French Coins, arranged chronologically, from the earliest 
 times down to the present day, those of Louis XIV. and Louis Philippe 
 being most numerous; a collection oi Foreign Coins of every country (in- 
 cluding a Chinese coin of B.C. 1700), and another of Medals of various 
 kinds. The series begin on the left. The coins are in the centre, and 
 the medals near the windows.
 
 10. ECOLE DES BEAUX-ARTS. 240 
 
 P'arther on is a passage containing Essais d" Argent, and a room with 
 models of Instruments and Furnaces used in coining. 
 
 The following room contains Dies^ and, in the cabinets, the Medals 
 of the Consulate and the Empire. The wax models of the reliefs on the 
 Vendome Column preserved here, and the small model of the column 
 itself, afford a better idea of the details than the originals. A bust of 
 Kapoleon I. by Canova, executed in 1806, and a cast of the emperor's face 
 taken 20 hours after death are also shown. 
 
 The Ateliers, with their steam-engines, furnaces, and machinery, are 
 well worth visiting. Those only are shown in which silver pieces and 
 medals are struck. Each of the six furnaces in which the silver is melted 
 is capable of containing from 15 to 22V2 cwt. of metal, worth 160.000 to 
 240,000 francs. The machines invented by M. Thonnelier are highly in- 
 genious, sixty pieces of money being struck by each of them per minute, 
 while the whole of them in operation at once are capable of yielding two 
 million francs per day. In the Monnaie are also performed all the opera- 
 tions of assaying and stamping the gold and silver wares of the jewellers. 
 The 'Atelier du Monnayage' contains a marble figure of Fortune, by Mouchy. 
 
 Returning to the Institut, we soon reach the Rue Bonaparte, the 
 second street to the left beyond that building. No. 14 in this street 
 is the — 
 
 Ecole des Beaux -Arts (PI. R, 17, 20; IV), or Palais des 
 Beaux- Arts, founded in 1648, for the teaching of painting, sculpture, 
 engraving , gem - cutting , and architecture (open to the public 
 on Sun., 12-4; strangers admitted also on week-days, 10-4, on 
 application to the concierge, who provides a guide; fee). The 
 pupils who obtain the first prizes in the different departments are 
 sent to Rome at the expense of government for four years. The works 
 they send home, termed 'grands prix de Rome', are exhibited here 
 annually in summer. The school has a staff of 40 professors, and 
 is attended by upwards of 1200 pupils of different nationalities. It 
 contains a valuable and extensive Collection of Copies of sculptures 
 and paintings, forming an admirable supplement to the collections 
 of the Louvre. 
 
 The building, erected in 1820-38 by Dehret and his successor 
 Duban, occupies the site of the old Convent des Petits-Augustins , 
 In 1860-62 a new wing facing the Quai Malaquais was added by 
 Duban, and the old Hotel Chimay, adjoining this wing (at the place 
 occupied by the 'L^gende' in the PI. p. 250), was acquired in 1886 
 for the workshops. At the entrance are colossal busts of Puget and 
 Poussln. 
 
 The Fmsy Coukt contains many handsome fragments of French 
 edifices, from the Gallo-Roman period down to the 16th century. 
 These are the remains of the Mus^e des Monuments founded her( 
 at the time of the first Revolution by the painter Alex. Lenoir 
 (d. 1839), and consisting chiefly of tombstones and reliefs rescued 
 from the ruins of churches and chateaux. In 1816 Louis XVIII. 
 dispersed the collection , and ordered most of the objects to be 
 restored to the churches or their original proprietors. In the centre 
 of the Courtis a Corinthian column in red marble, surmounted by a 
 bronze statue of Plenty (16th cent.). On the wall to the left is a
 
 250 
 
 10. ECOLE DES BEAUX-ARTS. 
 
 fresco painted on lava by the brothers Baize, after the work of Ra- 
 phael's school formerly in the Villa Magliana (p. 117). To the right 
 is the celebrated and beautiful portal of the Chateau d'Anet, which was 
 erected for Diana of Poitiers by Philibert Delorme and Jean Goujon 
 in 1548, by order of Henri II; it now forms the entrance to the old 
 abbey-chapel (see below). At the end is the facade from Gaillon 
 (p. 393). 
 
 The former Chapel contains part of the Musee des Copies, con- 
 sisting of reproductions of the finest sculptures and paintings of 
 the Renaissance, chiefly of the Italian school. 
 
 Legende . 
 
 1 . Memcjde (rez-^& -duuissi&) . 
 
 2 . W)Uailikru£, (l*^ kage,). 
 
 3 . SaUe:j£- ZoidsjaV. (JT etage-). 
 
 5 ,yzstjiJtnjil&^dzfTcoTejt(rez-dc-ilVi). 
 
 E 
 
 Cour mtieinexire 
 
 Plitres 
 
 I ^llliiilil llllllill 
 
 liiiiiiii iiiiiiiin 
 
 2 fe-and vestibule 
 
 6 .Je62J d' cxpressiorv (rcz-ic-rJv.J. 
 
 S .J^jcDosSiurts tcfnparazrafi (I'^et.) . 
 10 ^Ihttrio ie4 Snrv. et dc$ C'Vpositt 
 
 CoTir 
 
 Coio- 
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 'priadpak 
 
 •Aivcieimfi 
 pTatres etFciirtures 
 
 8 
 
 ' chapellel 
 tFcigtu res} 
 
 SalLe de Melpomene' 
 
 Expositions | 
 
 -A 
 
 
 Rue Bonapaxte 
 
 -\^ 
 
 In a kind of vestibule are exhibited copies of the frescoes by Giotio 
 in the church of the Madonna dell' Arena at Padua, of a Calvary, by Fra 
 Angelico , of the battle of Heraclius against the Persians, by Piero della 
 Francesca, and of the battle of Constantine, by Giulio Romano. Also a 
 number of casts and other copies of paintings. — Among the casts we ob- 
 serve, on the right, that of the pulpit of the cathedral of Pisa, by Giov. 
 Pisano (1302-11); numerous busts, bas-reliefs, and medals; candelabrum of 
 the cathedral of Milan (16th cent.); St. George, by Donatella (1386-1466), 
 from Or S. Michele at Florence; monument of Fil. Decio, by Stagio Stagi 
 (about 1530); John the Baptist, by Ben. da Majano (1442-97). A small side- 
 chapel contains copies of the Moses, the Slaves, the monuments of Giuliano 
 andLorenzo de' Medici, the Pieta, Bacchus. Cupid, and other works oi Michael 
 Angela., and of Ghibei'tfs doors of the baptistery at Florence. In the centre: 
 Dying Adonis and Virgin and Child. — Principal chapel : David as the 
 conqueror of Goliath, by Donatella ; same subject, by Verrocchio ; iillegorical 
 figure of Love, by Donatella; Child, by Desid. da Setiignano; alto-reliefs, by 
 Luca della Robbia; Relief of Jonah, by Lorenzeita, and others ; Last Judgment 
 oi Michael Angela^ by Sigalon ; in front of it, cast of the statue of Gaston 
 de Foix from his "tomb, by Bambaja (1515), and casts of statues at 
 St. Denis and in the Louvre, that of Ilaria de Caretto by Jac. della Quercia 
 (1377-1438). — On the other side. Bas-reliefs, by Jean Goujon; the Graces, 
 by Germain P«7ore (16th cent.. Louvre) ; heads from the Well of Moses and 
 statuettes from the tomb of the dukes of Burgundy (Dijon; 16th cent.),
 
 10. KCOLE DES P.EAUX-ARTS. 251 
 
 by Sluter; statuettes from the shrine of St. Sebaldns, at Nuremberg, by P. 
 Vitcher; Apostle from the Sainte-Chapelle (13th cent.) ; statuesfrom the cathe- 
 dral of Chartres (13th cent.); two Madonnas from Notre-Dame at Paris; nu- 
 merous casts of ivory carvings; fonts from Hildesheim. In the middle are 
 numerous bas-reliefs: Descent from the Cross, hy, Ificcolb Pisano; behind, 
 Madonna and Child, by Desidtrio da Settignano and St. Cecilia by Donatello; 
 at the side, Persens, hy Ben. CeZ^/w?; behind, Madonna and Child with St. John 
 and other faints, by ALno da Fiesole; reliquary from Aix-la-Chapelle; font 
 from Siena, by Ghiberti, Donatello, Michelozzo, Giac. della Quercia^ Turint 
 di Sano and his son; reliquary of St. Zenobius, by Ghiberti; Miracles of 
 St. Antony, by Donatello; tomb of the children of Charles VIII., finished 
 by Jean Juste. — Besides the copies of paintings already mentioned: fright) 
 P. della Francesca. Discovery of the True Cross; Melozzo da Forli, Platina 
 at the feet of Sixtus IV.; Fr. Penni, Clemency and Justice; Raphael., 
 Venus, Juno, and Ceres; Poetry, Jupiter, and Cupid. Left, in returning: 
 Raphael, Sibyls ; Mantegna, St. James conducted to martyrdom ; Qhirlan- 
 dajo, Adoration of the Magi ; Sodoma, Goths destroying the monastery of 
 Monte Cassino; Raphael., Sistine Madonna. 
 
 The Second Court is separated from the first by part of the fa- 
 cade of the chateau of Gaillon(p. 393), which was erected in loOOhy 
 Pierre Fain of Rouen for Cardinal d'Amboise, minister of Louis XII. 
 and one of the chief promoters of the Renaissance in France. It is in 
 a mixed Gothic and Renaissance style , affording a good idea of the 
 character of the chateau, which was destroyed during the Revolu- 
 tion. Beyond it are other fragments of French architecture and 
 sculpture , statues copied from antiques , and a fine stone basin, 
 13 ft. in diameter, adorned with heads of gods or heroes, animals, 
 and the four elements, a work of the close of the 12th cent., brought 
 from the abbey of St. Denis. 
 
 The principal *Facade, which flanks this court on the W., de- 
 signed by Duban, and completed in 1838, is a good example of 
 modern French architecture. It is adorned with two series of ar- 
 cades, one above the other, with Corinthian semi-columns and pilas- 
 ters, and is crowned with an attic. 
 
 The Vestibule contains copies of ancient Pompeian and other 
 paintings and casts of sculptures of the Parthenon and the temple 
 of Minerva in .^gina, the originals of which are in London and 
 Munich, and of the Children of Niobe, at Florence. — We next 
 enter an Inner Court, roofed with glass, containing numerous 
 casts from famous antiques at Rome and elsewhere : to the right, 
 the Greek gallery, to the left, the Roman gallery (inscriptions). 
 At the ends are restored columns from the Parthenon, with the 
 entablature, and from the temple of Jupiter Stator at Rome. — In 
 the corridor opposite the entrance to the inner court is the Monu- 
 ment of Duban., the architect (p. 249), by Guillaume. 
 
 Behind is the Amphitheatre, adorned with the celebrated *He- 
 micyle of Paul Delaroche (d. 1856), an encaustic painting which 
 represents distinguished artists of all ages and nations, and contains 
 in all 75 colossal figures (23 ft. in height). 
 
 On a lofty throne in the centre are the great Greek masters. Phidias 
 the sculptor, Ictinus, the architect of the Parthenon, and Apelles the 
 painter. Four female figures in front represent (left) Greek, Gothic, and
 
 252 10. ECOLE DES BEAUX-ARTS. 
 
 (right) Eoinan, and Renaissance art. The Muse of Gothic art, with 
 long fair hair, is a portrait of the artist's wife, a daughter of Horace 
 Vernet. To the right, beginning from the end, are the most famous 
 painters and (under the columns) architects, and the chief masters of the 
 French school. On the left are sculptors and landscape-painters and 
 (towards the centre) colourists of every school. Delaroche spent 3V2 years 
 on this work, and received for it 80.000 fr. It was much injured by a 
 fire in 1855, but has been skilfully restored by Mercier and Fleury. — The 
 Walters Gallery at Baltimore contains a reduced replica of this work. 
 
 Opposite the Hemicycle is a large painting by Ingres^ represent- 
 ing Romulus victorious over Acron, King of the Sabines. — In an 
 adjoining room, to the left as we quit the Amphitheatre, are casts of 
 the sculptures of the temples of Zeus at Olympia and Nike Apteros at 
 Athens, of the statue of Mausolus (now in London), etc. 
 
 Next follow a corridor and a gallery, with casts of Greek sculp- 
 tures. The corresponding corridor and gallery on the other side, 
 also containing casts, are not yet open to the public — A staircase, 
 to the left of the entrance to the inner court, ascends to the — 
 
 First FiiOOB. — On the wall of the staircase is a copy of a fine 
 fresco by Pinturicchio, representing the Betrothal of Emp. Fred- 
 erick III. and Eleanor of Portugal. The Library at the top, to the 
 left, is reserved for students of the Ecole. — On the S. and Is^. sides 
 of the glass-roofed court are galleries adorned with fifty-two copies 
 from Raphael's logge in the Vatican, by the brothers Baize. The S. 
 side, opposite the staircase, contains a valuable collection of casts 
 from small antiques and Renaissance works (explanatory labels). 
 — The parallel gallery, partly occupied by the library, contains 
 copies of paintings: Rembrandt^ Directors of the Cloth workers' 
 Guild; Potter, Bull; Fr. Hals, Officers of St. George; three copies 
 after Velazquez; Ouido, Aurora. Also *Drawings by the old masters ; 
 and cork-models (by Pelet) of Roman buildings. 
 
 The rooms on the E. side also contain copies of paintings in foreign 
 countries. 1st Eoom. Van Dyck, Children of Charles I.; Rembrandt, Sol- 
 dier of fortune; Velazquez, Surrender of Breda; Correggio, Madonna and 
 Child with Mary Magdalen and St. Jerome; P. Veronese, Venice receiving 
 Justice and Peace; Van der Heist, Banquet of Civic Guards, Martyrdom 
 of St. George; Poussin, Death of Germanicus; Velazquez, Olivarez; Turner, 
 Building of Carthage. Also drawings, engravings, photographs of paint- 
 ings by Baudry, and busts. — The following passage contains small 
 copies, and beyond it is a gallery affording a good survey of the He'mi- 
 cycle of P. Del roche. — Salle du Conseil: Portraits; busts; copies of 
 three scenes from the life of St. Ursula, by Carpaccio (others in the above- 
 mentioned passage); eight torch-holders in wood (time of Louis XIV.); 
 clock in the style of Boule. — We return to the entrance by the N. gallery. 
 
 The Vestibule des Ecoles, beside the chapel, contains a Monu- 
 ment to Ingres, with his bust in bronze, and medallions of Flandrin 
 and Simart by Guillaume. We next enter the — 
 
 CouR Bu Murier, with galleries containing sculptures executed 
 at Rome by former pupils and casts of ancient bas-reliefs. At the 
 end is the *Monument of Henri Regnault, the painter , and other 
 pupils killed during the defence of Paris in 1870-71 ; between the 
 columns bearing the names are a bust of Regnault and a statue of
 
 10. ST. GERMAlN-DES-PRlSS:. 253 
 
 Youth offering him an olive-branch, hy Chapu. On the wall next 
 to the Vestibule des Ecoles : Galatea of Raphael, copied on porcelain 
 by Baize. Below, and in the corridors on the same side, are casts 
 from the terracotta frieze of the Seven Works of Mercy, from the 
 Ospedale del Ceppo at Pistoja, by the Delia Robbia [15th cent.). 
 
 Opposite this wall is another vestibule containing several copies, 
 next to which is the Salle i>e Melpomene , occupied with the 
 remainder of the Musee des Copies and used for the exhibition of 
 competitive works. On Sun. and on the occasion of such exhibitions 
 this room may also be entered from the Quai Malaquais (PI. 10). The 
 rooms on the first floor on this side are also used for exhibitions. 
 
 The vestibule next the Cour du Murier contains paintings removed 
 for restoration; copies, after Giotto; Assembly of the Gods, SLiter Raphael. 
 
 Principal copies (from right to the left): Velazquez, Don Fernando and 
 Philip IV.; Filippo Lippi, Madonna; Qiov. Bellini^ Virgin and saints; Michael 
 Angelo (above), Sibyls and Prophets: P. Feroneae (below), Adoration of 
 the Virgin; Correggio , M::donna and Child with Mary Magdalen and 
 St. Jerome; Titian, Patron saints of Venice, Death of St. Peter the Do- 
 minican; Falma Vecchio, St. Barbara; Titian, Heavenly and earthly love, 
 Assumption; Raphael, Jurisprudence; A. del Sarto, Last Supper (fresco); 
 Perugino, Marriage of the Virgin; Verocchio, Baptism of Christ; Masaccio 
 or Filippino Lippi, Miracle of St. Peter; Raphael, Attila expelled from 
 Rome; Ben. Oozzoli, Teaching of St. Augustine; Raphael, -La Belle Jar- 
 diniere'; Ml. Lippi, Vision of St. Bernard: Raphael, Venus, Ceres, and Juno; 
 Perugino, Group from the Papti'^m of Christ; Raphael, Entumbment, 
 Psyche fetching water from the Styx; Holbein, His wife and children; Rem- 
 brandt, Lesson in anatomy; Raphael, 'Disputa', JIarriage of the Virgin; 
 Botticelli, Adoration of the Magi, Strength; Mantegna, Virgin, angels, and 
 saints; Raphael, School of Athens; Sodoma, Swoon of St. Catharine; Masaccio, 
 St. Paul in the prison of St. Peter; Raphael, Leo X.; Masaccio, Liberation 
 of St. Peter. — The small room at the end, to the left (PI. 6), contains prize- 
 works in painting and sculpture. — In the next room (PI. 7) are prize- 
 works in sculpture and engraving. — Third Room (PI. 8): prize-works in 
 painting since the end of the 17th cent. — Vestibule next the Quai Mala- 
 quais : Copies of Michael Angelo's frescoes in the Sistine Chapel at Rome; 
 casts from the antique and reproductions in marble. 
 
 II. FROM THE ECOLE DES BEATJX-ARTS TO THE LUXEMBOURG. 
 St. Germain.des-Pres. St. Sulpice. 
 The Rue Bonaparte leads in 3 min. from the Ecole des Beaux- 
 Arts to St. Germain-des-Pr^s (PL R, 19; IV), one of the most 
 ancient churches in Paris. It belonged to the powerful abbey of 
 St. Germain , founded in the 6th cent. , the abbots of which were 
 sometimes cardinals and even kings , as in the case of Hugh Capet 
 and Casimir V. of Poland. The abbey was originally dedicated to St. 
 Vincent, but afterwards to St. Germain, a bishop of Paris, and was 
 once surrounded by meadows, including the famous 'Pre'-aux-Clercs'. 
 The nave is said to belong to an edifice of 1001-1014, but the style 
 is rather that of the end of the 11th century. The choir, consecrated 
 in 1163, was afterwards altered, particularly in the windows, which 
 show a tendency to Gothic. During the Revolution the church was 
 used as a saltpetre-manufactory, and fell into a very dilapidated con- 
 dition, but it was restored in 1824-36.
 
 254 10. ST. GERMAIN-DES-PRfiS. 
 
 The Intebior was redecorated in 1852-61 with gilding and polychrom- 
 atic paintings, and with admirable 'Blural Paintings, by Hippolyte Flandrin 
 (d. 1864) and other masters nnder his superintendence. There are ten 
 on each side of the Nave, placed in pairs over the arches, representing 
 parallel scenes from the Old and New Testament. On the left side of 
 the entrance: the Burning Bush and the Annunciation; the Promise of 
 a Redeemer and the Nativity; the 'Prophecy of Balaam and the Adoration 
 of the Magi; the ^Passage of the Red Sea and the Baptism of Christ; 
 Melchizedek's offering of bread and wine to Abraham and the Institution 
 of the Eucharist. — On the other side , returning towards the entrance : 
 the Sale of Joseph and the Betrayal of Christ; the Oflfering of Isaac and 
 the Death of Christ; *Jonah issuing from the whale's belly and the Resur- 
 rection; the Scattering of the nations and the Dispersal of the Apostles; 
 the Ascension and Preparations for the Last Judgment. — Above are 
 figures from the Old Testament, on a golden ground. 
 
 The Choib is embellished with two large paintings on a golden ground, 
 also by Flandrin : on the left the Entry of Christ into Jerusalem ; on the 
 right the Bearing of the Cross. Then , above the arcades , the Prophets 
 and Apostles, and the angel, lion, bull, and eagle, the symbols of the 
 Evangelists. 
 
 Choie Chapels. The second chapel on the right contains the monu- 
 ment of James, Duke of Douglas (d. 1645). — The following chapel contains 
 slabs of black marble to the memory of the philosopher Descartes 
 (d. 1650), the learned Mabillon (d. 1707), and Montfaucon (d. 1641), all 
 of whom are interred here. — Behind the high-altar is the modern Lady 
 Chapel, with grisaille paintings in imitation of reliefs of the Adoration 
 of the Magi and the Presentation in the Temple, by Heim, — In the 
 chapel of SS. Peter and Paul is the monument of the poet Boileau 
 (d. 1711), whose remains were brought here from the Sainte-Chapelle. 
 — The following chapel contains a second monument of the' Douglas 
 family. 
 
 The S. Teansept contains, on the right, the tomb of Olivier and 
 Louis de Castellan (d. 1644, 1699), by Girardon. To the left, above the 
 altar, is a marble statue of St. Margaret, by /. Bourlet (1705). 
 
 In the N. Transept are paintings by Cornu (d. 1871) . more recently 
 executed, representing on the right Christ among the children, the Mission 
 of the Apostles, the Transfiguration, and the Descent into hell; and on 
 the left the Finding of the Cross. 
 
 This transept also contains a statue of St. Francis Xavier, by Gr. Cous- 
 ton, and the monument of Casimir V. (d. 1672) , King of Poland , who 
 was at first a Jesuit, then a cardinal, and in 1648 succeeded his brother 
 on the Polish throne, but abdicated in 1668 and resumed his cowl as abbot 
 of St. Germain-des-Pres. On the wall of the N. aisle, opposite the pulpit, 
 is the monument of Hippolyte Flandrin (d. 1864), painter of the frescoes 
 mentioned above. 
 
 Near the door, in the N. aisle, is a marble statue of the Virgin of 
 the 14th century. 
 
 Behind the church of St. Germain is the Palais Abbntial, dating 
 from the latter half of the 16th cent., a relic of the ancient abhey. 
 It is in private possession. The Abbey Prison, notorious for the 
 massacres of Sept., 1792, was situated farther back, on a site now 
 triversed by the Boulevard St. Germain. 
 
 The grounds to the right of the church are embellished with a 
 bronze Statue of Bernard Palissy (p. 139), by Barrias. 
 
 The S. side of the church adjoins the Boul. St. Germain (p. 230), 
 in which is a Statue ofDidcrot (1713-84), in bronze, by Gautherin. 
 To the S.W. runs the handsome Rue de Rennes, leading to the 
 Gare Montparnasse (p. 290). "We continue to follow the Rue Bona- 
 parte, to the left, and in a few min tes reach the Place St. Sulpice.
 
 10. ST. SULPICE. 255 
 
 *St. Sulpice (PL R, 19; IV), situated in the Place of that 
 name, is the richest and one of the most important of the churches 
 on the left bank of the Seine. The rebuilding of the church was 
 begun in the reign of Louis XIV. and finished in 1749, chiefly after 
 the plans of Servandoni. 
 
 The church is remarkable for its imposing dimensions (length 
 462ft., width 183ft., height 108ft.). The facade, which is 
 considered one of the best of the early part of the 18th cent., consists 
 of a Doric and an Ionic colonnade, placed one above the other. It is 
 flanked with two towers, the highest of which, rebuilt by Chalgrin, 
 and 224 ft. high, is alone finished. When the gate in front is closed, 
 visitors enter by the S. portal or by a small door to the left behind 
 the choir. 
 
 The Intebioe consists of nave, aisles, transept, and eighteen lateral 
 chapels. The spherical vaulting is borne by Corinthian pillars. Adjoin- 
 ing the second pillar are benitiers consisting of two enormous shells (Iri- 
 dachna gigas), presented to Francis I. by the Republic of Venice, resting 
 on rock-work of marble designed by Pigalle. The chapels contain in- 
 teresting frescoes. 
 
 Right Aisle. *lst Chapel: Jacob wrestling with the Angel; Heliodo- 
 rns expelled from the Temple; on the ceiling, St. Michael; all by Eugene 
 Delacroix (1861). — *2nd Chapel: Religion solacing a dying man; Efficacy 
 of prayer for the dead; by Heim. — 3rd Chapel: St. Roch praying for the 
 plague-stricken; Death of the saint in the prison of Montpellier ; by Abel 
 de Pujol (1821). — 4th Chapel: Scenes from the life of St. Maurice, by 
 Vinchon (1822). — 5th Chapel: Marble monument of the cure Langue't 
 (d. 1870), by Slodtz. 
 
 Left Aisle. 1st Chapel: St. Francois Xavier resuscitating a dead 
 man, and Miraculous cure of sick persons at the burial of the saint, by 
 Lafon (1859). — 2nd Chapel : St. Francois de Sales preaching in Savoy, 
 and Ste. Chantal receiving from the saint the constitution of a new order 
 of nuns, by Hesse (i860). — 3rd Chapel: St. Paul's Conversion, and 
 St. Paul on the Areopagus, by Drolling (1850). — 4th Chapel: St. Vincent 
 de Paul recommending foundlings to the care of sisters of charity, and 
 the saint at the death-bed of Louis XIII., by Ouillemot (1825). 
 
 Transept. Left arm : Betrayal by Judas, and the Crucifixion. Right 
 arm : Resurrection and Ascension, and Prophets. These are all by Signal 
 (1874-76). On the pavement here a Meridian Line was drawn in 1743, with 
 the signs of the zodiac. It is prolonged to an obelisk of white marble which 
 indicates the direction of due north, while towards the S. it corresponds 
 with a closed window, from a small aperture in which a ray of the sun 
 falls at noon on the vertical line of the obelisk. 
 
 Choib Chapels, N. or left side, ist: Martyrdom and Triumph of St. 
 John the Evangelist, by Glaize (1859). — 2nd: S. Carlo Borromeo at a 
 procession during the plague at Milan , and The saint administering the 
 last sacraments to Pius IV., his uncle, by Pickon (1867). — 3rd. St. Joseph, 
 by Ch. Landelle. — 4th: St. Louis, King of France, carrying a dying man 
 during the plague, and The King administering justice under the oak of 
 Vincennes , by Matout (1870). — Above the side-entrance : Death of the 
 Virgin, hj Bin (1874). 
 
 Choik Chapels, S. or right side. 1st: St. Denis preaching to the 
 heathen Romans , and Condemnation of the saint, by Jobbi-Duval (1859). 
 — 2nd : St. Martin dividing his cloak with a beggar , and The saint 
 resuscitating a dead man, by Mottez (1863). — 3rd: Ste. Genevieve suc- 
 couring Troyes (Champagne) , and Miracles wrought by her relics during 
 a procession, l)y Timbal (1864). — 4th: Nativity of the Virgin, and Her 
 presentation in the Temple, by Lenepveu (18G4). — Above the door of 
 the Sacristy : Assumption by Bin (1874).
 
 256 10. PALAIS DU LUXEMBOURG. 
 
 The statue of the Virgin on clouds in a recess in the chapel behind the 
 high-altar, by Pajou (d. 1809), is lighted from above. The fresco of the As- 
 sumption on the dome of this chapel is by Lemoine (d. 1737). The statues 
 in the choir are by Bouchardon. — The pulpit is supported solely by the 
 steps which ascend to it. The fine organ, originally built by Cliquot and 
 reconstructed by Cavaille-Coll, has 6 keyboards, 118 stops, and about 7000 
 pipes. The organist, M. Widor, is one of the best in Paris, and the choir 
 has a reputation for its 'plain song\ 
 
 The Placb St. Sulpice in front of the church is adorned with the 
 handsome Fontaine St. Sulpice, designed by Visconti , and erected 
 in 1847. The fountain consists of three concentric basins , one 
 above the other , and is embellished with statues of the four most 
 celebrated French preachers: Bossuet (d. 1704), Fenelon (d. 1715), 
 MassiUon (d. 1742), and Fle'chier (d. 1710). The long building on 
 the S. side of the Place is the Seminaire de St. Sulpice, for the edu- 
 cation of priests. On the W. is the Maine of the 6th Arrondisse- 
 ment; the ceiling-painting in the Salle des Fetes is by H. Levy. 
 
 The Rue Ferou, to the left of this building, leads straight to 
 the Musee du Luxembourg (p. 258), Or we may follow the Rue 
 St. Sulpice, to the left of the church, and take the Rue de Tournon, 
 the second cross-street to the right, which ascends to the Palais du 
 Luxembourg. 
 
 III. PALACE GALLERY, ANJ) GARDEN OF THE LUXEMBOURG. 
 1. Palais du Luxembourg. 
 
 The Palais du Luxembourg [PI. R, 19; IV), now the seat of 
 the French Senate, was erected in 1615-20 for Marie de Medicis, 
 widow of Henri IV, by Jacques Debrosse, one of the ablest French 
 architects of the beginning of the 17th century. It occupies the 
 site of the old Hotel de Luxembourg, a mansion from which it 
 derives its name. It bears some resemblance to the palaces of 
 Florence, and particularly to the court of the Pitti Palace, Marie's 
 ancestral home , but is at the same time an unmistakably French 
 creation. The principal facade, which notwithstanding many restor- 
 ations still reveals the original design, looks towards the Rue Vau. 
 girard on the N. side, opposite the Rue de Tournon. It is nearly 
 100 yds. in width, and consists of three pavilions connected by 
 galleries. Each of the three stories is adorned with pillars. Impor- 
 tant alterations, the chief of which was the addition of the columns 
 in the court, were made by Chalgrin in 1804, by order of Napoleon I. 
 The facade towards the garden, formerly similar to the principal 
 front, was restored under Louis Philippe in 1836-44 by A. de 
 Gisors, who adhered as far as possible to the style of the original 
 building. 
 
 The palace continued to be a royal residence down to the Revolu- 
 tion. Its last occupant , the Count of Provence , afterwards 
 Louis XVin., left it in June, 1791. The Convention converted it 
 into a state-prison. In 1795 the building was named the Palais 
 du Directoire, and afterwards, in 1799, the Palais du Consulat. The
 
 10. PALAIS DU LUXEMBOURG. 257 
 
 Consulate, however, sat here for a short period only, as Bonaparte 
 removed his residence to the Tuileries in February, 1800. 
 
 During the first Empire the palace was occupied by the sen- 
 ate, and styled Palais du Senat-Conservateur. After the Restor- 
 ation, and under Louis Philippe, the Chamber of Peers met here. 
 From 1852 to 1870 it was named Palais du Senat, that body having 
 again sat here during the second Empire. It was next occupied by 
 the offices of the Pr^fet de la Seine, after the destruction of the Hotel 
 de Ville; but in 1879, on the return of the Chambers to Paris, the 
 senate resumed its old quarters here. 
 
 Part of the palace is shown daily, except Sundays and during the 
 sittings of the senate, from 9 a.m. till dusk. 
 
 We cross the court to the foot of the staircase in the corner to the 
 left, where one of the custodians is to be found (gratuity). We are 
 first escorted to the first floor. The rooms on the left are used by dif- 
 ferent committees of the senate. We obtain a glimpse only into the 
 Library, the dome of which is adorned with fine paintings by Eugene 
 Delacroix, representing the infernal regions according to Dante. — 
 The *Snlle des Seances (to which visitors are admitted during the 
 sittings of the senate by tickets obtainable through a senator or on 
 written application to the 'secretaire de la questure') is one of the 
 most interesting apartments. During the sittings the entrance is by 
 the platform in the middle, at the end of the court, and if the sitting 
 is not of special importance, visitors may sometimes obtain admis- 
 sion here without a ticket. This chamber, which is lighted from 
 above, consists of a small semicircular part, occupied by the pre- 
 sident, and a larger part, of the same form, containing the seats of 
 the senators. The 'tribune' is in front of the president's desk. The 
 colonnade at the back is adorned with statues of Turgot, d'Agues- 
 seau , I'Hopital , Colbert , Mole' , Malesherbes , and Portalis. On 
 each side of the president's seat is a painting by Elondel : the 
 peers offering the crown to Philip le Long, and the estates of Tours 
 conferring on Louis XII. the title of 'father of the people'. At the 
 beginning of the larger semicircle is a statue of Charlemagne , by 
 Etex , and one of St. Louis, by Dumont. Facing the seat of the 
 president are two public galleries. — We are next conducted to 
 the Oallery of Busts, and to the Buvette , formerly the room of Na- 
 poleon I. , which contains the paintings which adorned it at that 
 period (the Chancellor de I'Hopital returning the seals to Charles IX.; 
 Achille de Harlay rejecting the proposals of the Due de Guise; 
 Charlemagne; St. Louis; Louis XIV.). Adjoining the gallery and 
 the buvette is the *SaUe des Pas-perdus , formerly the Salle du 
 Trone. The handsome modern decorations in the Louis XIV style 
 were executed in 1856-80. On the vaulting, in the centre , the 
 Apotheosis of Napoleon I. by Alaux ; at the sides, Peace and War, 
 by Brune ; at the ends , the Apotheosis of the kings of France , by 
 Lehmann. Handsome chimney-piece of 1880. — The Grande Qa- 
 
 Baedkker. Paris. 12th Edit. 17
 
 258 10. MUS^E DU LUXEMBOURG. 
 
 ierie, formerly occupied by the Musee du Luxembourg (see below), 
 on tlie first floor of the E. wing, has a ceiling adorned with an Aurora 
 by Callet (i8th cent.) and the Months by Jordaens. — Descending to 
 the groundfloor, we visit, in the W. part of the palace , the small 
 *Chambr€ de Marie de Medicis, adorned with paintings by pupils of 
 Rubens. The medallions on the walls are attributed to Van Thulden 
 and Van Huden. The Apotheosis of the queen and other ceiling- 
 paintings are by Hoeck. — The Chapel, on the same side , dating 
 from 1844, is also richly decorated. Opposite the windows are paint- 
 ings by Gigoux. Behind the altar are the twenty-four Elders of 
 the Apocalypse, by Abel de Pujol. Under the organ is a group of 
 angels, by Jaley. 
 
 To the W. of the palace is a wing known as the Petit-Luxem- 
 bourg, now the residence of the president of the senate. It also 
 was probably built for Marie de Medicis. Her chapel, which is seen 
 from the Rue Vaugirard, has been used by the Maronite community 
 since 1893. 
 
 2. Musee du Luxembourg. 
 
 The Luxembourg Gallery is open daily, except Mondays and tbe chief 
 holidays (p. 56), 10-4, and in summer 9-5 o'clock ; on Sundays and ordinary 
 holidays 10-4 only. It is usually closed for ten days or a fortnight about 
 November for cleaning and rearrangement. — In the entresol is a small 
 collection of Engravings, shown on Monday on application 
 
 The *Mtisee du Luxembourg, a collection of Works of Living 
 Artists, consisting chiefly of paintings and sculptures, occupies a 
 building to the W. of the Petit-Luxembourg, on the left side of the 
 Rue Vaugirard. The works exhibited at the Luxembourg are gener- 
 ally transferred to the Louvre, or sent to provincial galleries, about 
 ten years after the death of the artists, so that a comprehensive survey 
 of modern French art cannot be obtained in one place. This rule, 
 however, is not very strictly observed. 
 
 At the foot of the staircase, to the right, Orpheus charming Cer- 
 berus to sleep, to the left, Judith, bronzes by Peinte and Aizelin, 
 At the sides, to the right, the Lion and the Mouse, by P. Victor; to 
 the left. Vulture on the head of a sphinx, by Cain, and Dogs, by 
 Fremiet and Lami. On the pediment, Fame distributing crowns to 
 the plastic arts, by Crauk. 
 
 The arrangement of the works is so often changed that to prevent 
 confusion we shall enumerate the most important of them in the 
 alphabetical order of the names of the artists , that being also the 
 order in which they are arranged in the catalogue (75 c. ; illustrated 
 4 fr.). Each work bears the name of the artist. 
 
 SCULPTUB-BS. 
 
 427. Aizelin, Hagar and Ishmael. 429. Allar, Death of Alcestis. 
 430. Auhe, Bailly (bronze). 
 
 Barrios (L. E.J, 431. Young girl of Megara, 432. Mozart as a 
 boy (bronze). Becguet, 434. Ishmael, 435. St. Sebastian. 436. Ber-
 
 10. MUSfiE DU LUXEMBOURG. 259 
 
 teaux (MmeJ, Psyche. 437. Bonnassieux, Meditation. 438. Boucher 
 (AlfJ, Rest. 
 
 Carles, 440. Youth, 441. Abel. 442. Carlier, Gilliatt seized by 
 the octopus. *443. Carrier-Belleuse, Hebe asleep. 444. Carries, 
 Head of Charles I. Cavelier, 445. Truth, 446. Mother of the Gracchi. 
 Chapu, 449. Mercury inventing the caduceus, 450. Joan of Arc at 
 Domr^my. 453. C/iafrowssc, Girl reading. 454. Christophe, The last 
 kiss. 455, 456. Cordier, Busts of a negro and negress. 457. Cor- 
 dor^nier, Joan of Arc. 458. Coutan ^ Cupid. 460. Crauk, Youth 
 and Love. 461. Croisy, The nest. 
 
 Dampt, 464. St. John ; 465. Grandmother's kiss. Delaplanche, 
 469. Eve before the Fall, 470. Virgin with the lily, 481. Dawn. 
 Dubois, *473 Infant St. John, in bronze, 474. Narcissus, *475. 
 Florentine singer of the 15th cent., bronze gilt. 
 
 Falguiere (J. A. J.), *477. Tarcisius the Martyr, *478. The victor 
 in a cock-fight, in bronze. 480. Franceschi, Fortune. 482. Fremiet, 
 Pan with bear-cubs. 
 
 486. Gerome (G. LJ, Tanagra, painted marble. Guillaume, 487. 
 Anacreon, 488. The Gracchi, in bronze. 
 
 491. Hiolle, Arion seated on the dolphin. 
 
 Idrac, 493. Mercury inventing the caduceus, 494. Salammbo 
 (from Flaubert). 495. Injalbert, Hippomenes. 
 
 499. Lanson , Age of iron. 502. Lemaire (H.), Morning. 505. 
 Longepied, Immortality. 
 
 Marqueste, 507. Cupid, 508. Galatea, 509. Perseus and the 
 Gorgon. Mercie, 510. David, in bronze, 511. Souvenir. *512 Millet 
 (Aime), Ariadne. 513. Moreau - Vauthier , Boy drinking from his 
 hand. 514. Moulin, A Pompeian discovery. 
 
 518. Petre, Marechal, former maire of Metz, bust. 519. Peynot, 
 'Pro Patria'. Puech(Denys), 521. Siren, 520. Muse of Andr^ Ch^nier 
 (beheaded during the Revolution). 
 
 Rodin, 523. John the Baptist, in bronze, 524. Bust of a woman. 
 
 Saint- Marceaux , 527. Youth of Dante, 528. Genius guarding 
 the secret of the tomb. 530. Salmson (Jean Jules), Skein- winder, in 
 bronze. 531. Schoenewerk , In the morning. 533. Soules, Rescue of 
 Iphigenia. 
 
 Thomas, 534. Virgil. 536. Turcan, The blind and the lame. 
 
 On the terrace next the garden are a number of bronzes : 433. 
 Barthelemy, Young faun and goat; 451. Charpentier, Improvisators; 
 553. Christophe , Fate ; 490. Guillaume (E.). Mower ; 484. Gaston 
 Guitton, Passenger and dove; 492. Houssin, Phaeton; 501. Laoust, 
 Indian singer; 506. Maniglier, Engraver; 533bis. Steiner, Shepherd 
 and satyr; 535. Tournois, Bacchus inventing comedy. 
 
 In the Sculpture Gallery are also glass-cases, containing medals, 
 bas-reliefs, cameos, and faience; and on the walls are nine ancient 
 tapestries, representing chateaux and the coronation of Louis XIV. 
 at Rouen. — In the next room, the first room of the paintings, are 
 
 17*
 
 260 10. MUBtE DU LUXEMBOURG. 
 
 three glass-cases containing art objects ; bust of Gallia, in ivory, 
 gold, and silver, with topazes, by Moreau-Vauthier the sculptor, and 
 Falize the goldsmith; vessels in metal, porcelain, faience, and 
 earthenware; Salammbo at the house of Matho, a small group in 
 bronze and ivory by Riviere; etc. 
 
 Paintings. 
 
 1. Adam (Em.), Ferryman's daughter. J^o number. Agache, The 
 aged conqueror. 
 
 4. Bail, Still-life. 7. Barillot, Herd-girls in Lorraine. Barrias 
 (Fil.), Exiles of Tiberius. Bashkirtseff (Marie), 296. The meeting, 
 414, 415. Portraits. 8. Bastien- Lepage, Haying (Les Foins). 
 Baudry, *9. Fortune and the child, *10. Truth, 11. Portrait. Bernard, 
 15. Woman warming herself; no number. Harbour of Algiers at 
 sunset. Binet, 17. Evening, 18. Behind the farm. *19. Bonheur 
 (Rosa), Husbandry inNivernais, with masterly animals and charming 
 details. Bonnat, 20. Leon Cogniet, the painter, *23. Cardinal 
 Lavigerie, *21. Job. 27, 28. Boudin (E.), Sea-pieces. Bouguereau, 
 29. Triumph of martyrdom (St. Cecilia}, 30. The Virgin as consoler, 
 31. Youth and Love. 35. Breton (E. A.), Falling leaves. Breton 
 (J. A.), *36. Blessing the crops, *37. Recall of the gleaners, *38. 
 Gleaner. 41. Buland, Crossbow-men. Busson, 42, Landscape with 
 the ruined Chateau de Lavardin, 43. Rising flood on the Loir. 44. 
 Butin, Burial of a sailor in Normandy. 
 
 Cabanel, *45. Birth of Yenus , 46. Portrait of an architect. 47. 
 Ca&af, Landscape. 297. Calvert (Edward), Virgilian pastoral. Carolus- 
 Duran, 48. Lady vnth a glove, 49. Lilia. 51. Carrier-Belleuse( L.Rob.), 
 Asphalt- workers. 53. Cazin, Ishmael. Chaplin, *55. Souvenirs, 56. 
 Portrait. 59. Chenavard, The Divine Tragedy. 60. Collin, May ('Flo- 
 real'). 61. Comte, Henri III and the Due de Guise, on their way to 
 Communion on tbe eve of the latter's assassination. 62. Constant, 
 The last rebels. Cormon, 63. Cain; no number. The forge. 64. Cot, 
 Mireille. *66. Courbet, Landscape. 
 
 69. Dagnan-Bouveret, The sacred wafer. Dannat (W. D.; an 
 American artist). Lady in red. 72. Dantan, Studio. 75. Dawant, 
 Choir of boys. Delaunay , 11. Communion of the Apostles , 78. 
 Plague at Rome, 79. Diana. Demont (Adr.), 81. Night (landscape), 
 82. Abel. 83. Demont -Breton, Beach. 84. Desboutin, Portrait of 
 himself. 87, 88, 89. Desgoffe, Still-life. Detaille, *91. The Dream, 
 *92. March out of the garrison of Hiiningen in 1815 (admirable 
 perspective). 95. Dori (Gustave), The family of Tobias and the 
 angel. 96. Duez, St. Cuthbert, a triptych. 97. Dufour, View of 
 Avignon. Dupri, 98. Morning, 99. Evening. 
 
 Edel felt (Albert; of Finland), 300. Divine service on the sea- 
 shore, 301. December in Finland. 
 
 102. Falguiere (the sculptor). Fan and Dagger. \03. Fantin- 
 Latour, Studio of Manet, the painter. *106. Feyen-Perrin, Oyster-
 
 10. MUSfiE DU LUXEMBOURG. 261 
 
 fishers. 109. Flameng, Sea-piece, FranQais, 115. End of winter, 
 116. Orpheus, 117. Daphnis and Chloe. 118. Friant^ All Saints' Day. 
 
 121. Gaillard^ Mgr. de S^gur (blind). No number, Galland. 
 'Jour des cuivres'. Gay (Walter; American), 302. Saying grace; no 
 number. Las Cigarreras. 124. Geoffroy, Visiting-day at the hospital. 
 *126. Georges-Bertrand^ 'La Patrie' (study for the picture mentioned 
 at p. 317). 127. Gerome, Cock-fight. Gervex, 128. Satyr and Bac- 
 chante, 129. A Jury. Gigoux, 131. Lieut. -Gen. Dwernicki, 133. 
 Ch. Fourier (founder of the Phalanstere). 350. Gilbert, Renoy Siting 
 tapestry (crayon). 135. Glaize , Ancient Roman conspirators. 
 Guillaumet, 139. Laghouat, 140. Seguia (in Algeria), 141. The 
 desert. 142. Guillemet, View of Bercy in winter. 143. Guillou, At the 
 'Pardon de Ste. Anne'. 
 
 304. Hamilton (J. M. ; American), Rt. Hon. W. E. Gladstone. 
 144, 145. Hanoteau, Landscapes. 147, 148, 149. Harpignies, Land- 
 scapes. 30Q. Harrison (Alex. ; American), Solitude. Hebert, 150. 
 Malaria, 151. The kiss of Judas, 152. The Cervarolles (Roman Cam- 
 pagna). Henner, 156. The chaste Susanna, 157. Naiad, 158. St. 
 Sebastian, 159. Sleeping woman. Humbert, 161. Madonna with the 
 Infant Christ and John the Baptist. 
 
 162, Isabey, Embarkation of De Ruyter and De Witt. 
 
 170. La Boulaye, Sermon in La Bresse. 175. Lansyer, Environs 
 of Mentone. Laurens (J. P.), *178. Excommunication of King Robert 
 of France ; *179. Deliverance of the prisoners of Carcassonne; no 
 number, Inquisitors. 182. La Villette, Sea-piece. *184. Lefebvre 
 (Jules), Truth, a beautiful figure, but a portrait rather than a type. 
 185. Legros, 'Amende honorable'. 189. Lenepveu, The Martyrs in 
 the Catacombs. 190. Lerolle, In the country. Leroux (Hector), 192. 
 Columbarium, 193. Herculaneum. 196. Levy(E.), TheMetaSudans 
 in Rome. 198. Levy (H.), Body of Sarpedon brought to Jupiter. 
 *200. Lhermitte, Reapers' pay-day. No numbers, Liebermann (Max), 
 Bavarian beer- garden. Lomont (E.), The song. Lorimer {J.H.; 
 Scottish), Saying grace. 
 
 201. Maignan, Apotheosis of Carpeaux. Meissonier, *205. Na- 
 poleon III. at Solf^rino, a good example of this master, who excels 
 in individualising his figures on a very small scale ; 207. Expectation; 
 209, 210, 211. Landscape and studies. No number, Melchers (G.), 
 Maternity. Melida (Enrique), The lost child. 212. Mercie, Venus. 
 216. Montenard , The transport 'Correze' leaving Toulon. *218. 
 Moreau, Greek maiden with the head and lyre of the murdered 
 Orpheus. 219, Aforoi, Rezonville. Sii. Mosler \^H. ; American), 
 'Le Retour'. 221. Muenier, The catechism. 
 
 NeuvUle (A. de) , 221. Le Bourget (1870), 223. Street-flght 
 (sketches), 224. 'Le Parlementaire' (drawing). 
 
 225, Oliva (J. B.), Roads of Villefranche. 
 
 226. Paris, Bull in the Roman Campagna. No number, Petit- 
 jean, Harbour of Rochelle in bad weather. 229. Perret, Priest bear-
 
 262 10. JARDIN DU LUXEMBOURG. 
 
 ing the Yiaticum to a dying man, a scene in Burgundy. 233. Pro- 
 tais, Battalion in square (1815]. 238. Puvis de Chavannea , The 
 poor fisherman. 
 
 235. Quignon. Cornfield. 236, 237. Quost, Flowers. 
 
 241. Rapin. Autumn landscape. 244. Renard, A christening. 
 246. Renouf, Fishing-boats in a fog. Ribot, 247. St. Sebastian; 
 248. Good Samaritan, 249. Jesus and the Doctors. Robert-Fleury 
 (J. N.), 253. Conference atPoissy, in presence of Catherine de M^- 
 dicis and Charles IX (1561), 254. Galileo before the Inquisition, 
 
 255. Columbus after his return from America. Robert-Fleury ( Tony )^ 
 
 256. Old women of the Piazza Navona (Rome), *257. Last Days of 
 Corinth, a thoughtful composition, full of dramatic sentiment. Roll^ 
 258. Forward, 250, Scene in Normandy. Rousseau (Ph.), 262. Rat 
 retired from the world, 263. Sleeping storks, 264. Goat eating 
 flowers. 
 
 314. Salmson (H.) , Swedish children. *315. Sargent (J. ;S. ,• 
 American), La Carmencita. 266. Sautai,E\e of an execution (Rome). 
 270. Simonnet, Ville-d'Avray in winter. Stevens (^Alfred; English), 
 318. Impassioned song; no number. After the ball. 272. Sylvestre, 
 Locusta testing the poison prepared for Brltannicus. 
 
 273. Tami, Evening. 274. Tassaert, Distressed family. 275. 
 Thirion, Finding of Moses. 276. Tissot, Faust and Margaret. 319 
 and no number, Thoulow (F. ; Norwegian), Norwegian scenes. 
 
 Vollon, 283. Curiosities, 284. Fish. 285. Vuillefroy, Return of 
 the herd. 
 
 *323. Watts {G.F.: English), Love and Life. 287. Weertz, 
 Death of Jos. Bara (comp. p. 357). 289. Wencker, Artemis. *324. 
 Whistler (J. M. ; American), The artist's mother. 
 
 291. Yon, Pont Valentre, at Cahors. 
 
 292, 293. Ziem, Views of Venice. 326. Zom(A.; Swedish), 
 A fisherman. 294. Zuher, HoUandsch Diep. 
 
 3. Jardin du Luxembourg. 
 
 The *Garden of the Luxembourg (open daily from early morning 
 till 10 or 11 p.m.) is the only remaining Renaissance garden in Paris. 
 A military band plays here, to the left under the trees, in summer on 
 Tues., Frid., and Sun., from 4 to 5, or from 5 to 6 (comp. p. 35). 
 The principal entrances are on the sides next the Boul. St. Michel 
 and the Odeon (p. 263), but there is another on the W. side, close 
 to the exit from the Luxembourg Gallery. 
 
 The garden contains few lawns and not many flowers ; but 
 amongst the clumps of trees and the open spaces for children's 
 games there are numerous sculptures. On the terrace of the Mu- 
 seum are statues belonging to it (p. 259). Opposite, Toil, by 
 Gautherin. Behind the Museum: Sculpture, by A. Millet; Painting, 
 by Franceschi; After the contest, by Levasseur; At the Goal, by 
 A. Boucher. Farther on is the Monument of Eugene Delacroix
 
 10. JARDIN DU LUXEMBOURG. 263 
 
 (1798-1863), the painter, by Dalou. It consists of a fountain with 
 a bronze bust, and bronze figures of Time bringing fame to the 
 artist and the Genius of Art applauding him. — In the W. part of 
 the garden, beginning at the Mus^e : Faun playing with a panther, 
 by Caillc; Bathsheba, by Moreau-Vauthier ; Family Joys, by Dail- 
 lon; Eustache Lesueur, by Husson; Wrestlers (bronze), by Ottin- 
 Orlando Furioso (bronze), by Duseigneur ■ Stags, by Leduc; Lion and 
 Ostrich, by Cdin^ etc. 
 
 In the centre of the garden , in front of the palace , is a large 
 space surrounded by a terrace and balustrade and embellished with 
 an octagonal fountain-basin, and various statues : to the left, Marius 
 amid the ruins of Carthage, by V. Vilain, Vulcan, hy Bridan the Eider ; 
 on the other side of the basin, Archidamas abont to throw the disc, 
 by Lemaire ; etc. — The dome-covered building visible at the end of 
 the avenue leading from the basin is the Observatory (p. 288). To 
 the left of the garden rises the Ecole des Mines (p. 287); to the 
 right, the schools mentioned at p. 288. 
 
 The terraces aronnd the parterre are embellished with twenty 
 modern statues in marble of celebrated Frenchwomen (brought from 
 the Pare of Sceaux, p. 355), the stiffness of which does not harmon- 
 ise well with the garden. The best are Clemence Isaure, hy Preault, 
 and Mile, de Montpensier, by Demesmay, at the end, to the left 
 (bearing inscriptions). A little farther on, Velleda, the Druidess, 
 by Maindron. Among the other statues in this part of the garden is 
 a Dancing Faun, in bronze, by Lequesne, near the Boul. St. Michel. 
 
 The *FoNTAiNB DB Medicis, by Debrosse , in the Doric style, 
 with imitations of stalactites, rises on the same side. Three niches 
 between the columns contain sculptures by Ottin,- the group in the 
 middle represents Polyphemus surprising Acis and Galatea. At the 
 back of this fountain is a ^Fontaine de Leda\ 
 
 Farther on: Adam and his family, by Oarraud; Bust of Th. de 
 Banville (1823-1891), the poet, by J. Roulleau; Monument of 
 Murger (1822-1861), author of the 'Scenes de la Vie de Boheme', 
 by H. Bouillon; and Bacchus, by Crank. 
 
 The Theatre de I'Odeon (PI. R, 19; IV), a second Theatre Francais, 
 opposite the E. part of the garden of the Luxembourg but facing in the 
 opposite direction, is a building in the classic style founded in 1872, but 
 rebuilt or restored in 1808 and 1818 in consequence of fires. The arcades 
 which surround it are partly occupied by booksellers' shops. — In the 
 square in front of the Odeon is a Monument to Emile Avgier (1820-1880), 
 the dramatic poet, consisting of his bust and bronze statues of Comedy, 
 the Aventuriere (one of Augiers plays), and a Child brandishing the whip 
 of satire, all by Barrias. 
 
 In the vicinity, No. 70 Rue de Vaugirard, is St. Joseph-des-Carmea, 
 the former chapel of the monastery notorious for the massacres of Sept. 
 1792. The crypt (open on Frid. and Sept. 2nd-llth) still shows traces of 
 these atrocities and contains the tombs of the victims. Adjoining is the 
 Intiitui Catholique, a kind of free university, established in 1875. 
 
 Fanthion, Sorbonne, Musie de Cluny, etc., see pp. 242, 240, 231; 06- 
 sei'vafory, Cemetery of Montpaniasse, Pare Montsouris, etc., see pp. 283 et seq.
 
 264 
 
 11. The Jar din des Plantes and the Gobelins. 
 
 I. rHOM THE LOUVRE TO THE JARDIN DES PLANTES. 
 
 Saturday is the only day on which it is possible to visit both the 
 Jardin des Plantes, with its galleries, and the Gobelins. As the latter are 
 closed at 3 p.m., the best plan is to interrupt the visit to the Jardin des 
 Plantes and return to it later. On Wed. the Natural History Galleries are 
 closed, on Sun. and Thurs. they are open to the public, and on Tues. and 
 Frid. on application; but on these days there is no admission to the 
 Gobelins. The visit to the Gobelins may also be combined with R. 13. 
 — Luncheon should be taken before starting, or near the Jardin des 
 Plantes. — Omnibus to the Gobelins direct, see p. 269. 
 
 The pleasantest way of reaching the Jardin des Plantes is by 
 steamboat (see p. 23). The piers nearest the Louvre are at the 
 Pont des Arts (p. 246) and the Pont-Royal (p. 272), on the right 
 bank, and near the Pont du Carrousel or Pont des Saints-Peres^ on 
 the left bank. This handsome bridge, which connects the Place du 
 Carrousel (p. 1-46) with the Rue des Sts. Peres, was constructed in 
 1832-34 by Poloneeau. It spans the river veith three iron arches, 
 and is embellished with colossal statues in stone : Plenty and In- 
 dustry on the right bank, the Seine and the City of Paris on the left. 
 
 From the steamboat we observe on the left the Louvre and the 
 tower of St. Germain-l'Auxerrois (p. 60) , and on the right the 
 Institut (p. 246). Beyond the Pont des Arts the Monnaie lies on 
 the right. We next observe the statue of Henri IV on the right, 
 and pass under the Pont-Neuf. On the right rises the Palais de 
 Justice ; on the left is the Place du Chatelet, with its fountain and 
 theatres. Beyond the Pont au Change the Tribunal de Commerce 
 is on the right, and beyond the Pont Notre-Dame we observe the 
 extensive Hotel-Dieu on the same side. We next pass under 
 the Pont d'Arcole. On the left rises the Hotel de Yille, and on 
 the right, on the other side of the island, Notre-Dame (p. 226). 
 On the left we next observe St. Gervais (p. 67), and in the dis- 
 tance the dome of St. Paul and the Colonne de Juillet (p. 69). We 
 next have the He St. Louis (p. 229) on the left and the Cite on the 
 right, passing under the Pont St. Louis. To the right, the Morgue 
 (p. 229). Farther on, the Pont de la Tournelle, the Pont Sulle 
 (p. 219), and the monument to Barye (p. 219). On the right ary 
 the Halle-aux-Vins and the Jardin des Plantes. We disembare 
 below the Pont d' Austerlitz, which was enlarged in 1884-5 to a 
 width of 100 ft. and is now one of the most important bridges in Paris. 
 
 I. JARDIN DES PLANTES. 
 In the * Jardin des Plantes or Museum d'Eistoire Naturelle 
 (PI. G, R, 22, 25; F), which lies at the E. end of the quarters 
 of the city on the left bank , are concentrated most of the Parisian 
 institutions connected with natural science. Besides the zoological 
 and botanical garden, it comprises natural history collections , la- 
 boratories, and a library. Lectures on natural history, to which
 
 t-^t^t-^ t-t 
 
 jsycRSxsa sat) siioninK
 
 11. JARDIN DES PLANTES. 265 
 
 he public are admitted gratuitously, are also given here in the 
 Amphitheatre, a hall capable of containing 1200 persons. Among 
 the scientific men of European celebrity who have taught here may 
 be mentioned the botanists De Jussieu (Bernard d. 1776, Laurent 
 d. 1836, Adrien d. 1853), the mineralogists Daubenton (d. 1799) 
 and Haiiy (d. 1822), and the zoologists Buffon (d. 1788), Lac^pede 
 (d. 1826), Lamarck (d. 1829), Cuvier (d. 1832), and Geoffrey St. 
 Hilaire (d. 1844). 
 
 The Jardin des Plantes, in the wider sense, is open daily from an early- 
 hour till dusk, but the Me'nagerie, the Collections, the Hothouses, and the 
 Library are shown at certain hours only. The Menagerie is open daily from 
 11 to 5 (6 on Sun.) from 1st March to 30th Sept., and from 11 to 4 (4.30 on 
 Sun. in Oct.) during the rest of the year. The Galeries des Animaux Vivants 
 are open tolthe public on Tues., 1-4 or 1-5, when the animals are not outside, 
 and on other days by tickets obtained from the 'Administration'' (p. 266). — 
 The Galleries of Natural History are open to the public on Sun. and Thurs. 
 11-4, and on Tues,, Frid., and Sat. by ticket. — The Gallery of Palaeontology 
 and the Hothouses (Serres) are shown by ticket only, the former on Tues., 
 the latter on Tues., Frid., and Sat., 1-4. The Grande Serre, however, is 
 open daily except Men. and Sat., 1-4. The Library is open daily from 10 
 to 4, except on Sun. and holidays, and during the vacations (Sept. and a 
 fortnight at Easter). — From the above it will be noted that everything 
 may be seen on Tues. ; the tickets, which are readily granted to strangers, 
 are available for 5 persons. On Sun. the Menagerie and Natural History 
 Galleries are open free. 
 
 The Jardin des Plantes, projected in 1626, was founded by Guy de La- 
 brosse, one of the most eminent botanists of his time, about 1635, when 
 he laid out the Jardin Royal des Plantes Midicinales. After several years 
 of mismanagement by the court physicians, the celebrated Buffon was 
 appointed director of the gardens in 1732. He entirely remodelled them, 
 founded collections in every department of natural history, and gave the 
 whole establishment the name of Jardin du Roi. Buffon was succeeded by 
 Bernardia de Saint-Pierre, who transferred hither the royal menagerie of 
 Versailles in 1793, and opened the library in 1794. The garden was then 
 called Museum d'Hisioire Naturelle, by which name it is still officially known. 
 Under Napoleon I. the collections were considerably enlarged. In our own 
 times the garden was long under the charge of M. Chevreul, the celebrated 
 chemist and centenarian (1786-18S9), and M. E. Fremy (1814-1894). The 
 present director is M. Milne-Edwards. 
 
 The Jardin des^ Plantes [see annexed Plan) , which covers an 
 irregular quadrilateral area of 75 acres, is divided into two distinct 
 parts. (1) The Jardin Botanique, extending from the principal 
 entrance in the Place Valhubert to the Galeries de Zoologie at the 
 other end. (2) The Menagerie, or zoological department, to the 
 right '(N.) of the first , ending at an eminence , 80 ft. high, called 
 the Labyrinthe. — We shall first describe the second and most fre- 
 quented of these parts. The annexed plan will enable visitors to 
 find their way without difficulty. The scientific names of the ani- 
 mals, as well as those of the plants, and their place of origin are 
 marked in each case. 
 
 Menagerie. — Entering from the Place Valhubert , we turn to 
 the right and proceed to visit the 21 cages of the Animaux Feroces. 
 Admission to the houses when the animals are inside, see above. 
 The surrounding enclosures are occupied by the Animaux Paisibles, 
 including numerous antelopes, deer, and other animals of the kind.
 
 266 11. JARDIN DES PLANTES. 
 
 A new cage for the Tigers from Tonkin was also placed here 
 in 1895. 
 
 A little to the W. of the Animaux F^roces is the Palais des 
 Singes, or monkey-house, the inmates of which are an nnfailing 
 source of amusement. A little farther to the W. are numerous other 
 graminivorous or 'peaceable' animals, and on the left we observe the 
 Rotonde des Orands Animaux, containing elephants, a hippopotamus, 
 rhinoceros, camels, etc. — A few paces to the S. of the Rotonde is 
 the Fosse aux Ours, or bears' den, adjoining the botanical garden. 
 — To the N. and N.W. of the rotunda are the cages of the Birds 
 of Prey, the Grande Voliere , or aviary, the Faisanderie , and the 
 pavilion of the Reptiles, which is specially interesting. Adjacent 
 is the Crocodile Pond (in summer). — Proceeding hence to the S., 
 we reach the Anatomical Gallery [see below) on the right, and the 
 basin of the Otaries or Sea Lions [fed at 3 p.m.) on the left. Behind 
 this is the Orangery (shown by ticket only like the other hothouses, 
 see p. 265). Farther on are the Amphitheatre, or lecture-hall (to 
 the right of which is Cuvier's house), and the office of the 'Ad- 
 ministration\ where the tickets mentioned at p. 265 are obtained. 
 
 The Labyrinthe, the artificial mound at the N.W. corner of the 
 garden, is intersected by numerous paths, which at one time 
 formed a maze. It has been formed almost entirely of rubbish 
 collected from the neighbouring Quartier St. Victor, and is sur- 
 mounted by a pavilion, the view from which is partly obstructed by 
 the trees. On the N.E. side of the hill is a magnificent Cedar of 
 Lebanon (PI. 4), 10 ft. in circumference, planted here in 1735 by 
 the elder Jussieu. A little higher up is a monument to the memory 
 of Daubenton (d. 1799 ; Pi. 5), an eminent naturalist and director 
 of the Jardin des Plantes. 
 
 A gate beyond the labyrinth leads into the Rue Linne, in which rises 
 the Fontaine Cuvier, erected in 1840 from designs by Vigoureux. It consists 
 of a niche with a statue of Nature sitting on a lion, and holding a tablet 
 with the inscription ^rerum cognotcere cavsas\ 
 
 On the other side of the labyrinth are the hothouses for tropical 
 plants (Serres Temperees and Serres Chaudes); adm., see p. 265. 
 
 *Galleries [admission, see p. 265). The natural history galleries 
 of the Jardin des Plantes are among the most extensive in existence, 
 though their arrangement has hitherto been unsatisfactory. 
 
 GALIiEEIBS OP COMPABATIVB AnATOMY, A>rTHB.OPOLOGT, AND 
 
 Paleontology, to the right as we come from the Menagerie, a 
 little before the amphitheatre (to be removed to new buildings on 
 the other side of the garden). — The Gallery of Comparative Ana- 
 tomy, a very extensive collection founded by Cuvier, occupies four- 
 teen rooms, three on the groundfloor, and eleven smaller ones on 
 the first floor. 
 
 Ground Floor. Outside the entrance is placed the body of a 
 whale, with the whalebone complete. The 1st and 2nd Rooms on 
 the right contain skeletons of large fish and amphibious animals.
 
 11. JARDIN DES PLANTES. 267 
 
 The 3rd Room , on the opposite side , by which visitors quit the 
 building, is set apart for the skeletons of large quadrupeds. — The 
 eleven rooms on the Fiest Floob contain skeletons and anatomical 
 preparations of all kinds, in spirit, or modelled in wax. Staircase 
 at the end, see below. 
 
 The Gallery of Anthropology occupies the thirteen remaining rooms 
 of the first floor. Every variety of the human species is represented 
 here by means of skeletons, skulls, casts, portraits in water-colours, 
 photographs, busts, mummies, and even by fossils. — The last room 
 is connected by a passage with the second room of the previous collec- 
 tion, through which we retrace our steps to the 11th room. We 
 then descend by a staircase to the left, which leads to the exit on 
 the groundfloor. 
 
 The court surrounded by the buildings of the collections jus 
 named contains the Oallery of Palaeontology, which chiefly con- 
 sists of the fossilised skeletons of such extinct animals as the mega- 
 therium, dinornis, glyptodon, mastodon, Irish elk, cave-bear, etc. 
 The Palseotherium Magnum, by the exit-wall, is unique. 
 
 The *Galleries of Zoology are arranged in a handsome new 
 building on the W. side of the Botanical Garden. The facade is 
 embellished with a figure of Science in high-relief, by E. Guil- 
 laume , and medallions of famous naturalists. We enter from the 
 right side. On the groundfloor, in front, is a gallery, behind which 
 is a central hall, 180 ft. long and 85 ft. wide, surrounded by aisles, 
 25ft. wide. A staircase ascends from each end of the gallery to the 
 upper floor above the latter and above the aisles of the hall. There 
 is a third story in front. 
 
 Gkoond Floor: Mammals, Reptilet, &nd Fishes. — 1st Gallery, to the 
 left of the entrance. The first case in the centre, that to the right, and 
 part of that to the left, are occupied with a rich collection oi Quadrumana, 
 from the smallest monkeys to gorillas, chimpanzees, and orang-outangs. 
 In the other cases: Carnivora; lions, tigers, leopards, and other feline 
 animals, etc. 
 
 Central Hall : Large Mammalia. — Giraffes, elephants, hippopotami, 
 rhinoceroses, camels, buffaloes, etc. Skeletons of large whales. — Sides. 
 In the half next the garden and the small rooms at the ends : Mammalia 
 of various kinds, the most interesting being in the central glass-cases. In 
 the opposite half: Fish; dried specimens in the central cases, specimens 
 in spirits in the cases along the wall. — At the foot of the staircase to 
 the first floor, at the S. end of the gallery, is the bust and tomb of Victor 
 Jacquemont (18C1-1831) . traveller and collector for the museum. On the 
 balustrade, a fine bronze group by J. Thomas. 
 
 FiEST Flook: Birds, Reptiles, Batrachians, Molluscs, and Zoophytes. — 
 In the Vestibule: Shells •*; pearl-oysters and pearls; coral; etc. — The 
 gallery next the garden contains the finest 'Specimens of the very rich 
 collection of J»rd5. In the centre are first the smallest species and those 
 distinguished by fine plumage, such as humming-birds, birds of paradise, 
 etc.; then birds of prey. At the sides, climbing birds (parrots, etc.), birds 
 of prey, and nocturnal birds. — Round the hall: next the front gallery, 
 web-footed, wading, and gallinaceous birds. On tlie inner side of this 
 and the following galleries are the Molluscs and Zoophytes. — Cross-gallery 
 next the hothouses, Mammalia. In an adjoining room is a collection of 
 European birds, proseuled to'^the museum. Farther on in the gallery,
 
 268 11. JARDINDES PL ANTES. 
 
 Mammalia' and a collection of Birds^ Nestt. — Other long gallery, Reptiles, 
 tortoisea, crocodiles, serpents, etc.; frogs. 
 
 Second Flooe: Intects, Crustacea, etc., Molluscs and Zoophytes preserved 
 in alcohol, dried, or fossilized. Fine collection of butterflies. Cocoons. 
 Two large nests of termites or white ants; star-fish. 
 
 Third Flooe (only on the side next the garden): interesting collection 
 oi Nests of Insects, such as wasps, hornets, spiders, ants, and illustrations 
 of damage from insects to plants, wood, books, and even metals ; silkworm- 
 cocoons; bee-hives. Fine specimens of Crustacea : crabs, cray-fish, lobsters, 
 sea-spiders, squillida?, etc. 
 
 We descend by the staircase next the entrance. On the balustrade 
 is a bronze group by J. Cavelier. At the foot of the staircase are the 
 bast and tomb of Guy de Labrosse (15S6-16il), founder of the garden. 
 
 The GaI/Leky of Geology and Mixebalogy, with the gallery 
 of botany and the library, occupies the long huilding beside the 
 galleries just named. — At the entrance are specimens of unusual 
 size. The Vestibule contains the collection of the celebrated mineral- 
 ogist jffauj/ (1743-1822] , who spent forty years in its formation. 
 This room and the ends of the adjoining gallery are adorned with 
 mural paintings, by Biard, of Arctic scenery and various natural 
 phenomena. 
 
 The Gallery, to the left, is 300 ft. long, and is divided longi- 
 tudinally into three sections, the sides being higher than the centre. 
 The small cabinets contain specimens unclassified. — The Geologi- 
 cal Collection comprises (1) Varieties of earth, in the central glass- 
 cases, (2) Rock specimens and (3) Fossils, in the cases in the side 
 corridors , and (4) Geographical collection, in the drawers. — The 
 Mineralogical Collection is distributed round the gallery in the lower 
 cases, and is arranged to facilitate the study of the composition of 
 minerals, and the uses to which they may be applied. At the begin- 
 ning, to the right, and farther on, is the collection of precious stones. 
 To the right also are an ordinary geological collection, an agronom- 
 ical collection, etc. — In the centre are statues of Cuvier, by David 
 d' Angers , and Hauy , by Brion. — The collection of Meteorolites, 
 also placed here, is one of the largest in the world. One of the 400 
 specimens weighs nearly 18 cwt. 
 
 The Gallery of Botany adjoins the preceding and is entered 
 from it. Only a portion of it is open to the public. In the Vestibule, 
 •with 3i.sta.tvLQ of AdriendeJussieu, by Legendre-Heral, are interesting 
 specimens of Exotic Plants : date and other palms, bamboos, sugar- 
 canes, tree-ferns, etc. The collection contains, among other objects, 
 specimens of fruit preserved or imitated in wax, wax models of 
 exotic fruits by Robillard d'Angelle, and of fungi, executed by 
 Pinson, and a collection of fossil-plants, in the glass-cases at the 
 sides. — The herbaria on the upper floor are open to students only. 
 In 1885 the collection was enriched by the herbarium of Lamarck, 
 repurchased from the University of Rostock. 
 
 The Library, in the part of the building next the Menagerie, 
 contains about 80,000 vols, and a valuable collection of MSS., original 
 drawings, and paintings of animals, flowers, and fruit on vellum.
 
 11. BOTANIC GARDEN. 269 
 
 The Botanic Garden is divided into quadrangular beds by a 
 number of handsome avenues. Many of the trees and flowers now 
 common in Europe have been introduced and naturalised by the 
 directors of the Jardin desPlantes. Adjoining the Menagerie is the 
 Ecole de Botanique, open daily except Sun. and holidays, 6-11 a. m. 
 and 1-6 p.m. The red labels indicate the classes to which the plants 
 belong, the yellow labels the families , and other labels the genera 
 and species. The edible herbs are denoted by green bands on the 
 labels showing the species, medicinal plants by red, poisonous plants 
 by black, those used in the industrial arts by blue, and ornamental 
 plants by yellow. At the end next to the quay are the Aquatic Plants; 
 and the distribution of the other plants is shown on the accompany- 
 ing plan. Within the garden is the Ecole des Arbrisseaux d'Orne- 
 ment^ which contains the first acacia ('Robinia pseudacacia') intro- 
 duced into Europe. It was brought to France by Robin in 1601, and 
 planted here in 1636. Lastly, a little farther to the E., are the nur- 
 series of apples, pears, nuts, and stone-fruit, and the new Galleries 
 of Comparative Anatomy, etc., begun in 1893 (comp. p. 267). 
 
 To the N. of the Jardin des Plantes is the Halle aux Vins (open from 
 6 a.m. to 6 p.m.) ; and near the S.W. angle are the large Bdpital de la 
 Pita (729 beds) and the Prison of Ste. Pelagic, well-known as a prison for 
 offending journalists. 
 
 III. FROM THE JARDIN DES PIANTES TO THE GOBELINS. 
 
 The Gobelins are nearly 1 M. to the S.W. of the Place Valhubert 
 (tramway, see Appx.). We follow the Boul. de I'Hopital, which runs 
 between the Jardin des Plantes and the Gare de I'Est (p. 203 ), and 
 is 80 called from the Hopital or Hospice de la Salpetriere on the left. 
 This vast establishment, originally an arsenal, built by Louis XIII., 
 has been converted into an asylum for aged and insane women, 
 with a department for the treatment of nervous diseases. It includes 
 45 blocks of building, with 4682 windows. In front is a Statue of 
 Dr. PmeZ (1745-1826), an eminent benefactor of the insane , by 
 Durand. The large amphitheatre of the institution also contains a 
 painting by Robert-Fleury, in which Dr. Pinel is represented as 
 delivering the insane from torture. 
 
 The Boulevard St. Marcel diverges here to the right, passes the 
 Horse Market and a bronze Statue of Joan of Arc, by Chatroussc, 
 and crosses the Avenue des Gobelins. We follow the latter to the 
 left and soon reach the manufactory on the right (No. 42). 
 
 The Gobelins may be reached direct by the Omnibuses from Notre 
 Dame-de-Lorette to the Boul. St. Marcel (K); from the Place delaKt<pub- 
 lique to Montsouris (U) ; and from the Halles to the Porte d'lvry (TQ) ; also 
 by the Tramways from the Chatelet to Vitry and from Montparnasse to 
 the Bastille. 
 
 The Gobelins (PI. G, 23), the state-manufactory of the famous 
 tapestry of that name, contains an interesting collection of ancient 
 tapestries. The manufactory is open to the public on Wed. and 
 Sat.. 1-3 o'clock.
 
 270 11. THE GOBELINS. 
 
 The foundation of this manufactory dates back|to the reign of Henri IV 
 or even of Henri n. and Francis I. , but it did not receive its present 
 name until 1662. under Louis XIV., when it was installed in a dyeing 
 establishment erected by the brothers Gobelin^ and produced at first not 
 only tapestry but furniture of all kinds for the crown. From this period 
 dates the celebrity of the Gobelins tapestry, which were veritable works of 
 art. These choice manufactures have long been withheld from the public 
 market, and reserved for the use of the state and for the decoration 
 of public buildings, or presented as gifts to foreign courts, ambassadors, 
 and other persons of high rank. The Savonnerie. a carpet-factory originally 
 founded in 1604 by Marie de Mt'dicis in an old soap-manufactory, was 
 united with the Gobelins in 1826. 
 
 The loom resembles that in ordinary use. The small part of the 
 design on which the workman is actually engaged is drawn in black 
 crayon on the stretched threads. The picture to be copied is behind 
 him, and in front of him is a basket with wools of every possible colour, 
 each distinct hue being represented by 24 different shades (14,400 
 in all). The reverse side of the tapestry is turned towards the work- 
 man. 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. Many years are, therefore, sometimes requisite for the 
 execution of the larger designs, which when complete are worth 
 2000L and upwards. The visitor who has seen nothing but faded old 
 Gobelins tapestry or other inferior kinds will be struck with the 
 beauty and brightness of the colours and the delicacy of the shading, 
 while the eye is never offended by the varnish which is apt to mar the 
 enjoyment of painted pictures. Silk is sometimes mixed with the 
 wool in representing flowers , fruit , and metallic lustre , but the 
 whole of the rest of the work is in wools , the colours of which are 
 more durable. There is, of course, little or no room for the display 
 of originality , as the works are all copies of well-known pictures ; 
 but the art has attained to a marvellous degree of perfection, and 
 its results may be fitly compared to ableiiterary translations. The 
 'Tapis de la Savonnerie' differ from the Gobelins chiefly by having 
 a pile formed by loops of wool afterwards cut. 
 
 We first visit the Exhibition Rooms, to the left of the entrance 
 
 1st Room. To the right: Crossing the Ponte Molle (Raphael). Abra 
 ham's sacrifice, after Sim. Vouet ; Louis XIV. receiving Cardinal Chigi 
 the papal legate (Lebrun) ; Dancing nymphs (Raphael) ; Louis XIV. visit 
 ing the Gobelins Manufactory (Lebrun); Players at 'tiquet', part of a 
 curtain by Gombaut and Mace (17th cent.); Triumph of Pallas (N. Coypel) 
 Repast of Syphax (Oiulio Romano); Marriage of Alexander and Campaspe 
 (Raphael); Sacrifice at Lystra (Raphael); Autumn (Lebrun); Ascent of 
 Elijah (Sim. Vouet); Herma (Lebrun). 
 
 2nd Room. To the right: The Flemings demanding peace from Clevis 
 CBrussels tape?try; 17th cent.); to the left: Blood-hound (Oudry). At the 
 end: Two bulls,' Animals fighting (F. Desportes). 
 
 The 3hd Room, to the left of the last, contains tapestry of the 16-18th 
 cent, from different manufactories. To the right: Calydonian Boar; Kiss 
 of Judas (16th cent.); the Idol (16th cent., Flemish); St. Crispin giving his 
 possessions to the poor, Miracle of the 'Landit' fair (15th cent.); Annuncia- 
 tion, Dead Christ, Adoration of the Magi (Flemish); above the Christ, in 
 the middle of the room and at the door, Fine piece of ancient Persian tap- 
 gstry. On the other wall, four pieces of Flemish tapestry, after Raphael:
 
 11. THE GOBELINS. 271 
 
 Elymas struck with blindness, Healing the paralytic, Death of Ananias, 
 and Sacrifice at Lystra. Then, Death of Joab (A. du Cerceau). 
 
 4th Room (adjoining E. 2). Flora, of the Fontainebleau school (?) of 
 the 16th cent.; the Concert, French tapestry of the beginning of the 16th 
 cent. ; Cybele, also of the Fontainebleau school (?) ; various fragments. 
 
 We next visit the Workshops. The works on the looms are, of course, 
 liable to change-, visitors are therefore referred to the in.'^criptions for 
 information. At the end of the first room is a representation of June, after 
 a tapestry of the 16th century. — 2nd Workshop: on the staircase, Bacchus, 
 a portiere by Audran. 
 
 We now traverse a corridor hung with antique tapestry (Vegetable- 
 dealer; Fish-dealer), and descend a staircase to another part of the build- 
 ing, containing an exhibition room (to the left) and the workshop of the 
 Savonnerie (to the right). — The Salle d'Exposition mainly contains recent- 
 ly finished pieces, exhibited here before removal to their ultimate destina- 
 tion. Among others are Manna, after Poussi)} ; St. Agnes (Steinheil); Moses 
 (Poussin); Di&na (Oud)-y); 'Entojnhm.ent (Champaigne); Spring and Sum- 
 mer (Baudry); Dog (Oudry); Don Quixote (C/j. Coypel); Venus and Vul- 
 can, andAminthus and Sylvia (Boucher); Ceres, Juno, Bacchus, and Saturn 
 (Audran). — In the Workshop are carpets in process of manufacture. 
 Also two ancient tapestries : Turkish embassy sent to Louis XV. (Parro- 
 cel); Esther's swoon (Detroy). 
 
 We leave the Gobelins by a court to the left, with the old Chapel, 
 containing ITth cent, tapestry after paintings by Raphael: Battle of Con- 
 stantine; Ma'S of Bolsena; St. Stephen's martyrdom; Elymas the Sorce- 
 rer; Heliodorus expelled from the Temple; St. Paul at Athens. 
 
 The Avenue des Gobelins leads to the S. to the Place d Italie (PI. G, 
 23), where five other boulevards or avenues converge. In the centre is 
 a fountain. On the N. side is the Mairie of the 13th Arrondissement, built 
 in 1867-77, with a handsome tower. In the Salle des Mariages are paint- 
 ings by D. Boulanger. 
 
 For Ivi'y, Bicetre, Vitry^ and Villejuif, all reached by the tramways 
 passing the Place d'ltalie, see pp. 303 and 353. 
 
 The Boulevard Arago, forming a prolongation of the Boulevard St. 
 Marcel (p. 269), passes the Edpital de Lourcine or Broca (for skin-diseases 
 of women) and the extensive Prison de la Sanity a little beyond which it 
 terminates in the Place Denfert-PiOchereau (p. 291). — The Boulevard de 
 Port Royal, leaving the Avenue des Gobelins to the N. of the Boulevard 
 Arago, leads past the Val-de-Grace (p. 2S8) to the Carrefour de TObserva- 
 toire (p. 287). 
 
 At the N. end of the Avenue des Gobelins rises the church of 
 St. Medard (PI. G, 22 ; F), of the 15-16th cent., the burial-ground 
 of which is now a garden, with a figure of 'Haymaking' by Barrau. 
 In the 18th cent, it contained the 'wonder-working' tomb of the 
 Jansenist deacon Abbe Paris. Pilgrimages to the tomb were at length 
 prohibited by Louis XV. in 1732, which gave rise to the witticism : — 
 
 'Be par le Rot. defense it Dieu, 
 
 De /aire miracle en ce lieu.'' 
 The Rue Monge at the back of the church leads to the Boulevard 
 St. Germain (tramway), passing the Place Monye^ in which is a 
 bronze statue of Louis Blanc (1811-82), the historian and socialist, 
 by Delhomme. In the vicinity are the scanty remains of the Arenes 
 de Lutice, at the corner of the Rue de Navarre, to the right. These 
 consist of a few tiers of seats (much restored) round the arena, which 
 has been laid bare.
 
 272 
 
 12. The Invalides and the Champ-de-Mars. 
 
 The best day for a visit to the Invalides is Tues. or Thurs., when 
 the tomb of Napoleon and the Artillery Museum are both open (comp. p. 275). 
 The Museum closes at 3 or 4. — Luncheon may be taken in the Boul. 
 St. Germain: or the Square Ste. Clotilde (p. 15)." 
 
 I. FROM THE TUILERIES TO THE INVALIDES. 
 
 Chambre des Deputes. Ste. Clotilde. 
 
 "We cross to the left bank by the old Pont Royal^ which was 
 constructed in 1685 from plans by Gabriel and Mansart. From the 
 bridge we obtain a good view of the sculptures on the Pavilion de 
 Flore (p. 147), On the S. side of the bridge begins the Rub du Bac 
 (Pi. R, 17, 16; IV), which traverses the Faubonrg St. Germain, 
 the aristocratic quarter, where the principal streets are the Rue de 
 Lille, Rue de Yerneuil , Rue de I'Universit^, Rue St. Dominique, 
 Rue de Grenelle, and Rue de Yarenne, all running parallel to the 
 Seine. Most of the houses in these streets are private mansions, and 
 the quarter presents a dull and deserted appearance, especially in 
 summer and on Sundays and holidays. Among the public edifices 
 here are several embassies and government offices, etc. 
 
 At the end of a small street on the left of the Rue du Bac, near the 
 Boul. St. Germain, rises the church of St. Thomas d'Aquin (PL R, 17; 
 77), erected in 16S2-1T40. The portal was not completed till 1787. On the 
 facade are two good modem bas-reliefs: St. Thomas Aquinas by Vilain, 
 and St. Dominic, by Gruyhre. The interior contains frescoes hj Blondel; 
 a ceiling-painting by Lemoine, representing the Transfiguration ; a picture 
 of St. Louis dispensing justice, by Merson; and a few other unimportant 
 paintings. 
 
 At the intersection of the Rue du Bac and Boul. St. Germain is a 
 bronze statue, by Dame, of Chappe (1763-1805), inventor of the aerial 
 telegraph. 
 
 The Rue du Bac then crosses the Boul. St. Germain and the Rue de 
 Grenelle, in which, to the left, rises the 'Fontaine de Grenelle (PI. R, 17; 
 IV), erected in 1738 from designs by Boitchardon (d. 1762), and one of the 
 finest fountains in Paris, It consists of a crescent 31 yds. in diameter and 
 38 ft. in height. In the centre is a small Ionic portico, adorned with an 
 allegorical group in white marble representing the City of Paris with the 
 Seine and the Marne. In niches at the sides, framed with Doric pilasters, 
 are statues of the Seasons with appropriate reliefs, also by Bouchardon. 
 
 Near the S. end of the Rue du Bac, on the right, is the Seminaire 
 des Missions Etrangeres (PI. R, 16; IV), for the training of Roman Catho- 
 lic missionaries. A melancholy sight is afforded here by the Chambre des 
 Martyrs (shown on application), which contains numerous instruments, 
 especially from China, used in torturing and killing Christian martyrs, 
 blood-stained clothes of missionaries, and other relics. 
 
 Farther on, at the corner of the Rue du Bac and the Rue de Sevres, 
 are the extensive magazines of the Bon-MarcM (p. 37), which also look 
 into the Rue de Babylone and the Square des Manages (so called after an 
 old hospice of that name) , with a marble group of Sleep by M. Moreau. 
 
 !No. 63 Rue de Sevres is the headquarters of the Jesuits. In the court 
 rises the Eglise du Jesus, a modern Gothic edifice in the style of the 13th 
 cent., erected by Ph-e Tournesac in 1866-68. The chapels are adorned with 
 frescoes representing Jesuits who have been canonised. One of them con- 
 tains a monument in memory of Jesuits killed by the Communards in 1871. 
 The church was closed by order of government in 1880. Farther on are 
 the Hdpital La'ennec, the Sick ChUdren^s Hospital,, the Hdpital Necker
 
 12. CHAMBRE DES D^^PUT^S. 273 
 
 the Blind Asylum^ and the Avenue de Breteuil, with its riesian Well^ and 
 the Abattoir de Crenelle (p. 282). 
 
 The Rue du Bac, the Rue de Lille, the first side street, and the 
 adjoining Quai d'Orsay all suffered severely from the Communards 
 of 1871. The Palais du Quai d'Orsay, close to the Pont-Royal, is 
 still a ruin, but is to be rebuilt on the old plan. It was built in 
 1810-35, and was latterly used by the Conseil d'Etat and the Cour 
 des Comptes. Lower down the river, near the Pont de Solferino, 
 rises the Palais de la Legion d'Honneur (PL R, 17 ; 77), erected 
 in 1786 by Prince Salm-Kyrburg, and interesting as the scene of 
 Mme. de Stael's reunions during the Directory. 
 
 The adjoining Pont de Solferino was constructed in 1858-59. 
 The large and low square tower in the Boul. St. Germain, at the end 
 of the Rue de Solfirino , belongs to the Ministere de la Guerre, 
 Lower down the river, at the end of the Boul. St. Germain (p. 272), 
 between the Rue and Quai de I'Universite and opposite the Place 
 and the Pont de la Concorde (p. 82), where it forms a pendant to 
 the Madeleine (p. 79), rises the — 
 
 Chambre des Deputes (PL R, 14; 77), otherwise known as the 
 Palais du Corps Legislatif or Palais Bourbon, which was begun in 
 1722 by Girardini for the dowager Duchess of Bourbon. The Prince 
 de Conde afterwards expended no less than 20 million francs on the 
 building, which in 1790 was declared national property. After 
 having been used for various purposes, it was set apart for the sit- 
 tings of the Council of Five Hundred, and afterwards for those of 
 the Corps Legislatif or Chamber of Deputies, which has 581 members. 
 
 The original facade is on the side farthest from the Seine. The 
 fagade towards the river, built by Poyet in 1804-7, is in the style 
 of a Greek temple, with a handsome Corinthian colonnade of twelve 
 columns. To the right and left of the flight of steps are placed stat- 
 ues of Themis and Minerva , and on massive pedestals in front are 
 seated figures of D'Aguesseau, Colbert , L'Hopital , and Sully. On 
 each side of the portico are reliefs by Rude and Pradier, and in the 
 tympanum a group by Cortot, which represents France with the con- 
 stitution, between Liberty and Order, summoning Commerce, Agri- 
 culture, and Peace to her aid. The Place du Palais Bourbon in front 
 of the original fagade is embellished with a marble statue of 'Law', 
 by Feucheres (1855). 
 
 When the Chamber is sitting visitors are admitted only to the 
 Salle des Stances, for which they require a ticket from a deputy or 
 from the 'secretaire de la questure', to whom application should be 
 made by letter. At other times the building is open to the public. 
 The public entrance during the sittings is in the smaU building to 
 the right of the grand staircase which ascends from the quay. Visit- 
 ors at other times apply to the left in the court behind ; they are 
 escorted by an attendant (fee). The Sallb dbs Pas-Pkrdus has a 
 ceiling-painting 'by Horace Vernet, and several copies of antiques. 
 
 Baedeker. Paris. 12th Edit. jg
 
 274 12. CHAMBRE DES DEPUTES. 
 
 The Salle des Seances, or Assembly Hall, is semicircular in form, 
 and is borne by twenty marble columns, behind which are the public 
 galleries. The hall is embellished with a reproduction in tapestry 
 of Raphael's School of Athens , and with marble statues of Liberty 
 and Public Order, by Pradier. 
 
 Here, on 24th Feb., 1848, the Duchess of Orle'ans appeared before the 
 National Assembly with her two sons, the Count of Paris and the Duke 
 of Chartres. in order to endeavour to secure the throne for them. On 
 15th May of the same year the National Assembly was expelled from this 
 hall by the Socialists, and order was restored by the National Guard. On 
 4th Sept., 1870, an excited mob forced its way into the hall, shouting 
 'Vive la Republique', whereupon the assembly dispersed, and the republic- 
 an members repaired to the Hotel de Ville to form a new government. 
 
 The Salle des Conferences contains a ceiling-painting by 
 Heim, representing the history of legislation in France, and several 
 pictures : President Mole arrested during the Fronde, by Vincent; 
 Opening of the States General by Philippe le Bel, by Vinchon ; *Self- 
 sacriflce of the burghers of Calais, by Ary Scheffer. The Library, 
 with ceiling-paintings of Attila and Orpheus by Eug. Delacroix, 
 contains MSS. of Rousseau. In the Salle des Distributions are 
 scenes In grisaille by Ab. de Pujol. The Salle Casimir-Peribr is 
 embellished with statues of Mirabeau and Bailly by Jaley, Perier 
 by Buret, and General Foy by Deprez, and a bas-relief by Triqueti. 
 The Salle du Troxe contains paintings of Justice, War, Industry, 
 Agriculture, and the Seas and Rivers of France, by Eug. Delacroix. 
 
 The residence of the president of the Chamber is to the right of the 
 building. Adjacent to it, and facing the quay, is the Ministere des Af- 
 faires Etrangeres, a handsome edifice built in 1845 and restored since 
 1871. The fagade is embellished with Doric and Ionic pilasters, with 
 balustrades on each story, and at the top with medallions of the 
 armorial bearings of the principal powers. Immediately beyond this 
 building is the Esplanade des Invalides (p. 275). "We now retrace 
 our steps, pass the Chambre des Deputes, and follow a street to the 
 right, skirting the E. side of the building. A little farther to the 
 S. we follow the Rue St. Dominique to the left and soon reach — 
 
 *Ste. Clotilde (PI. R, 14; IV), one of the finest modern 
 churches in Paris, erected in 1846-59 by Gau and Ballu in the 
 Gothic style of the 14th century. The facade consists of three por- 
 tals, richly sculptured, and flanked with two towers, which terminate 
 in slender spires, rising to a height of 216 ft. 
 
 The Interior is simple and dignified, being decorated with marble 
 reliefs only. The magnificent stained-glass windows, which were damaged 
 by an explosion in 1871 , are by Mavichal , Galimard , Jourdy , Thibaut, 
 Duval, Lusson, and Hesse. The two small chapels of the aisles are adorned 
 with paintings by Delahorde. Under the windows of the aisles and in 
 the transept are bas-reliefs by Duvet and Pradier, forming a 'Chemin de 
 la Croix\ — The chapel of Ste. Valere, the martyr of Limousin, to whom 
 a church was once dedicated on this site , is in the right fW.) transept. 
 It contains scenes from her history by Lenepveu. The choir- screen 
 ia adorned with bas-reliefs by Ouillaume, two on the right representing 
 Ste. Valere, and two on the left Ste. Clotilde. — The choir-chapels 
 are embellished with mural paintings : 1st on the right (St. Remi), by Pils
 
 1'2. MUSfiE SOCIAL. 275 
 
 and Laemlein ; 2nd (St. Joseph), by Bezard ; 3rd (Virgin), by Lenepveu ; 
 4th (Ste. Croix), by Brisset; 5th (St. Louis), by Bouguereau. — In the left 
 transept are two large compositions by Laugie: St. Clotilde succouring 
 the poor, and the Baptism of Clovis. — The carved choir-stalls and the 
 high-altar, which is enriched and inlaid in the mediaeval style, also de- 
 serve inspection. — The grand organ is by CavailH-CoU and the electric 
 organ in the choir by Merklin. 
 
 The square in front of the church is adorned with a handsome 
 group in marble, hy Delaplanche, representing Maternal Instruction. 
 
 To the right as we quit Ste. Clotilde runs the Rue Las-Cases, No. 5 in 
 which, near the other end, contains the Musee Social, founded by the Comte 
 de Chambrun (adm. dailv, except Sun., 9 to 6). The object of the muse'e 
 is to place at the gratuitous disposition of the public, document", models, 
 plans, rules, con.ititutions, etc., of social institutions intended to ameliorate 
 the position of the working classes. Lectures are also delivered here on 
 Tues. at 8.30 p.m., and there is a special annual competition for a prize 
 of 25,000 fr. — The Conservatoire des Arts et Me'tiers contains a small 
 collection of the same kind (p. 177). 
 
 The Rue de Grenelle passes near the back of Ste. Clotilde, and 
 leads thence to the W. in a few minutes to the Invalides. 
 
 II. HOTEL DES INVALIDES. 
 Musee d'Artillerie. Eglise des Invalides. Tomb of Napoleon I. 
 
 The Hotel des Invalides is shown daily, 12-4 (no admission to the 
 dormitories, kitchens, or refectories)-, the Aktillekt Museum is open to 
 the public on Tues. , Thurs., and Sun., 12-4 (in winter till 3), and the 
 Emperok''s Tomb on Mon., Tues., Thurs., Frid., and Sun., 12-4. No fees. — 
 The Hotel des Invalides may be reached by means of the omnibuses from the 
 Porte St. Martin to Grenelle (Y), from the Quai de Valmy to the Porte 
 Rapp (AD), and from the Gare St. Lazare to Grenelle (AH). The omnibuses 
 traversing the Place de la Concorde, the tramways on bqth banks, and 
 the river-steamers also pass near the Hotel. 
 
 The Hdtel des Invalides (PL R, 14; IV), with its conspicuous 
 gilded dome, a vast establishment occupying an area of about 30 
 acres, was founded in 1670 by Louis XIV. , 'pour assurer une 
 existence heureuse aux militaires qui, vieillards mutiles ou inflrmes, 
 86 trouveraient sans ressources apres avoir blanchi sous les drapeaux 
 ou vers^ leur sang pour la patrie'. The building was begun in 1671 
 by Liberal Bruant, and completed in 1675 by Mansart. The estab- 
 lishment was intended to accommodate 5000 inmates, but there are 
 now less than 200, and the number is decreasing, as only soldiers 
 absolutely incapacitated for work are now admitted, and parts of the 
 building have been devoted to other purposes. 
 
 The handsome Esplanade des Invalides, about 550 yds. in length, 
 and 270 yds. in width, embellished with several rows of trees, lies 
 between the Seine and the Hotel. A railway-station is being built 
 here near the Seine, to which the railway is to be continued from 
 the present terminus in the Champ-de-Mars; and a new bridge is 
 to be built directly opposite the central avenue of the esplanade. — 
 A railing separates the Place from the outer court of the Invalides 
 which is now a garden enclosed on three sides by a dry moat. 
 
 The guides who assail visitors at the entrances to the Hotel des In- 
 valides are quite unnecessary. 
 
 18»
 
 276 12. h6tel des invalides. 
 
 A 'Batterie Triompliale' placed behind the moat is nsed in firing 
 salutes on grand occasions. 
 
 It consists of eight guns and a mortar on each side, besides which there 
 are eleven unmounted pieces on each side, including eight Algerian cannons 
 with Arabic inscriptions, a Cochin-Chinese, and a Chinese cannon. — On 
 the right, as we face the Seine, are two Austrian cannons, one cast at Vienna 
 in 1681. the other in 1580, with the inscription in German, ' W?ien my song 
 resounds in the air. many a wall will fall before me'' ; four Prussian guns, 
 cast at Berlin in 1708, captured there by the Austrians during the Seven 
 Years' War, and brought by Napoleon from Vienna after the Battle of 
 Austerlitz along with 2333 other cannon; a Dutch piece, captured at the 
 siege of Antwerp in 1832; a rifled cannon from Sebastopol: a mortar from 
 Algiers. — On the left: a long swivel-gun from Wurtemberg, a master- 
 piece of its kind, decorated with a serpent and allegorical figures ; a Ven- 
 etian piece, of 1708 ; the remaining pieces correspond to those on the right side. 
 
 The garden is adorned with a Statue of Prince Eugene de Beau- 
 harnais [1781-1824), in bronze, by Dumont. 
 
 The Facade of this vast edifice is about 220 yds. in length. The 
 three stories are surmounted with trophies in stone. Above the 
 principal entrance is an equestrian figure of Louis XIV. in bas-relief, 
 by Coustou the Younger. Flanking the entrance are statues of Mars 
 and Minerva, in bronze, also by Coustou. In front of the wings are 
 placed four groups in bronze, by Desjardins, emblematical of four con- 
 quered nations. They formerly belonged to the statue of Louis XIV. 
 in the Place des Victoires (p. 196), but were brought here in 1800. 
 
 The building is open to visitors daily; placards indicate those 
 portions to which the public are not admitted (see p. 276 ; fees pro- 
 hibited). 
 
 The Cour d' Honneur . the first court, is enclosed with arcades, 
 parts of which are adorned with paintings by B. Masson^ representing 
 scenes from the epochs of Charlemagne, St. Louis, Louis XIV., 
 and Napoleon I. Opposite the entrance is the church (p. 281); on 
 the right the Musee d'Artillerie. On the left are the refectories 
 and kitchens, beyond which, on the first floor, are the Library and Salle 
 du Conseil (no admission). 
 
 The *Musee d'Artillerie (admission , see p. 276) occupies a 
 considerable part of the W. wing of the building. This interesting 
 collection consists of 10,000 specimens of weapons of all kinds, both 
 ancient and modern. Sticks and umbrellas need not be given up. 
 
 The Catalogue is in 5 vols. : 1 (A-F), Nucleus of the museum, antique 
 arms, 75 c. ; 2 (G-I), Defensive armour, helmets, shields, 1 fr. ; 3 (J-L), Arms 
 of offence, steel weapons, etc., I1/4 fr. ; 4 (M) Portable firearms, IV4 fv. ; 
 5 (N-P). Artillery and miscellaneous objects, 75 c. 
 
 The 1st Galerie des Armures, to the right of the main entrance, 
 contains a collection of armour and weapons of the 15-17th centuries. 
 Opposite: G. 178-180. Italian armour for combats in the lists; the 
 suit in the middle belonged to one of the Medici family; German 
 jousting armour, including a suit 'a tonne' for fighting on foot. On 
 the right side are historical suits of armour (explanatory labels) and 
 eleven suits of German workmanship (early 16th cent.), known as 
 'Maximiliennes'. At the end of the saloon is a model of the Chateau
 
 12. MUSfiE D'ARTILLERIE. 
 
 277 
 
 of Pierrefonds. Behind, portraits of General Lariboisiere (d. 1812) 
 and his son, by Gros. In the middle, as we return, juvenile armour. 
 — Then firearms, steel weapons, shields, helmets, etc. Some 
 of these are beautifully ornamented with precious stones , ivory, 
 repousse work, engraving, chasing, inlaid work, damascening, etc 
 
 € Eelise S^ Louis 
 
 Corridor leading Jo the Dome 
 
 des Inralides 
 
 Case I. M37. Arquebuss belonging to Richelieu; M 1648. German pistol 
 (17th cent.) ; M70. Wheel-lock arquebuss ; etc. — Case II. *M640 and 1752. 
 Rifle and pistols made at Rotterdam by command of Xapoleon I. for the 
 Shereef of Morocco; M 2262. Greek pistol belonging to General 31. Botzaris 
 (d. 1823); M2264, 1781, 1713. Valuable pistols of the 18-19th centuries. — 
 Case III. Swords and sabre (late 16th cent.); G246. Gorget (17fh cent.); 
 German firearms (16-l7th cent.); M 63. French arquebuss (16th cent); 
 159. Italian gala shield, with the Triumph of Galatea, after Raphael 
 (16th cent.). — Case IV. L 66. Flemish or German cross-bow adorned 
 with ivory carvings (ca. 1500); G599. .Tou^ting chanfron (end of the 16th 
 cent.); gala shields (''161 and 72) and other Italian shields of the 16th cent. 
 (Nos. *T7, *82). — Case V. M35. Matchlock musket (1629); J 223 and 210. 
 Spanish rapiers: M82. Wheel-lock arquebuss (l6-17th cent.); G 608. Nose- 
 band of a German bridle (16th cent); H50 and (on the other side) H51. 
 Jousting helmets ('Maximilian' style); H 263. German gala helmet (ITth 
 cent); H114. Chased and gilded helmet (16th cent.); G 93. Armour of the 
 early 16th cent. ; M 202, 126. Wheel-lock musket and arquebuss (German). 
 — Case VI. M127, 1619, 1644. German wheel-lock petronel and pistols 
 (16-17th cent ) ; M362. German cross-bow with butt 'ii pied-de-biche' ; G 597 
 and (at the back) *G 593. Chanfrons, the latter formerly in the possession 
 of Philip II. of Spain. — Case VII. Fine French, Italian, and Spanish 
 swords ('16-17th cent.). — Case VIII. J 26. Sword of the Constable of 
 France (end of the 15th cent.); M2135, 2156. German cartridge-box (late 
 16tb cent.), etc. — Cases IX-X. Daggers; hunting weapons; sets of in- 
 struments. 
 
 Above and against the walls are French flags and standards, 
 originals to the right, copies to the left. The second on the left is 
 the red Oriflamme of St. Denis; the ninth is the white standard of 
 Joan of Arc, enriched with fleurs-de-lys.
 
 278 12. MUSfiE D'ARTILLERIE. 
 
 The 2nd Oalerie des Armures contains a splendid collection of 
 armour worn by horsemen and foot-soldiers, chiefly of the 15th and 
 16th centuries. In the glass-cases are pieces of armour and steel 
 weapons and firearms of greater interest than those in the other 
 gallery. — In the centre, among other suits of armour: in the second 
 row, *G 38. German suit (16th cent.); *G 166. Jousting-armour of 
 Maximilian I.; G 40. Suit of a prince of Bavaria (1533); G 717. 
 Saracen suit of the 16th cent. ; G 41. Another Bavarian suit; *G 117. 
 Armour of Francis I. ; G 52 and 53 [at the sides), German armour 
 of the 16th cent.; *G 118-125. Armour of the kings of France from 
 Henri II to Louis XIV.; G 196. Juvenile suit of Louis XIV. (?); 
 G 197. Suit of the Duke of Burgundy, grandson of Louis XIV. 
 
 Case I. 'J 376 -385. Swords of Francis I., Henri II, Charles IX., 
 Henri IV (87^:t, 380. 3Jarriage-swords), Louis XIII., Louis XIV. (3b2, 383), 
 Louis XVI. (coronation-sword), and the Dauphin Louis X^^I.; H 143 and 
 93. Burgonet, helmet, and brassarts of Henri II: H 208. German morion; 
 K 50. Mace of Henri II ; H 280. Juvenile helmet of Louis XIV. ; G 249. 
 Gorget of Louis XHI. ; L 115. Cross-bow of Catherine de Me'dicis; G 657, 
 514, 425. Spurs, stirrups, and gauntlets of Louis XIV.-, M 95. 36, 96. 
 Mu-kets of Louis XIII. : M 410. Musket of Louis XIV. ; M 639. Carabine of 
 Kapoleon I. — Cases II-IV. *H 257. Helmet in the antique style ('a la 
 chimere') ; H2o3, 155. Italian helmets of the 16th century. — Case V. 
 *G51. Italian armour of the 16th cent., enriched with bas-reliefs of ad- 
 mirable composition and execution; '161. Italian buckler; *H 255. Italian 
 helmet in the antique style; * J 95-97. Italian swords (16th cent.); 'G 50. 
 Italian armour, known aa the 'armure aux lions' (16th cent.). — Case VI. 
 'H 184. Italian morion; other Italian helmets of the 16th cent.; G 239. 
 Gorget of the time of Henri IV: 17. Eound shield of Matthew Corvinus, 
 King of Hungary (d. 1490) ; K 58, 56 Maces (16th cent.) ; = J 1 12, 74, 111. Italian 
 shoulder-belts and girdle (16th cent.); J 119. Sabre of Stephen Bathory, 
 King of Poland (d. 1586); K 49. 47. Maces; *G 609. IJ'ose-band of a bridle 
 (1567). — Case VH. Italian helmets vf the 16th cent. , including *H 149. 
 Burgonet and *H 251. Helmet; H 261. Polish helmet; P 575. Hunting-horn 
 (12th cent.); P £67. Hand-cufis of the 16th cent.; J 390. Sabre of Stan. 
 Poniatowski (? d. 1762): J 389. Sword of Charles XII. (d. 1718): 186. Ju- 
 venile shield of the Duke of Burgundv, grandson of Louis XIV. ; M 367, 
 359. ^\Tieel-lock muskets (German; 16th cent.). — Case VIII. Italian 
 helmets and buckler (I 63) of the 16th cent. ; powder-flasks, cartridge-boxes, 
 etc.: mace; German pistols, with the butts ending in balls ; German muskets. 
 
 Round the room, in chronological order, are arranged specimens 
 of armour from the middle of the 15th cent, to the middle of the 
 17th, when steel was superseded by buff-coats. Above, on the walls, 
 are foreign flags, with labels. Between the suits of armour on the 
 left side are specimens of thrusting-weapons , such as halberds 
 (K 272 etc.), partisans (K 378 etc.), spontoons (K 596, 597), etc. 
 Also steel weapons and panoplies. 
 
 A Room on the Eight contains numerous helmets and bucklers, 
 coats-of-mail, boots, etc. 
 
 A door at the end of the Salle des Armures leads into a passage, 
 beyond which are the four rooms of the * Ethnographical Gallery, an 
 interesting collection of 78 wax and wooden figures of savages in 
 their war-costumes (labels). — If we leave these rooms at the end, 
 we turn to the left to reach the entrance to the museum. 
 
 Returning to the vestibule , we follow the passage to the left,
 
 12. MUS^E D'ARTILLERIE. 279 
 
 whence a staircase ascends to the rooms on the second floor. Four 
 rooms on the left contain a very interesting collection of 72 * Cos- 
 tumes de Guerre, including prehistoric, Gallic, Greek, and Roman 
 costumes, and French costumes from the time of Charlemagne down 
 to the end of the 18th century. — The gallery on the right is occupied 
 by a valuable collection of small Modeles d'Artillerie from the 
 earliest period down to the present day (labels). The field-artillery 
 is in the centre and on the left ; the siege-artillery next the windows. 
 
 The Corridor on the groundfloor leads to the Salle Orientale and 
 the two galleries of steel weapons and firearms, the latter being 
 illustrated from their invention to the present day. 
 
 Salle Orientale. 1st Section : opposite, Japanese armour of lacquer- 
 ed iron ; to the left, Japanese he'mets. At the back of the glass- 
 case to the right are models of ancient Japanese armour and weapons. 
 This case, that to the left, and the others against the pilasters and 
 round the walls, contain a fine collection of Oriental steel weapons. 
 The most interesting specimens are as follows: — 
 
 Case to the Right. H 445, 446, 460. Circassian and Mongolian helmets 
 of Bajazet II. (d. 1512); J 1217, 1223. Hindoo khuttars-, J 1236, 1235. Cinga- 
 lese knife and sabre; M 2377. Ivory powder-flask (Indian); J 1200, 1203, 
 1209, 1201. Indian poignards ; J 1238, 1237. Javanese swords; J 1176, IISO, 
 1178. Swords of Indian Mahommedans; J 1248, 1249. Malay creeses ; bows 
 and quivers. — Case to the Left. H 452, 451. Tartar and Russian helmets 
 (16tli cent.); J 1215, etc. Hindoo khuttars; J 1205, 1199, 120i. Indian poig- 
 nards ; J 1048. Equipment of the grand-master of the seraglio ; J 1063, 
 1066. Yatagan and khanjars from the Balkans; J 1173, 1175. Sabres of 
 Indian Mahommedans; J 1038, 1039, 1227, 1226. Persian and Burmese 
 poignards; J 1071. Albanian sabre of Marco Botzaris (d. 1S23); J 1240. 
 Javanese sword; Indian and Persian bows; etc. — Cases bt the Pilasters. 
 Eastern bows and firearms. To the left, M 2289, 2290, 2826, 2285. Rifles 
 from Nepaul and India; M 2179-21^2. Turkish rifles. To the right, Turkish 
 rifles. — Cases bt the Walls. To the right of the entrance: Chinese 
 rifles ; Malay creeses (J 12i3, etc.) ; J 1317. Annamite sabre captured at the 
 battle of Hue (18S5) ; Japanese, Chinese, Hindoo and other Indian weapon?, 
 etc. To the left of the entrance: Oriental firearms (continued); G 788. 
 Persian breastplate (16th cent.); J 1017, etc. Persian sabres; weapons 
 from Circassia, Persia, Egypt, Turkey, Albania, 3Iorocco, etc. 
 
 2nd Section. Cases to the right and left : Four elaborate Oriental 
 saddles, captured by Napoleon I. in Egypt. By the pilasters, to the 
 right: Arab rifles; to the left: Chinese (J 1294, etc.) and Japanese 
 sabres (J 1342, etc.). Case at the end : *G 749. War-costume of an 
 emperor of China, captured in the summer-palace during the ex- 
 pedition of I860; K1158, 1159, 948, 949. Commander's batons, 
 battle-axe, and a kind of halberd, also from China. At the sides, 
 Japanese armour. 
 
 1st Galerie des Armes Blanches et Armes a Feu, to the right of 
 the preceding. "Weapons with wooden shafts, a collection of steel 
 weapons from the 12th, and of firearms from the 15th cent., down 
 to the present day. The most interesting objects are in glass-cases. 
 To the left: firearms of the earliest types; saddles of the 15-16th 
 cent. ; others, richly adorned, and portions of harness. Near the 
 entrance are memorials of Napoleon I. : his hat, grey coat, general's
 
 280 12. MDSEE D'ARTILLERIE. 
 
 uniform, weapons, etc. In the glass-oases at the windows are 
 weapons of celebrities of the First Empire. Against the wall of 
 the entrance is a cabinet with specimens of French orders, military 
 rewards, and marshals' batons. 
 
 Cases with Theustixg Weapons (K). Partisans (496, etc.), spontoons 
 (567. etc.), halberds, including a German specimen with two pistols (262): 
 22. Battle-hammer (loth cent.); spears, including two with pistols (659. 
 658); Battle-axe of Edward IV. of England (d. 14S3) ; 126. Italian halberd; 
 607, 603. Lintstocks. — Next this case: M 1. 2. Firearms of the earliest 
 kind, known as 'scopettes'. — Cases with Fikeakms (M). 9, 10, 5. Match- 
 lock muskets and petronel; 417. Large wheel-lock musket (perhaps once in 
 the possession of James II. of England): 953. German arquebuss with snuff- 
 box (16th cent.): then wheel-lock arquebujses. remarkable for their work- 
 manship, chiefly German: these in the upper row are mainly hunting-weap- 
 ons, of the kind known as 'a pied-de-biche\ — Saddles (G). 546. Saddle 
 of the 15th cent., belonging to a prince or a constable of France; Saddles 
 belongiag to the Emp. Maximilian II. (d. 1576; Xo. 563), Louis XIV. (618; 
 with a helmet of his grandson the Duke of Burgundy), Louis XVI. (624), 
 Charles X. (62o), Xaooleon I. (625). 
 
 '2nd Galerie des Annes Blanches et Armes a Feu, beyond the Salle 
 Orientale. This gallery contains pistols, modern rifles, and other 
 firearms, besides a collection of cross-bows, some armour, and an- 
 cient thrusting weapons. At the end are modern helmets and 
 military hats. On the right side are ancient weapons, originals and 
 models. 
 
 Right Wall, near the entrance : 'grenadiers' used in the 18th cent, for 
 throwing grenades; rifles of the same period; revolving rifles (No. 431. 
 dating from the 17th cent.); siege-rifles. — Case.s bt the Partition. Dress- 
 pistols of the 16-18th cent., those Avith the butt ending in a ball are nearly 
 all German; then ornamental rifles of the 16-19th cent., less interesting 
 than those in the other gallery. 
 
 The breech-loading weapons are in the left section of the gallery, 
 by the partition; and between the window on the same side is part 
 of the collection of foreign weapons (labels), which is continued in 
 the following room. 
 
 L(ut jRoom^ at the end, to the left. Continuation of foreign 
 weapons ; weapons and designs for weapons on various systems ; 
 drums, kettle-drums, sappers" axes, etc; prehistoric weapons (flint). 
 
 The remainder of the collection is placed under the gates and 
 in the courts on each side of the passage. On the right is the Cour 
 de la Victoire, containing modern cannon, models of naval cannon, 
 Chinese gun-carriage, a Russian gun and carriage from Sebastopol, 
 and several cannon recovered in 1872 from Spanish galleons which 
 foundered in the Bay of Vigo in 1701 ; armour plates pierced by 
 cannon-shots. — On the other side is the Cour d'Angouleme, where 
 among other pieces is placed the Griffin, a culverin capt\ired at 
 Ehrenbreitstein on the Rhine in 1797, cast in 1528, and weighing 
 nearly 13 tons. Bronze statue of J. B. Gribeauval (1715-1789), 
 first inspector-general of ordnance, by Bartholdi. By the wall here 
 is a chain 190 yds. long, and 31/2 'tons in weight, used by the Turks 
 at the siege of Vienna in 1683 for the purpose of barricading an arm 
 of the Danube. Under the carriage-entrance, by which the visitor
 
 12. TOMB OF NAPOLEON I. 281 
 
 may now leave the Hotel , is a chain with fifty iron collars for 
 prisoners, captured in the Morocco camp after the battle of Isly 
 in 1844. 
 
 The Oalleries of Relief-Plant of ancient fortresses, on the 4th floor, 
 are open to the puhlic only from May 15th to June 30th. The staircase 
 is at the N.W. corner, i.e. to the right as we enter the Cour d'Honneur. 
 
 TheEglise des Invalides consists of two distinct parts, the Eglise 
 St. Louis, and the Dome. 
 
 The Eglise St. Louis is entered from the S. side of the 
 Cour d'Honneur. The nave is adorned with banners captured in 
 Algeria under Louis Philippe, and in the Crimea, Italy, China, 
 and Mexico. 
 
 On 30th March, 1814, the evening before the entry of the Allies into Paris, 
 about 1500 flags, the victorious trophies of Napoleon I., were burned in the 
 court of the Invalides to prevent their falling into the hands of the enemy. 
 The sword brought by Napoleon from the tomb of Frederick the Great 
 at Potsdam in 1806 was destroyed on the same occasion. A number of 
 other flags captured during the wars of the Republic and the first Empire 
 were accidentally burned during the funeral obsequies of Marshal Se- 
 bastian! in 1851. 
 
 The columns of the church bear a number of monuments and tablets 
 in memory of former governors of the Hotel des Invalides. Three bronze 
 tablets record the names of the marshals and officers interred in the vaults 
 of the church. Behind the high-altar h a large window filled with modern 
 stained glass, below which is a door leading into the Dome, but gener- 
 ally closed. 
 
 The Dome des Invalides has an entrance of its own on the S. 
 side, in the Place Vauban , at the back of the Hotel, which may be 
 reached by the Corridor de Metz to the left of the church (comp. 
 the Plan). Admission, see p. 275. Sticks and umbrellas must be 
 left at the entrance (no charge). 
 
 This second church was b uilt by J. H. Mansart in 1 706. It is entered 
 by a portal with two series of columns, Doric and Corinthian, placed 
 one above the other, and adorned with statues. The church is a 
 square pile, 198 ft. in breadth, surmounted by a circular tower with 
 twelve windows and a lofty dome, above which rise a lantern and 
 cross, 344 ft. in height. The dome, 86 ft. in diameter, gilded 
 during the first Empire, and again, by the electro-plating system, 
 in 1861, is constructed of woodwork covered with lead, and is em- 
 bellished with reliefs representing military trophies. 
 
 The *Tomb of Napoleon I., constructed by Visconti, and situated 
 beneath the dome, is an open circular crypt, 20 ft. in depth and 36 ft. 
 in diameter. On the mosaic pavement, which represents a wreath 
 of laurels and is inscribed with the names of battles (Rivoli, Pyra- 
 mids, Marengo, Austerlitz, Jena, Friedland, Wagram, and Moscow), 
 rises the sarcophagus, 13 ft. long, 6V2 ft. wide, and 14^/2 ft- liigh, 
 consisting of a single huge block of reddish-brown granite weighing 
 upwards of 67 tons, brought from Finland at a cost of 140,000 fr. 
 The twelve colossal Victories surrounding the sarcophagus, were 
 among the last works of Pradier (d. 18.'4). The six tropliios I'oiisist 
 of sixty flags captured in battle by Napoleon. The walls of the crypt,
 
 282 12. TOMB OF NAPOLEON I. 
 
 behind the Victories, are of polished slabs of granite, adorned with 
 ten marble reliefs by Simart (d. 1858) : Restoration of public order, 
 the Concordat, the Reformed Administration, the State Council, the 
 Code, the University, the Chamber of Finance, the Development of 
 Commerce and Industry, Public Works, and the Legion of Honour. 
 The entrance to the crypt (closed) is at the back of the high-altar. 
 It is flanked by tw^o sarcophagi, bearing the names of Duroc and Ber- 
 trcmd, the emperor's faithful friends. The former fell at the battle of 
 Bautzen in 1813; the latter (d. 1844) was the emperor's constant com- 
 panion throughout his wars and his captivity, and followed his remains 
 when brought by Prince Joinville from St. Helena in 1840 to their pre- 
 sent resting-place. Above the entrance are these words from the em- 
 peror's will: 'Je desire que mes cendres reposent sur lea bords de la 
 Seine, aa milieu de ce peuple francais que fai tant aim^\ On each side 
 is a colossal Atlas in bronze, by Buret, one bearing a globe, the other a 
 sceptre and crown. 
 
 Above the crypt, at a height of 160 ft., rises the lofty dome in 
 two sections. The first of these is divided into twelve compart- 
 ments, painted with figures of the Apostles by Jouvenet (d. 1717). 
 The upper section is adorned with a large composition by Ch. de Lafosse 
 (d. 1716) : St. Louis offering to Christ the sword with which he 
 had vanquished the foes of Christianity. The Evangelists in the 
 spandrels are by the same artist. The faint, bluish light admitted 
 from above, and the sombre appearance of the crypt and its sur- 
 roundings greatly enhance the solemn grandeur of the scene. 
 
 Two lofty chapels on each side of the crypt contain the monu- 
 ments of Vauban (d. 1707) and Turenne (d. 1675), with recumbent 
 figures. The former, by Etex, was erected in 1807; the latter, by 
 Tuby and Marsy, was brought from St. Denis. 
 
 The chapel to the left of the entrance contains the tomb of 
 Jerome Bonaparte (d. 1860), once King of AYestphalia, with a bronze 
 statue by Guillaume, a smaller sarcophagus with the remains of his 
 eldest son, and another containing the heart of his wife. The chapel 
 to the right of the entrance contains the sarcophagus of Joseph Bona- 
 parte (d. 1844), once King of Spain. These chapels are decorated 
 with paintings by Bon and Louis Boulogne, the others with paint- 
 ings by Bon Boulogne and Mich. Corneille. 
 
 The Place Vauban, in front of the Dome, is the destined site for a 
 colossal monument, by Gaudez, to soldiers who have fallen in the colonial 
 armies of France. In the Avenue de Breteuil , which begins here, is seen 
 the tower (108 ft.) of the Artesian Well of Grenelle, which is 1800 ft. deep. 
 The adjoining Abattoir de Grenelle is about to be superseded by a new 
 building, to the S.. near the fortifications (PI. G, 11). 
 
 Nearer the Place Vauban, to the left, are the towers of the church of 
 St. Francois Xavier, erected in 1861-75 by Lnsson and Uchard in a pseudo- 
 Pi.enaissance style. It is adorned with mural paintings by Lameire, E. 
 Delaunay, Gazes, and Bouguereau, a Virgin by Bonassienx, and stained 
 glass by Marechal. The arrangement of the interior is somewhat peculiar. 
 Farther on in the same direction, at the end of the Boulevard des 
 Invalides, on the right, is the Blind Asylum, or Institution des Jeunes 
 Aveugles (PI. R, 13 \ admission by permission of the director, except during 
 the vacation in Aug. and Sept.). This handsome edifice was erected in 
 iS39-45. The relief in the tympanum, by Jouffroy, represents Valentin 
 Haily (d. 1822), founder of the institution, instructing his pupils under the
 
 12. CHAMP-DE-MARS. 283 
 
 protection of Religion. In the court is placed another statce of the founder. 
 — In the neighbourhood, Rue Bertrand No. 14, is the Musie Hauy (open 
 on Tues., 11 to 4 or 5), containing articles manufactured by or for the 
 use of the blind. 
 
 On the quay to the E. of the Esplanade des Invalides (p. 275) rises 
 the extensive Manufacture des Tabacs (PI. R, 14), Quai d'Orsay 63. It is 
 shown on Thursdays from 2 to 4 o'clock. This extensive establishment, 
 known as 'd« 6ros-Caillou\ is worthy of a visit, but the pungent smell 
 of the tobacco saturates the clothes and is not easily got rid of. About 
 2200 workpeople, including 1900 women and girls, are employed here, and 
 nearly 12^/2 million lbs. of tobacco are annually manufactured. — The 
 Inghiieurs aux Tabacs^ or higher officials, are educated at the Polytechnic 
 School, and study two years at the Ecole d'application pour les Tabacs'. 
 There are several other government manufactories of tobacco in France, all 
 dependent on that of Paris, yielding a net revenue of 75,000,000 fr. 
 
 Farther on towards the Champ-de-Mars, at No. 103, Quai d'Crsay, 
 is the temporary Garde Meuble de I'Etat (PI. R, 11 ; /). It contains an 
 interesting collection of furniture, tapestry, bronzes, and other objects of 
 artistic and historical value. This museum is open to the public daily, 
 except Mon., 10-4 o'clock ; visitors write their names in a book on entering. 
 Two large rooms to the right contain furniture, bronzes, tapestry, vases, 
 etc.; and a smaller room to the loft contains porcelain and small objects 
 of art. The catalogue (IY2 fr.) contains 910 numbers, of which only about 
 400 are exhibited: Nos. 01-109. Style of Louis XIV.; 131-242. Louis XV.; 
 279-419. Louis XVI.; 500 526. First Republic; 600-615. First Empire; 
 700-707. Restoration; 750-759. Louis Philippe; 800-811. Second Empire ; 
 850-855. Modern times; 900-910. Various. 
 
 III. THE CHAMP-DE-MARS. 
 
 Eiffel Tower. Dome Central. Exhibition Palaces. Ecole Militaire, 
 
 The Champ-de-Mars may be reached direct by Steamboat (see p. 23), 
 by the Tramways from the Louvre to the Point-du-Jour (TA)^ to St. Cloud, 
 Sevres, and Versailles (TAB)^ or from the Bastille to the Porte Rapp (TL)^ 
 or by those running to the Trocade'ro (p. 165) ; and by Omnibus from the 
 Porte St. Martin to Grenelle (T) from the Quai de Valmy to the Porte 
 Rapp (AD), or from the Gare St. Lazare to Grenelle (AH)^ or to the 
 Trocadero. — Cafe's and restaurants are to be found in the Champ-de- 
 Mars in summer. 
 
 The *Chainp-de-Mars (PI. R, 8, 10, 11; /), a little to the W. 
 of the Invalides, was, until the exhibition of 1889, a large sandy 
 space, 1100 yds. in length and 550 yds. in breadth, used for mili- 
 tary manoeuvres 
 
 Down to 1855 it was enclosed by embankments, 15-20 ft. in height, 
 which were planted with trees, and in the formation of which no fewer 
 than 60,000 Parisians of both sexes and all classes participated in the 
 year 1790. These banks were then furnished with tiers of seats, which 
 enabled hundreds of thousands of the people to witness the Fete de la 
 Fidiraiion, which took place on 14th July of the same yer.r. In front of 
 the Ecole Militaire was erected the Autel de la Patrie, where the king, 
 the national assembly, and the representatives of the army and the pro- 
 vinces, swore fidelity to the new constitution. Talleyrand, Bishop of 
 Autun, with 400 of the clergy, robed in white, officiated in the religious 
 part of the ceremony. The rejoicings on this occasion were universal, 
 as it was believed that the Revolution was now happily terminated. A 
 simihir festival, the famous Champ de Mai. was celebrated here with the 
 utmost pomp bj Napoleon on 1st June, 1815. Here too, in August, 1830, 
 Louis Philippe presented colours to the National Guard, and in 1852 Napo- 
 leon III. distributed to the army the eagles which were lo replace the
 
 284 2. EIFFEL TOWER. 
 
 Gallic cock. The Champ-de-Mars was the site of the ^Expotitiotu Univer- 
 sellet" of 1867, 1878, and 1889, and will be occupied by that of 1900. 
 
 The Palais des Machines and the Ecole Militaire lie nearest to 
 the Hotel des Invalides, but in order to obtain a general idea of the 
 structures which have remained since the exhibition of 1889, but 
 will partly disappear before that of 1900, it is advisable to begin 
 our visit from the quays on the Seine or at least from the middle 
 of the square. 
 
 The *Eiffel Tower (Tour Eiffel or Tour de 300 metres), close 
 to the Seine and opposite the Trocadero, naturally the most con- 
 spicuous object in view, was built by M. Gust. Eiffel (b. 1832 at 
 Dijon) in rather less than two years (July 1887-May 1889]. This 
 enormous structure is the loftiest monument in the world, attaining 
 a height of 984 ft., or not far short of twice the height (555 ft.) of the 
 Washington Column at Washington (tower of Ulm cathedral 528 ft., 
 Cologne 511 ft, Rouen 492 ft., Great Pyramid 449 ft., St. Paul's in 
 London 404 ft.). At the same time it is an interesting specimen 
 of bold and accurate skill in design and of the marvellous scientific 
 precision of modern engineering. Owing to the effect of perspective 
 the tower, especially when seen close, appears to be lower than it 
 really is. 
 
 The foundations were laid by means of iron caissons, sunk to 
 a depth of 46 ft. on the side next the Seine, and 29 Y2 ft" on the other 
 side, compressed air being used to expel the water. Concrete was 
 then poured in to form a bed for four massive foundation- piers of 
 masonry, 85 ft. thick, arranged in a quadrangle 112 yds. square. 
 Upon this base, which covers about 2^/2 acres of ground, rises the 
 extraordinary yet graceful structure of interlaced iron-work. The 
 four uprights have an initial inclination of 54°, and beneath the 
 first platform are united with each other by round spans, form- 
 ing a kind of huge triumphal archway, higher than the Nelson 
 Column in Trafalgar Square. Above the first platform the four 
 uprights are still distinct, but they gradually approach each other 
 as they ascend, and finally coalesce into a single shaft at a height 
 of about 590 ft. The iron girders and beams used are hollow, while 
 the upright standards are each 2 ft. in breadth. The successive 
 platforms may be reached either by means of the staircases^or^Tjy 
 hydraulic lifts (fare, see below). 
 
 The First Platform is 190 ft. above the ground and has an area 
 of about 5860 square yards. — The Second Platform , 32 yds. 
 square, at the height of 380 ft., is occupied by a glass-covered hall, 
 and the reservoir of the hydraulic lifts. At 680 ft. is a kind of 
 landing-place or floor. Even as it approaches the top the"^ tower is 
 33 ft. square. — The Third Platform, at the foot of the double 
 lantern which terminates the tower, 904 ft. from the ground, sup- 
 ports a glass pavilion, 54 ft. square, capable of holding 800 people. 
 The Lantern rises 79 ft. higher. A staircase ascends within it to
 
 12. PALAIS DES ARTS. 285 
 
 a circular balcony, I61/2 ^^' in diameter, above which again is the 
 electric light, which is seen at night for a distance of 45 miles. — 
 There are in all 1792 steps from base to summit: to the first plat- 
 form 350 [7-8 min.3, thence to the second 380 (10 min.), and 
 thence to the top 1062. 
 
 The Ascent of the tower is recommended only in clear weather. The 
 tower is open daily from 10 a.m. till dusk, from March to November (in 
 winter, see below). It contains two restaurants (bargain advisable), a 
 'brasserie', buffets (on the 2nd and 3rd platforms), a theatre, etc. Visitors 
 ascend to the second platform by staircases or lifts (atcemeurs)', beyond 
 that by the lift alone. The staircases to the first platform are in the 
 W. and E. legs of the tower; those to the second platform in the others; 
 but one can also ascend from the one platform to the other. The Charge 
 is the same for the staircases or lifts: to each of the first two plat- 
 forms 1, to the 3rd 2 fr. (t.e. in all 4 fr.); on Sun. and holidays 1/2 and 
 1 fr. ; children half-price on week-days only. On Sun. and holidays there 
 is no guarantee that all visitors can ascend to the top. — The terrace of 
 the 4th story is open to the public on Sun., Mon., Wed., and Thursday. 
 — In winter visitors are allowed to ascend the staircases to the fir^t two 
 platforms, daily from 12 till dusk (1 fr.). 
 
 The *View from the top is very extensive, but varies greatly with the 
 state of the atmosphere. In certain directions it extends for 55 M. in a 
 direct line, »'. e. beyond the limits to the N. and S. of the map at p. 346. 
 To the S.W., for example, we may see as far as Chartres, to the N.E. 
 as far as Villers-Cotterets. The view from the first two platforms is 
 bounded by the hills surrounding Paris. 
 
 Beyond the tower extends a tasteful garden, in which are 
 two groups and a statue in marble, viz. 'Pro Patria", by Tony Noel, 
 Adam's wakening, by DaiUion, and Defence of the hearth, by 
 Boisseau. 
 
 Farther on are the remains of the Fo-ntaine du Progres, by 
 Coutan, with the so-called '■Fontaines Lumineuses' of 1889. The 
 jets of water are beautifully illuminated on Sun. evenings in sum- 
 mer by electric light cast upon them from subterranean galleries 
 through coloured glass, and produce a most charming effect. 
 
 The ^Central Dome, which was the principal entrance to the 
 exhibition of 1889, the Palais des Beaux Arts, to the left, and the 
 Palais des Arts Liberaux to the right, though constructed mainly 
 of iron, have been relieved and embellished by means of terracotta 
 mouldings, and by a skilful use of masonry, ornaments of lead, 
 zinc, and brass, glass, coloured tiles, and painting. — The exterior 
 diameter of the Central Dome is 130 ft. , and its height is 212 ft. 
 The dome and the immense portal, flanked by colossal statues of 
 Commerce and Industry, were executed by the architect Bouvard, 
 with the aid of 39 assistants. On the summit is a copper statue 
 (24 ft. high), by Delaplanche, of France distributing palms and 
 crowns. The painted frieze round the interior of the dome (closed), 
 by Lavastre and Carpezat, represents a procession of the difl'erent 
 peoples of the world. A gallery, 100 ft. broad, connects the dome 
 with the Palais des Machines (p. 286). — The Hall of the Fine 
 Arts and the Halt of the Liberal Arts, by Formigc, are nearly as 
 effective though not so gorgeous as the central dome. Each is sur-
 
 286 12. E COLE MILIT AIRE. 
 
 mounted by a cupola, 183 ft. high, with a polychrome roof. The 
 former is the scene in spring of the Salox du Champ-de-Mars, 
 an annual exhibition of paintings like that in the Palais de I'ln- 
 dustrie (p. 152^, and sometimes superior to it. Admission 8-6; 
 varnishing-day 5fr. ; other days, forenoon 2, afternoon 1, Sun- 
 day afternoon 1/2 ^r. In the galleries of both halls are Cafes-Con- 
 certs in summer. In that to the left is a Hippodrome^ in that to 
 the right a Velodrome d'Mver. 
 
 The *Palais des Machines or Hall of Machinery, at the end of 
 the Champ-de-Mars, designed by Dutert and Contamin, is, like the 
 Eiffel Tower, a marvel of construction in iron. It resembles the 
 Palais de Vindustrie (p. 152), but is four times as large. It is 450 yds. 
 long. 165 yds. broad, and 160 ft. high, and its glass-roof has a span 
 of 374ft. The ribs of the roof spring from the ground, where their 
 lower ends rest upon cast-iron sockets, embedded in masses of 
 masonry resembling the piers of a bridge. The side-galleries have 
 two stories and are connected with each other by transverse galleries 
 at the ends, so as to afford an extensive promenade, to which we 
 ascend by staircases on each of the four sides of the hall. The main 
 entrance is on the side next the Avenue de la Bourdonnais; it is 
 adorned with sculptured groups, 30 ft. high, representing Steam (by 
 Chapu) and Electricity (by Barrias). There are other entrances at 
 the opposite end and from the central gallery. The Palais is closed 
 at present. 
 
 The EcoleMilitaire (Pl.R, 10 ; /), an imposing edifice by Gabriel^ 
 situated a little to the S.W. of the Invalides and covering an area of 
 26 acres, was founded in 1751 by Louis XV., 'pour y elever 500 gentils- 
 hommes dans toutes les sciences necessaires et convenables a un of- 
 flcier'. In 1792 it was converted into barracks, but it is now the 
 seat of the Ecole Superieure de Guerre. The principal part , on the 
 N. W. side, presents a palatial appearance and is 1/4 M. in length. The 
 Corinthian portico in the centre is surmounted by a quadrangular 
 dome. The wings were added in 1855. The chapel resembles that 
 of the palace of Versailles. The public are not admitted to the 
 Ecole without special permission. 
 
 In the Place Fonienop, behind the school, is a pyramidal Monument to 
 those who fell in the war of 1870-71, erected in 1889. 
 
 13. The Southern Quarters. 
 
 Tuesday, Thursday, and Saturday are the best days for this excursion 
 for those who wish to visit the collections in the Ecole Superieure des 
 Mines, whither we may proceed from the cemetery of Blontparnasse. On 
 Saturday a visit to the Gobelins may be included; and in that case we 
 may avail ourselves of the public conveyances plying along the Rue Gay- 
 Lussac and the Boul. Montparnasse and from the Porte Royale (comp. PI. 
 in the Appx.). — Or we may proceed direct to the Cimetiere Montparnasse 
 (Omnibus V) or to the Pare Montsouris (tramway to Montrouge). — With 
 a visit to the Pare Montsouris an excursion on the Ligne de Sceaux (p. 353) 
 may also easily be combined. — Luncheon may be taken near the Gare 
 Montparnasse or near the Luxembourg (pp. 14, 15).
 
 13. ECOLE DES MINES. 287 
 
 I. FROM THE LUXEMBOURG TO THE OBSERVATOIRE AND THE 
 CEMETERY OF MONTPARNASSE. 
 
 Continning to ascend the Boul. St. Michel beyond the Luxem- 
 bonrg Garden, -v^e pass on the right the Ecole Sup^rieure des Mines, 
 which possesses a valuable *jl/w8ee de Mineralogie, de Geologie, et de 
 Paleontologie (open on Tues., Thurs., and Sat., 1-4). 
 
 The entrance is in the middle, by the second iron gate. In the vesti- 
 bule are fine carved specimens of Siberian graphite. The staircase is 
 adorned with paintings of places of geological celebrity, by Hugard. 
 
 The two small rooms adjoining the entrance and a third beyond the 
 staircase to the second floor make a small mineralogical museum of them- 
 selves, forming a 'r^sumd' of the large collection. Some artificial minerals 
 are also exhibited here. In the second room, at the end opposite the 
 entrance, is a Cape diamond embedded in a fragment of rock. 
 
 The mineralogical and geological collections occupy fifceen rooms or 
 sections on the first floor. The glass-cases are numbered from the S. 
 end (left on entering), and the principal objects are labelled. The first 
 3 sections are devoted to geology. The unnumbered cabinets round the 
 walls contain special collections illustrating particular districts and large 
 unclassified specimens. A room to the right of the 3rd section cuntains 
 the Delessert Collection, another re'sume of the general collection. The 
 mineralogical collection, in the 8 following sections, is classified in the 
 order of the composition of the specimens , beginning with silica and 
 ending with the metals. In the glass-cases round these rooms is an im- 
 portant collection of French natural products (arranged by departments), 
 used in manufactures. — Among the more interesting specimens may be 
 mentioned the fine samples of Siberian graphite; in the section next the 
 entrance. Cases 18-23: emeralds, garnets, tourmalines, and topazes; opposite 
 the staircase to the 2nd floor. Cases 39, 40: sapphires, rubies, and cymo- 
 phanes; in the last section but one, Cases 15 and 16 of the series by the 
 windows : specimens of sulphur and diamonds. 
 
 The palseontological collection, on the second floor, is arranged zoologi- 
 cally, and contains many interesting and valuable curiosities. 
 
 The garden of the Lnxembourg has been considerably reduced 
 in extent since 1867. The central Alice de I'Observatoire, however, 
 has been reserved and converted into a promenade, embellished with 
 marble groups representing Dawn (by Jouffroy), Day (by Perraud), 
 Evening (by Crauk), and Night (by Gumery). On the right, near 
 the garden, is the Lycee Montaigne. At the corner the Ecole Colon- 
 iale is being built. Farther on are the Ecoie de Pharmacie, by Eug. 
 Rigault (with statues of Vauquelin and Parmentier and frescoes by 
 Bernard in the corridor of the groundfloor), and the Clinique 
 d' Accouchement. 
 
 At the S. end of the promenade rises the handsome *Fontaine 
 de I'Observatoire or du Luxembourg (PI. G, 19), erected in 1874 
 from designs by Fremiet , adorned with eight sea - horses , a group 
 of four allegorical figures bearing an armillary sphere, by Carjpeaux, 
 and water-spouting dolphins and tortoises. To the E. is the cupola 
 of the Val-de-Grace (see below). 
 
 The Statue of Ney, to the right of the Carrefour de l'Obser- 
 VATOiRB (PL G, 19), marks the spot where the marshal was shot on 
 7th Dec, 1815, in accordance with the sentence pronounced by the 
 Chamber of Peers on the previous evening. The statue in bronze,
 
 288 13. OBSERVATOIRE. 
 
 by Rude, erected in 1853, with its forced attitude and open mouth, 
 is not a successful work. A statue, by Puech, is to be erected here 
 to Francis Gamier (1839-1873) , the explorer. To the left are a 
 station on the new branch of the Ligne de Sceaux (p. 353), which 
 passes below the Boulevard, and the Bal Bullier (p. 34), 
 
 In the Rue St. Jacques, on the other side of the Boul. St. Michel, is the 
 church of St. Jacques-du- Haul- Pas (PI. G, 19; F), of the 17th century. 
 
 Adjoining this church is the Institution des Sourds-Muets (admission 
 by permission of the director), the court of which contains a statue of 
 the AbM de V Epie., the founder, by Felix Martin, a deaf-mute, and an 
 elm-tree, 1(X) ft. high, said to have been planted in 1606, and probably 
 the oldest tree in Paris. The institution contains a small special museum. 
 
 The Rue de TAbb^-de-rEpee leads between the church of St. Jacques 
 and the Deaf and Dumb Institution to the Rue Gay-Lussac , No. 41 in 
 which is the Mutie Pidagogique., open Sun. and Thurs., 10-4. — Franco- 
 English Ouild^ see p. 45. 
 
 In the Rue St. Jacques, farther on, we observe the — 
 
 Val-de-GrS,ce[Pl, G, 19), formerly a Benedictine nunnery, found- 
 ed by Anne of Austria, mother of Louis XIV., in accordance with 
 a vow, but converted into a military hospital in 1790. The Church, 
 designed by Fr. Mansart, and erected in 1645-66, is a handsome 
 building. The court in front of it is embellished with a bronze statue 
 of Larrey (1766-1842), the famous surgeon, by David d' Angers. Above 
 the facade , with its Corinthian and composite columns, rises the 
 handsome dome, a reduced copy of that of St. Peter's at Rome, 53 ft. 
 in diameter, and 133 ft. in height, flanked with four towers which 
 also terminate in domes. 
 
 The Interior is somewhat bare. The coffered vaulting and the high- 
 altar, with its canopy borne by spiral columns, are copies of those of 
 St. Peter's at Rome. On the dome is painted a celebrated, hut badly pre- 
 served, fresco by Pierre Mignard (d. 1695), representing the glory of the 
 blessed. The marble group on the high-altar is a copy of Mich. Anguiers 
 group in St. Roch. — This church contains the tomb of Queen Henrietta, 
 w^ife of Charles I. of England, over whose remains a famous funeral ora- 
 tion was pronounced by Bossuet. It was also the burial-place of mem- 
 bers of the royal family of France and princes of Orleans. 
 
 A little farther on, the Rue St. Jacques crosses the Boulevard 
 de Port-Royal, in which are the MaterniUj Hospitals of Baudelocque 
 and La Maternite, and the Hopital du Midi or Ricord. In front of 
 the last is a Statue of Dr. Ph. Ricord (1800-1889), by Barrias. 
 
 Beyond the Carrefour de I'Observatoire the Avenue de fOhser- 
 vatoire leads to the observatory. 
 
 The Observatoire (PI. G, 19, 20), an institution of great repu- 
 tation, occupying a building which has repeatedly been enlarged, was 
 founded in 1672. The meridian of Paris runs through the centre of 
 the building, and the latitude of the S. facade is held to be that of 
 Paris. The copper dome, to the left, containing a large parallactic 
 telescope , is 42 ft. in diameter, and is constructed so as to revolve 
 round its vertical axis. The vaults below the building, as deep 
 (90 ft.) as the latter is high, communicate with the platform by a 
 kind of well-shaft, and contain meteorological and magnetic in- 
 struments. The observatory is in telegraphic communication with
 
 13. CEMETERY OF MONTPARNASSE. 289 
 
 the most important of the other ohservatories in Europe. The build- 
 ing is shown on the first Saturday of each month at 2 p.m. 
 precisely, by permission of the director (obtained on written appli- 
 cation). A small Astronomical Museum and the principal instru- 
 ments may be inspected. — In front of the facade is a Statue of 
 Le Verrier (1811-77), the astronomer, by Chapu. 
 
 From the Carrefour we follow, to the right, the Boulevard 
 Montparnasse, which leads to the station of that name, crossing the 
 Boulevard Raspail, which when complete will run from the Boul. 
 St. Germain (PI. R, 17; iF) to the Place Denfert-Rochereau (p. 291), 
 skirting the Cemetery of Montparnasse. In this street, to the left, 
 at the corner of the Boulevard Edgar-Quinet, is a bronze statue, by 
 Morice, of Raspail (1794-1878), the famous chemist and democrat. 
 
 The Cemetery of Montparnasse, or Cimetiere du Sud{V\. G, 16), 
 has its principal entrance in the Boulevard Edgar-Quinet. This is 
 the third of the great Parisian burial-grounds. It was laid out in 
 1824, but is uninteresting compared with the cemeteries of Pere 
 Lachaise and Montmartre. Adm., see p. 180. 
 
 The cemetery is divided by walks into laree oblong sections, so that 
 the visitor will easily find his way. The chief walks; are the Avenue 
 Principale, beginning nt the entrance; the Avenue du Boulevard and Avenue 
 du Nord, the first and second transverse avenues ; then the Avenue Trans- 
 versale properly so-called; the Avenue du Midi, at the end; and the Ave- 
 nues de rOuest and de TEst, at the sides. A plan of the cemetery may 
 be seen at the beginning of the main avenue, to the left. 
 
 Near the entrance, on the right: family oi Henri Mavtin (d. 1883), the 
 historian ; a small pyramid enriched with palms and terminating in a star. 
 Behind it, a space enclosed by a railing is the burial-place of the sisters 
 of charity, among whom lies Soeur Rosalie Rendu, who was decorated 
 by the Legion of Honour in recognition of her devoted labours in the 
 Crimea. General Petit (d. 1863), sarcophagus with column and bronze 
 bust, by Boitel. — At the beginning of the Avenue du Nord, to the right, 
 Pierre Larousse (d. 1875), author of the 'Dictionnaire Universel du 19ieme 
 siecle', a handsome monument with a bronze bust. 
 
 In the main walk, at the corner to the left, L4ontine Spiegel , with a 
 statue in white marble; farther on, H4loise Loustal (d. 1855), and away 
 from the walk, Mme. Jourdain, also with statues. At the corner, before we 
 reach the second walk beyond the last monument : Henri Origoire (d. 1831), 
 deputy to the States General, one of the first of the clergy who swore 
 fidelity to the new constitution in 1790, afterwards Bishop of Blois, member 
 of the Council of Five Hundred in 1795. In 1815 he was deprived of his 
 bishopric by Louis XVIII., and excluded from the Institut (p. 247), of 
 which he was a member, and on his death the Archbishop of Paris refused 
 his remains Christian burial, as he had declined to retract his oath. 
 
 At the Rond-Point, a Monument de Souvenir, commemorating those 
 who have no other monument. Then, on the right: Desenne (d. 1827), 
 designer, a bronze bust; Orfila (d. 1853), the physician, with a medallion. 
 
 Farther up, to the right of the principal avenue: Chaudet (d. 1810), 
 sculptor, a handsome chapel; ""Mme. de Gary (d. 1876), statue by H. de 
 Vaureal. The tower at the end, to the right, is an old mill, belonging 
 to a convent of Freres de St. Jean-de-Dieu. — Beside the avenue, near 
 the Rond-Point, to the right as we return: Mme. de Mussy (d. 1880). 
 Farther on, to the left, a hand.«ome pseudo-Gothic chapel. Between this 
 chapel and the avenue, Gerard (d. 1837), painter, pyramid with a med- 
 allion and bas-reliefs. Then, '•Rude (d. 1855), sculptor, with a bust and 
 bas-relief. 
 
 Baedkkek. Paris. 12th Edit. 19
 
 290 13. CEMETERY OF MONTPARNASSE. 
 
 Transverse avenue on the same side, on the left: Ottavi (,i.. 1841), de- 
 puty, with a bust; to the right, Besnard (d. 1842), theologian, with a 
 medallion by David d'Angers. 
 
 Avenue de TEst: H. de Mylius (d. 1866), general; a large mo-nument 
 with a bust in bronze. Farther up, to the right: Le Verrier (d. 1877), 
 the astronomer. Opposite is the tasteful Chapelle Bingham. The walk 
 at the end, to the left, also contains some interesting monuments; Dumont 
 (d. 1884), sculptor, with bust by C. J. Thomas. 
 
 The newer part of the cemetery, on the other side of the Rue Oassendi 
 (entrance by the gates at the end of the Avenue du Nord), contains few 
 monuments. Towards the centre rises a large monument to Soldiers 
 who have died in defence of France. Opposite is one to Firemen who 
 have perished in the execution of their duties. Behind the former, in 
 the Avenue Thierry, to the right : Valentin (d. 1879), prefect of Strassburg, 
 with bronze bust. Opposite, the monument of a lady (Elisa), with re- 
 cumbent statue by Leroux. In re-descending the same avenue, to the 
 right: *Col. Herbinger (d. 1886); bust and relief by Etex. Farther on, to 
 the right, Marchais-Lagrave Family., with an open chapel containing a 
 bronze relief by Ed. Letourneau. At the next corner, Eerhette Family., 
 with a female statue by Coutan and Longepied. To the left, J. Jundt 
 (d. 1884), with bronze bust and statue by Bartholdi. 
 
 We return to the older part of the cemetery, and follow the Avenue 
 du Nord. On the left, J. Moulin., French consul in Saloniki Cmurdered in 
 1876). On the right: Th. Olivier (d. 1853), founder of the Ecole Centrale 
 des Arts et Manufactures, with a medallion. In the centre of the plot, Alh. 
 Dumont (,6.. 1884), archaeologist; a stele surmounted by a bust, by Thomas. 
 
 In the adjoining part of the Avenue de TEst, to the right, rises a 
 rock with a medallion, marking the grave of Aug. Bornis, 'repr^sentant 
 du peuple', who was killed by the insurgents in June, 1848. To the 
 left, Boulay de la Meurthe (d. 1840), member of the Council of Five 
 Hundred, president of the legislative section of the Conseil d'Etat, and 
 minister under Napoleon I., with a bust by David; Boulay (d. 1858), son 
 of the last, deputy, vice-president of the republic in 1849, president of 
 the Conseil d'Etat, and senator. Then, in the Avenue de FEst, on the 
 right: Hipp. Lebas (d. 1867), architect. — At the end of the Avenue de 
 TEst, to the right: 'Mm.e. Collard-Big& (d. 1871), a tasteful Renaissance 
 temple with a statue by Franceschi. Adjacent: Duban{A.. 1872), architect, 
 with a medallion; opposite, Caruelle d'Aligny (d. 1871), painter; bust by 
 Etex. 
 
 Between the avenues, near the office at the entrance, *Comte de Gas- 
 pari (d. 1879), consul in Venezuela, with a bronze bust; Perraud (d.l876), 
 sculptor, with bust. In the Avenue du Nord, to the left, Jacques Lisfranc 
 (d. 1847), surgeon and professor, with a bust and reliefs by Elshoecht. 
 
 There are also several interesting monuments on the other side of 
 the principal avenue. Not far from the entrance is a division set apart 
 as a Jewish Cemetery; there is another in the S.E. corner of the other 
 part of the cemetery. — In the Avenue de TOuest, near the middle, on 
 the right: Dumont d'Urville (d. 1842), a distinguished admiral. 
 
 The Gare Montparnasse (PL Gr, 16), in the boulevard of the same 
 name, lies not far from the cemetery (comp. p. 23). — To the E., 
 on the N. side of the boulevard, stands the church of Notre-Dame- 
 des- Champs, built in 1867-75 in a pseudo-Romanesque style. 
 
 The Pare Montsouris may be reached direct from the cemetery by 
 turning to the right and skirting the cemetery to the Place Denfert- 
 Rochereau (see below). Those bound for the Gobelins return to the Boul. 
 Montparnasse (tramway to the Bastille).
 
 13. THE CATACOMBS. 291 
 
 II. FROM THE CARREFOUR DE L'OBSERVATOIRE TO THE PARC 
 MONTSOURIS. 
 
 From the Avenue de I'Observatoire the Rue Denfert-Rochereau 
 leads to the S., passing the Hospice des Enfants Assistes (found- 
 lings), to the Place Denfert-Rochereau, formerly Place d'Enfer (PI. 
 G, 17), adorned with a huge gilded lion, by Bartholdi, a replica of that 
 erected at Belfort. Here also converge the Boulevard Raspail(^.2S9'), 
 to the right (N. "W.J, leading to the cemetery of Montparnasse; to 
 the left the Boulevard Arago, running E. to the Avenue des Gobe- 
 lins (p. 269), and the Boulevard St. Jacques, which is continued 
 by the Boulevard d'ltalie to the Place d'ltalie (p. 271). Near the 
 'place', in the latter boulevard, is a bronze statue, by Oliva, of Fran- 
 cois Arago (1786-1853), the astronomer. 
 
 A little fartlier on is the Prison de la SaiiU (PI. G, 20), which is in- 
 tended to supersede the prisons of Mazas (near the Gare de Lyon) and La 
 Roquette (p. 179) as a preventive house of detention and as a depot for 
 criminals condemned to hard labour or to death. Executions will then 
 take place in a SMuare to be formed in the Rue de la Sante, instead of 
 in the Rue de la Roquette as at present. 
 
 The Place Denfert-Rochereau still contains two pavilions belong- 
 ing to the city 'barriere' which was formerly here; their friezes are 
 worthy of notice. In the court of that on the right is one of the chief 
 entrances to the Catacombs. 
 
 The Catacombs were formerly subterranean quarries, worked as far 
 back as the Roman period , and yielding a soft kind of limestone which 
 hardens on exposure to the air. Visitors are admitted to the Catacombs 
 at intervals (generally the 1st and 3rd Sat. of each month) by the special 
 permission of the Directeur des Travaux, Hotel de Ville. Each visitor must 
 carry a torch, which may be bought at the entrance (50 c), with a guard 
 of cardboard to protect the clothes from the melting v/ax. Overcoats and 
 thick shoes are desirable. The visit occupies about 1 hr., and the exit is 
 made at No. 92, Rue Dareau, near the Avenue Moutsouris (PL G, 17-20). 
 
 The Catacombs extend under a great part of the quarters on the left bank. 
 Several streets in the S. quarters of Paris, situated above these quarries, 
 having begun in 1784 to show symptoms of sinking, 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 ordered the removal of the bodies from the Cemetery of 
 the Innocents, and others, which were closed at that period, to these sub- 
 terranean quarries. In 1786 the quarries were accordingly converted into 
 a vast charnel-house, and called Catacombs. During the Revolution and 
 the Reign of Terror, immense numbers of bodies and bones brought from 
 various quarters were thrown in confused masses into these cavities ; but 
 in 1810 a regular system was organised for the more seemly disposition 
 of these remains and the preservation of their resting-place. The galleries 
 and diflferent compartments are completely lined with human bones and 
 skulls, carefully arranged, and representing, it is said, six million bodies. 
 The other chief points of interest arc the foundations of the Aqueduct of 
 Arcueil (p. 354); a spring called the 'Fontaine de la Samaritaine''; a crypt 
 with an altar; a small monument known as the 'Sepulchral Lamp"; the 
 Tomb of Gilbert, a cenotaph-, various inscription?, etc. 
 
 Beyond the pavilions is the Gare de Paris- Denfert, formerly 
 called the Gare de Sceaux, but no longer the chief station in Paris 
 for the line to Sceaux (see pp. 24, 353). 
 
 From the Place Denfert-Rochereau the Avenue Montsoueis 
 
 19*
 
 292 13. PARC MONTSOUHIS. 
 
 leads past this station direct to the Pare Montsouris (see below). A 
 more interesting, though slightly longer, route follows the Avenue 
 d^ Orleans to the right, along which the tramway runs. This traverses 
 the Montrouge quarter, properly called the Petit- Montrouge. The 
 Grand- Montr ouge is a village outside the fortifications. 
 
 The second street to the right leads from the Avenue d'Orleans to the 
 Square de Montrouge (PI. G^ 17). with the Mairie of the 24th Arron- 
 dissement. The square is embellished with a marble bust of the Republic, 
 by Baffier; and with bronze figures of a Torch Bearer by Steiier, a Horse 
 attacked by a tiger by Fraiin, and an Auvergnat Peasant by Moiribur. 
 
 Farther on, at the corner of the Avenue d'Orle'ans and the Avenue 
 du Maine, is the church of St. Pievre-de- Montrouge (PI. G, 17), a neo-Ro- 
 manesque edifice, with a lofty tower terminating in a lantern. 
 
 The Pare Montsouris (PI. G, 21), completed in 1878, affords an 
 attractive public promenade for the S. side of the town, but is 
 smaller and less picturesque than the Buttes-Chaumont on the 
 N.E. side. It is about 40 acres in area, adjoins the fortifications, 
 and is intersected by the Sceaux and Ceinture lines of railway. On 
 the highest ground stands the Bardo, or palace of the Bey of Tunis, 
 a picturesque Moorish edifice with four domes, which was shown at 
 the Exhibition of 1867 and has been rebuilt here. It is now an 
 observatory. At the foot, at the entrance from the avenue, is a 
 bronze figure representing '1789', by Aug. Paris. Higher up are 
 the Straw Binder and a Desert Drama, bronzes by Louis Pierre and 
 Gardet. To the left, near the Sceaux railway, is an Obelisk erected 
 to Colonel Flatters and his companions, slain by the Touaregs in 
 1881, while making surveys with a view to the construction of a rail- 
 way through the Sahara. At the foot of the hill is a lake fed by a 
 small cascade. Above the lake, in front of a pavilion, is a marble 
 group by Etex ('Les Naufrages'); and to the E. of the Observatory is 
 the Old Mother, a bronze group by J. Escoula. The park commands 
 an extensive view of Paris, particularly of the hill of Ste. Genevieve 
 (Panthe'on) and the valley of the Bievre. Beyond the precincts of 
 the city, to the S.E., are the Hospice and Fort de Bicetre. 
 
 To the W., by the principal entrance to the park, lies the large Re- 
 servoir de la Vanne, 71/2 acres in area, with sides built of solid stone, 
 10 ft. thick, and capable of holding nine million cubic feet of water. 
 Nearly one-third of the quantity is supplied daily by a conduit, 7 ft. in 
 diameter and about 1(X) M. in length, which brings to Paris the water of 
 the Vanne, a stream rising in Champagne, about 9 M. from Troyes. Vis- 
 itors are admitted to inspect the reservoir; entrance in the Rue de la 
 Tombe-Issoire. 
 
 About 250.000,000 fr. (10,C00,0C0Z.) have recently been spent on the water- 
 supply of Paris, and 50,000,000 fr. are still to be'spent. The reservoirs of 
 the Vanne, of the Dhuis (p. 189 1, and of the Avre (p. 297) afford in or- 
 dinary times a supply of 22 gUlons per head of the population; but in 
 summer there is aa occasional scarcity, and the plan of having recourse 
 to the Lake of Geneva has been mooted. 
 
 "We may now return by the Chemin de Fei' de Ceinture from Montrouge 
 or the Pare Montsouris via Auteuil, to the Gare St. Lazare (comp. Appx., 
 p. 24), in the centre of the town.
 
 ENVIRONS OF PARIS.^ 
 
 14. St. Cloud, Sevres, and Meudon. 
 
 I. FROM PARIS TO ST. CLOUD. 
 
 By Railway. — The Ligne des Moulineaux from the Gare St. Lazare is 
 preferable to the Versailles line: 91/2 M , in 30-40 min.; fare 75 or 50c. In 
 St. Cloud the station is in the lower part of the town, at the bridge. 
 This line goes on to Javel^ on the Ligne de Petite Cemtvre, which may thus 
 also be used for the expedition to St. Cloud, The continuation of the 
 line to the Champ- de-Mars is not at present available for passenger-traffic, 
 pending the completion of the neM' Oare des Tnvalides (comp. p. ^). — The 
 Ligne de Versailles Rive Droite has its station less conveniently situated 
 in the upper part of St. Cloud (comp. Plan, p. 296) : 91/2 M., in 21-34 min. ; 
 fare 75 or 50 c.; no reduction on return-tickets. 
 
 Ligne des Moulineaux, from the Gare St. Lazare. The train 
 passes under the bridge of the Place de I'Europe. To the right 
 is the Goods Station , on the level of the bridge , to which the 
 trucks are raised by elevators. We pass through a short tunnel. 
 To the left is the Chemin de Fer de Ceinture. The fortifications are 
 then traversed. — 3 M. Clichy-Levallois. Clichy, to the right, with 
 numerous factories, has 30,700 inhab. ; Levallois-Perret^ to the left, 
 adjoining Neuilly, has 39,850 inhab., largely workmen and employees. 
 Racecourse, see p. 35 and Plan of Paris (B, 4-7). The train crosses 
 the Seine. 
 
 S"^/^ M. Asnieres {Cafes and Restaurants at the bridge and at the 
 station), a village on the left bank of the Seine, with 19,575 inhab., 
 is a favourite resort for boating and other amusements in summer. 
 The lines to Argenteuil (p. 346), St. Germain-en-Laye (p. 330), 
 and Rouen (p. 394) diverge here to the right, and the St. Cloud 
 line describes a wide curve to the left. 
 
 Tramwats. — Two tramway-lines lead from the Place de la Madeleine, 
 at Paris, to Asnieres. One, running to the N.E. of Levallois-Perrot (see 
 above), crosses the bridge near the railway, and halts in the centre of 
 Asnieres. The other runs through Clichy (see above) and crosses the 
 second bridge below the railway-bridge, V2 ^I- from the centre of Asnieres. 
 This second line is continued to Gennevilliers (5837 inliab), in the pen- 
 insula of that name. Part of the liquid brought hither by the great sewers 
 of Paris (p 62) is used as manure for the market-gardens here, the rest 
 being carried under the Seine to be utilized for a similar purpose in the 
 district between the river and the forest of St. Germain (p. 337). — The tram- 
 way from Levallois-Perret halts on the opposite bank and communicates 
 with Asnieres by means of a steam-ferry (5 c.), above the railway-bridge. 
 
 41/2 M. Becon-les-Bruyeres. Branch to La Garenne (p. 330). 
 
 5 M. Courbevoie, a town with 17,600 inhab., contains numerous 
 laundries. The long building to the left of the station is a barrack 
 
 + This section may be detached from the rest of the volume by opening 
 the latter sharply before the Map and after the Index and running a sharp 
 pen-knife down the gauze to which the sheets are fastened
 
 V 
 
 294 14. SURESNES. From Paris 
 
 erected by Lonis XV. for Ms Swiss Guards. Beyond the station the 
 line crosses an avenue that forms the direct continuation of the 
 Avenue de Neuilly (p. 155). The Arc de Triomphe appears, 2^2 M. 
 distant. A rondel near the railway is embellished with a bronze 
 group by Barrias, commemorating the Defence of Paris. Courbevoie 
 is united with Paris by special tramways and the tramway to St. 
 Germain-en-Laye [comp. Appx. and p. 332). 
 
 61/4 M. Puteaux, with 17,650 inhab. , chemical and dye-works, 
 artillery works, etc., is united by a bridge across the Seine with the 
 Bois de Boulogne and Neuilly. — The line from Paris via St. Cloud, 
 known as the Ligne des Moulineaux, diverges here from the line to 
 St. Cloud and Versailles (see below). It affords a comprehensive 
 view of Paris, the Bois de Boulogne, and the Seine. To the S. are 
 the woods of Meudon and Clamart and the orphanage of Fleury 
 (p. 301). The line descends to the Seine, traversing a short tunnel. 
 
 71/2 ^^' Suresnes-Longchamp is the station for Suresnes and the 
 race-course of Longchamp in the Bois de Boulogne (p. 158). Suresnes 
 {Cafes-Restaurants at the bridge), a village with 8400 inhab., at the 
 base of Mont Vale'rien, was the scene of the conferences result- 
 ing in the adoption of Roman Catholicism by Henri IV. A 'Rosiere' 
 is crowned here on the Sun. nearest Aug. 21st. The handsome 
 Mairie (1887-1889) is in the Rue du Mont- Vale'rien. A bridge 
 crosses from Suresnes to Longchamp (p. 158). There is another sta- 
 tion on the line from St. Cloud to Versailles (1/4 hr. ; see below), 
 
 Mont Valerien is crowned by the most inaportant of the defensive forts 
 around Paris , 650 ft. above the Seine. In 1870-71 Mont Valerien played a 
 prominent part in both the sieges of Paris. Admission to the fort, which 
 commands a fine panorama, is granted by order only. We ascend by the 
 Rue du Mont- Vale'rien, take the Rue des Bourets to the right, and then 
 the turning to the left. From the upper station of St. Cloud we ascend 
 by the road below the station. 
 
 91/2 M. St. Cloud, station Pont-de- St- Cloud (p. 296). 
 
 CoxTixDATioN OF THE Railwat TO Javel (see p. 293). Beyond St. Cloud 
 the line passes through a tunnel and a cutting, passes Boulogne (to the 
 left), and skirts the park of St. Cloud (on the right), in which the cas- 
 cade is visible. — 10 M. Poiit de-Sevres, in a cutting near the porcelain- 
 factory (p. 299). — The station of Bellevue-Funiculaire lies at the foot of 
 a small cable-railway to Bellevue (p. 300). — IV4 M. Le Bas Meudm (p. 300). 
 
 — 12 M. Les MouUneaux^ a dependency of Meudon (p. 3(X)). The station is 
 near the bridge of Billancourt, to the left. A junction-line is to he constructed 
 hence to Viroflay (p. 309) on the line to Versailles (Rive Gauche) and to 
 Brittany. — To the right is Issy (p. 298); to the left, the Point-du-.lour 
 viaduct (p. 169). — 131/2 M. Javel, on the Ligne de Petite Ceinture^ see the 
 Appendix. 
 
 Ligne de Versailles (Rive Dboite) from the Oare St. Lazare. 
 
 — To (6 M.) Puteaux, see above. — 71/2 M. Suresnes (see above); 
 the station is in the upper part of the village, nearer Mont Valerien. 
 
 91/2 M. St. Cloud-Montretout. The station is situated above the 
 town, which is rearhed by steep streets, near the new quarter of 
 Montretout (p. 297).
 
 to St. Cloud. U.BOULOGNE. 295 
 
 By Steamboat. This route is pleasant in line weather. Steamers 
 start every V^ hr. in summer, but less frequently at other seasons. The 
 journey takes 1 hr. with and IV4 hr. against the stream; fare 20c., on 
 Sun. and holidays 40 c.; from Suresnes to St. Cloud (2 M.) on Sun., 25 c, 
 The hour at which the last steamer starts is posted at the piers. — Tra- 
 vellers who start in the afternoon should visit the factory at Sevres on 
 the outward journey. 
 
 The steamboat starts from the Pont-Royal, on the Louvre side. 
 Table of stations, etc., in the Appendix. Among the most conspi- 
 cuous objects on the banks are the Chambre des Deputes, the In- 
 valides, the Eiffel Tower, and the buildings in the Champ- de-Mars 
 to the left, and the Trocadero to the right. We pass under the Fonts 
 de Solferino, de la Concorde, des Invalides, de I'Alma , d'lena , de 
 Passy , de Greuelle, Mirabeau, and du Point-du-Jour. The Pont 
 de Passy and Pont de Grenelle are both on the lie des Cygnes, at 
 the lower end of which is Bartholdi's statue of Liberty enlightening 
 the world (p. 170). Fine view to the left, on quitting Paris, of the 
 hills of Meudon and St. Cloud. — To the left is the Ligne des 
 Moulineaux , with Issy (p. 298) beyond it. We pass the He St. 
 Germain , with its military stores. Billancourt , to the right, ad- 
 joins Boulogne (see below). To the left, Les MoulineauXj forming 
 part of Meudon (p. 300). The steamer steers between the He 
 St. Germain and the He Seguin, on which is a pigeon-shooting 
 ground. — Bas-Meudon (pier); ascent to Meudon, see p. 300. — 
 Funiculaire-Bellevue (pier) , see p. 294. Sevres (p. 299). To the 
 left, beyond the bridge, is the Porcelain Factory (p. 299). Boulogne 
 (pier), to the right (see below); then the Grande Cascade, and the 
 bridge and pier of St. Cloud (p. 296). — The steamboat goes on 
 to Suresnes (Bois de Boulogne ; p. 294), and the service is about to 
 be continued via St. Denis to Epinay (p. 844). 
 
 By Tramway. 6 M. From the Quai du Louvre by the united lines to 
 St. Cloud and to Sevres and Versailles (TAB; see Appx.), starting every 
 V2 hr. or oftuner, in 17'.' hr. ; fare, inside 50 c., including correspondance, 
 outside 35 c. At the Point-du-Jour the cars separate, the front car going 
 on to St. Cloud. This tramway-line has correspondance with the Paris 
 omnibuses, but the cars are usually quite full on Sun. and holidays, and 
 in summer on these days it is sometimes difficult to find a seat even at 
 the starting-point of the tramway. 
 
 For some distance the road skirts the Seine , passing the Troca- 
 dero (p. 165) and the suburbs of Passy and Auteuil (pp. 168, 169), 
 with the *Pont- Viaduc du Point-du-Jour (p . 1 69) . It then intersects 
 the fortifications (the line to Sevres and Versailles diverges to the 
 left), traverses Billancourt, and turns to the right towards — 
 
 Boulogne, a town with 32,570 inhab. , which possesses a hand- 
 some church of the 14th and 15th cent., recently restored and pro- 
 vided with a spire. In an adjoining square is a statue of Bernard 
 Palissy (1510-1589), by Barrias. — The tramway-car now crosses 
 the Seine. To the right, beyond the attractive mansions on the quay, 
 we have a fine view of St. Cloud and Mont Valerien (p. 294). Lower 
 down the river, at the Bois de Boulogne (p. 156), is the foot-
 
 2^6 14. ST. CLOUD. 
 
 bridge of the aqueduct descending from the reservoir of Montretout 
 (p. 297). The terminus is in the square beyond the bridge. 
 
 St. Cloud. — Eesiaurants and Caf^s in the Place d'Armes and in the 
 Grande Avenue, many of them expensive; Cafi-Restaurant du Chateau^ 
 Place d'Armes and Avenue du Chateau, de'j. or D. 3 fr. ; Cafi-Restaurant 
 de la Gave, Place d'Armes , dej. 21/2, D. 3 fr. ; Belvedere, Quai President 
 Carnot, moderate. 
 
 St. Cloud, a small town with 5660 inhab., which owes its name 
 to a monastery founded here by St. Clodoald , grandson of Clovis, 
 and its importance to its ancient chateau , destroyed in the war of 
 1870, rises in an amphitheatre on the left bank of the Seine. 
 
 The Palace, now a ruin, was erected in 1572 by a wealthy citizen. 
 In 1658 it was purchased and rebuilt by Louis XIV., and presented by 
 him to his brother the Duke of Orleans. In 1782 it was purchased by 
 Louis XVI. for Marie Antoinette. In one of the saloons of the chateau, 
 called the Salle de TOrangerie, the Council of Five Hundred once held 
 their meetings. On 9th Nov., 1799, Bonaparte with his grenadiers dis- 
 persed the assembly, and three days later caused himself to be proclaimed 
 First Consul. To these reminiscences of tlie first rise of his power was 
 probably due the marked preference which the emperor always mani- 
 fested for St. Cloud. ^On 3rd July, 1815, the second capitulation of Paris 
 was signed at the chateau, in which Bliicher's headquarters were estab- 
 lished. Here, too, on 2oth July, 1830, Charles X. issued the famous pro- 
 clamations abolishing the freedom of the press, dissolving the Chambers, 
 and altering the law of elections, which caused the revolution of July. 
 St. Cloud afterwards became the principal summer-residence of Napo- 
 leon III. The town and palace, occupied by the Germans during the 
 siege of Paria in 1870, sufl'ered severely; the chateau and many of the 
 houses were burned down in October, 1870. — Henri III., when besieging 
 Paris in 1589, pitched his camp at St. Cloud, and was assassinated here 
 by Jacques Clement. 
 
 From the Place d'Armes, at the bridge, two avenues lead to the 
 left , and two streets to the right. One avenue leads to the lower 
 end of the park, the other to the upper end, passing the site of the 
 palace. The streets lead to the town and church. The cafes in the 
 Place d'Armes are frequently visited, especially on Sat. afternoons, 
 by wedding-parties of the humbler classes from Paris. 
 
 The *Paek of St. Cloud, 965 acres in area, is the great attraction 
 of the town, and affords a quiet and peaceful retreat from the bustle 
 of Paris. In the lower part is the Grande Cascade^ designed by Le- 
 pautre and Mansart, and adorned with statues of the Seine and the 
 Mame by Adam. The fountains generally play in summer from 4 to 5 
 or 4.30 to 5.30 on the Sundays on which the Grandes Eaux at Versailles 
 (p. 324) do not play. The ^Jet Geant\ or great jet, to the left of 
 the cascades, rises to the height of 136 ft. A military band plays 
 in the park on Sun. and Thurs. in summer, from 3 to 4 or 3.30 to 
 4.30 p.m. 
 
 The Palace formerly stood at the top of the Avenue du Chateau, 
 to the right as we ascend beside the cascade. A few unimportant 
 remains are all that are left. The site was converted in 1893 into 
 a terrace with gardens. It commands a good view of Paris (see p. 297) ; 
 another good view is obtained from the Trocadero , or old private 
 garden, on the height to the right. — Rest of the park, see p. 297.
 
 14. ST. CLOUD. 297 
 
 The Church of St. Cloud is a handsome modern ediflce, by Dela- 
 rue, in the Gothic style of the 12th century, with a lofty spire. The 
 choir is adorned with mural paintings by J. Duval-le- Camus , re- 
 presenting scenes from the life of St. Clodoald. The church also 
 contains some fine stained glass. 
 
 Opposite the church are the remains of the abbey where St. 
 Clodoald was interred, and adjacent is a handsome modem Hotel de 
 Vilie. 
 
 A little above the church is the Hospice in a little square, whence we 
 may reach the station of St. Cloud-Montretout (p. 294) by a large flight of 
 steps to the left or by making a slight detour to the right, passing the 
 post-office. 
 
 On the plateau beyond the station lies Montretout, an extensive and 
 handsome modern suburb of St. Cloud. 
 
 To the right of this quarter is the place of the same name, known in 
 connection with the l;i8t grand sortie of the garrison of Paris, on Jan. 
 19th. 1871. A redoubt, established here by the Germans in ccmnection 
 with the heights of Buzenval, was captured by the assailants, who even 
 occupied some of the houses of St. Cloud; but they were unable to effect 
 anything against the main position of the Prussians at Garches and La 
 Bergerie , and were compelled to evacuate the redoubt the same evening, 
 after suffering heavy losses. 
 
 At the end of Montretout nearest to Suresnes, to the left of the Boule- 
 vard de Versailles, is the Reservoir de Montretout or de VAvre, a gigantic 
 work not yet completed, resembling the Reservoir de la Vanne at Paris 
 (p. 292). The aqueduct which feeds this reservoir begins near Verueuil 
 (Eure), 63 M, distant, and for 16 M. of its length runs in subterranean 
 galleries , some of which are 230 ft. below the level of the ground. The 
 water is conveyed to Paris by a subterranean canal, crossing the Seine 
 beneath the new foot-bridge between St. Cloud and Suresnes. 
 
 The Allee du Chateau , which ascends in the Park of St. Cloud 
 to the S. of the terrace on the site of the palace, leads to the sum- 
 mit of a small hill (5 min. from the palace) , which commands an 
 admirable *View. Far below flows the Seine ; to the left is the bridge 
 of St. Cloud; beyond it the Bois de Boulogne , higher up the river 
 is the small town of Boulogne ; to the right is Meudon; in the back- 
 ground is Montmartre (beyond the Trocad^ro); from among the 
 houses of Paris rise the Arc de I'Etoile, St. Vincent-de-Paul, the 
 dome of the Invalides, the Palais du Trocadero, the Eiffel Tower, 
 the domes of the buildings in the Champ-de-Mars, St. Sulpice, the 
 Pantheon, the dome of the Val-de-Grace, and other buildings. 
 
 The broad central avenue (right) which diverges from the top of the 
 hill leads to (^A M.) Ville-d'Avray . a station on the Versailles railway 
 (p. 293). The Alle'e du Chateau , which we have been following , leads 
 in 5 min. more to the small town of Sevres. Visitors to the porcelain- 
 manufactory take the footpath descending to the left (S.E.). — About half- 
 way down, before the porcelain-factory, is the Pavilion de Breienil, seat of 
 the 'Commission Internationale du Metre'" (no admission). 
 
 From St. Cloud to St. Germain via Marly-le-Roi, see p. 331. 
 
 II. FROM PARIS TO SEVRES. 
 
 By Railway. — Ligne des Moulin eaux, preferable to the following 
 
 (comp. p. 29S), 10 M., in 35-45 min. ; fare 90 or 50 c. — Ligtie de Versailks 
 
 Rive Gauche., starting from the Gare Montpamasse (p. 24), 6 M., in 25-30 min.; 
 
 fare 75 or 50 c. The station of this line at Sevres is in the upper part ,
 
 298 14. VILLE-D'AVRAY. 
 
 of the town (comp. the Map), and it is therefore better to alight at Bellevue 
 (same fares), between Sevres and Meudon, which is nearer the porcelain 
 factory. — Ligne de Versailles Rive Droite (Gare St. Lazare), IOV2 M., in 
 26-40 min.; fare 90 or 60 c. The station for Sevres is at Ville-d' Avray^ at 
 the top of the part of Sevres to the W. of the park of St. Cloud, about 
 1 M. from the porcelain factory. 
 
 LiGNE DBS MouLiNEAUx, from theGare St. Lazare, see pp. 293, 294. 
 
 Ligne de Versailles Rive Gauche. — This line crosses and 
 corresponds with the Chemin de Fer de Ceinture at the fli/4 M.) 
 Quest- Ceinture station (see Appx.). — 2 M. Vanves-Malakoff^ be- 
 tween Vanves, to the right (see helow), and Malakoff (p. 353). On 
 the left and right of the line rise the forts of Vanves and Issy. 
 
 31/4 M. Clamart^ 1/9 M. to the N. of the village of that name. 
 
 Clamart is also connected with Paris by a tramway-line (terminus in 
 the Place St. Germain-des-Pres). This tramway passes Issy (12,830 inhab.), 
 with the Hospice des'Menages, some religious houses, and a small ruined 
 chateau. The new Champ de Manoeuvres dUssy, for the garrison of Paris, 
 lies towards the Seine , near the Ligne des Moulineaux. [Steamboats, see 
 p. 295.] The tramway then skirts the Lyc4e Jlichelet, in a chateau of the 
 Condes, built in 1693, and traverses the village of Vanves (6315 inhab.)- 
 
 eiamart, a village with 5100 inhab. and numerous country-houses , is 
 comparatively uninteresting. The Hospice Ferrari, a large establishment 
 for old men, is due to the munificence of the Duchess of Gallie'ra (d . 188S; 
 p. 301). The Bois de Clamart is part of the Bois de Meudon (p. 301). It 
 may be reached direct from the end of the village (Map, p. 300). 
 
 The line skirts the hills above the Seine. Fine view to the right 
 of Paris and the river a little before Meudon and at Bellevue. The 
 train crosses the river by a viaduct 120 ft. high. To the left is the 
 large orphanage of Fieury (p. 301). 
 
 41/2 M. Meudon, see p. 300. — 51/2 M. Bellevue, see p. 300. — 
 61/4 M. Sevres (see p. 299"). 
 
 Ligne de Versailles Rive Droite. — To (91/9 ^0 '^^' Cloud- 
 Montretout, see p. 297. — The train passes through several tunnels. 
 To the right diverges a branch to Marly-le-Roi (p. 331). Tunnel. 
 
 IOY2 M. Sevres -Ville-d'Avray. Sevres, see below. The village 
 of Fiiie-d'Avray (Restaurant de la Chaumiere) is charmingly situated 
 to the right. The Villa des Jardies , once occupied by Balzac and 
 the scene of Gambetta's death , is near the railway. A monument, 
 by Bartholdi, vrith a statue of Gambetta and figures of Alsace and 
 Lorraine, has been erected here, and contains the heart of Gam- 
 betta. The Church contains models of statues by Pradier, Rude, 
 and Duret, a St. Jerome painted by Corot, an Ecce Homo by Aug. 
 Hesse, etc. In the middle of the village stands a Chateau, dating 
 from the end of the 18th century. Near the end of the Rue de 
 Versailles, to the left, are the picturesque ponds that figure so 
 often in the paintings of Corot, to whom a monument vi^as erected 
 here in 1880. Comp. the Map, p. 300. 
 
 By Steamer, as for St. Cloud, p. 295. 
 
 By Tramway, 71/2 M., in IV4 hr., fare 50 or 35 c. From the Quai du 
 Louvre by the united lines to >S^ Cloud and to St^vres and Versailles {TAB; 
 see Appx.). At the Point-du-Jour the cars separate, the I'car car going on
 
 14. sfcVRES. 299 
 
 to Sevres. The cars start at the same hours as for St. Cloud (p. 295). See 
 also the remarks at p. 295. — The terminus at Sevres is at No. 96 Grande 
 iRue. 3/4 M. from the porcelain factory, and at the corner of the road to 
 (1/2 M.) Ville-d^Avray (p. 298). 
 
 The tramway-route as far as the fortifications has heen described 
 at p. 295. "We then diverge to the left from the St. Cloud line, 
 traverse BiUancourt (office, Route de Versailles, No. 39), and cross 
 the Seine to Sevres. 
 
 Sevres. — Cafes-Restackants. Ca/^ de la Terrasse, Grande Rue 27, 
 at the Avenue de Bellevue, dej. 2V2, I>. 3 fr. (arrange prices on ordering); 
 Estaminet Parisien , Grande Rue 61 , opposite the Hotel de Ville ; Cafi- 
 Restatirant du Nord (David), near the porcelain factory. 
 
 Sevres, with 6900 inhab., is situated on the left bank of the 
 Seine and on the road to Versailles. The celebrated — 
 
 *PoB,CBLAiN Manufactory has been the property of government 
 since 1756, and now occupies a new building at the S.E. corner of 
 the park of St. Cloud, near the bridge. At the entrance is a bronze 
 statue, by Barrias, oi PaUsay, a reproduction of the statues in Paris 
 (p. 254) and Boulogne (p. 295). 
 
 The Workshops are open to visitors daily (12 to 4 or 5), by cards 
 of admission obtained on written application to the Secretariat des 
 Beaux- Arts, Rue de Valois 3 (Palais-Royal), Paris, or to the man- 
 ager at the factory ; but those without tickets are generally able to 
 join a party. The Exhibition Rooms and the Musee Ceramique are 
 open to the public daily (12 to 4 or 5). The entrance is on the side 
 next the Seine. Sticks and umbrellas must be given up (no fee). 
 
 The Wo'lcshops are on the whole uninteresting, for the processes of 
 painting, moulding, and enamelling are not shown. A few workmen in a 
 special room give the vi-sitors an idea of the principal operations in the 
 manufacture, and some of the furnaces are shown. — Tiie manufactory 
 has exercised a highly beneficial effect on the ceramic industry in France. 
 Various new processes , new tints , and new varieties of porcelain have 
 been invented here; and the secrets of these discoveries are freely com- 
 municated to other factories in France. 
 
 The ''Exhibition Rooms (Exposition des Froduits de Sevres) , four in 
 number, to the right of the vestibule, contain products of the manufactory 
 which are for sale. Th.e large vases and the copies of paintings are 
 specially admired. 
 
 The '^Musee Ceramique occupies the first floor of the main building. 
 On the staircase is a bronze figure representing 'Porcelain', by Guillaume. 
 The chief hall, which we enter first, contains the largest and most remark- 
 able vases made at Sevres and four pieces of Gobelins tapestry ; and also 
 a glass-case with some extremely interesting specimens of smaller objects. 
 Tlie collection is arranged in the two galleries at the sides, beginning on the 
 right. The exhibits bear explanatory labels. — Right Gallery; 1st Section. 
 Ancient, mediaeval, and modern pottery, glazed and unglazed, from various 
 countries. At the end, fine porcelain from various countrie.'^. 2nd Section, 
 as we return: Glazed pottery, earthenware, and enamelled faience from 
 its invention to the present day, from various countries. — Left Gallery : 
 1st Section, on the same side as the preceding, and in the cabinets at the 
 end. Continuation of the enamelled faience; 'soft' porcelain, both natural 
 and artificial; 'hard' porcelain from China, India, Japan, Limoges, etc ; 
 modern pottery and earthenware; glass, enamels, mosaics. 2nd Section. 
 Porcelain from Sevres and abroad ; Sevres faience and enamels ; French 
 porcelain; models of biscuit china produced at Sevres. At the end, copies 
 of paintings, of incomparable delicacy.
 
 300 14. MErOON. 
 
 Farther on in the Grande Rue, to the left, is the Old Manufac- 
 tory, now restored as a Normal School for female teachers. A little 
 farther on are the Churchy and, to the right, the Hotel de Ville^ formerly 
 the mansion of the Dukes of Brancas, containing some interesting 
 wood-carvings, paintings, and sculptures (restored in 1892). 
 
 The Avenue de Bellevue, near the manufactory, soon hrings us 
 to Bellevue (rail, station and cable-railway, see below), which owes 
 its origin to a chateau of Mme. de Pompadour, of which little is 
 left. The handsome villas, recently erected here, unfortunately too 
 often interrupt the fine views of the Seine. The best point of view 
 is at the N.E. end of the Avenue Melanie, from a terrace above the 
 former park of the chateau, which has been subdivided. 
 
 The Grande Rue de Bellevue, which crosses the last-named avenue, 
 leads to the railway-station, 11/4 M. from the main street of Sevres, beyond 
 which begins the Avenue de 3Ieudon (p. 301). 
 
 III. FROM PARIS TO METIDON. 
 
 By Railway. — Ligne de Versailles Rive Gauche (Gare Montparnasse), 
 5 M. , in 20 min.; fare 60 or 40 e. — Ligne des Moulineaux fp. 293 1 from 
 the Gare St. Lazare to Bas-Meudon or Bellevue- Funiculaire (p. 294), 11 M., 
 in 3/4 hr. ; fare 90 or 50 c. 
 
 By Steamboat, To Bas-Meudon or Sevres, as for St. Cloud (p. 295). 
 
 A Cable-Railwat (650 f t ) was opened in 1893 between the stations of 
 the railway and steamers at Bas-Meudon and Bellevue (see above); fare 10 c. 
 up or down, on Sun. up 20 c., down 10 c. 
 
 Meudon. — CAFfis-RESTAORANTS: at Meudou , in the Avenue de 
 Meudon and at the upper station. In the wood: at the Ermitage de Ville- 
 bon, IV2 M. from the terrace; and at the Capsulerie (p. 301). 
 
 Meudon, a small town with 8000 inhab. , consists of Meudon 
 proper, on the slope of the hill which is crowned by the chateau j of 
 a new quarter near the station of Meudon, with numerous prettily 
 situated villas; of Bas-Meudon, on the bank of the Seine, with 
 several manufactories ; of Les Moulineaux, also on the bank of the 
 Seine, to the E., with a railway-station (p. 294); of Le Val, a little 
 higher up; and of Fleury , with its large orphanage (p. 301). still 
 higher, on the slope of the Bois de Claraart (see pp. 301 and 298). 
 
 The first chateau at Meudon belonged in the iGth cent, to the Duchesse 
 d'Etampes, mistress of Francis I., and after changing hands several times 
 was bought by Louis XIV. It then became the residence of the Dauphin, 
 who, however, built a second chateau in the neighbourhood, though the 
 former one was not finally demolished till 1803. The second chateau, 
 afterwards occupied by the Empress Marie Louise , the King of Rome, 
 and lastly Prince Xapoleon, was set on fire by a shell and reduced to a 
 heap of ruins during the Prussian bombardment of Paris in 1871. It has 
 since been partly restored. 
 
 The Terrace and the Bois are the chief attractions of Meudon. 
 From the station of Meudon we reach the terrace by crossing the 
 railway to the left, and then following the Rue du Depart, straight 
 on, and the Avenue Jacqueminot to the right (see the Map, oppo- 
 site). At the intersection of this avenue and the Rue de la Repu- 
 blique, which traverses old Meudon, is a Bronze Bust of Rabelais 
 ri483-1553), 'cur^ de Meudon' (?), by Trupheme.
 
 
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 14. MEUDON. 301 
 
 From the station of Bas-Meudon we ascend the Route des 
 Gardes to the right as far as the Avenue de Meudon (see below) or 
 by a new road to the left to the station of Meudon (p. 300). From 
 the station of the cable-railway (p. 300), on the same line, and 
 from the steamboat station we may reach the Avenue by the cable- 
 railway or by the Route des Gardes. 
 
 The Avenue de Meudon, bordered by four rows of lime-trees, be- 
 gins at Bellevue (p. 300), beyond the railway on the left bank, about 
 1/2 M. from the terrace. At the beginning of the latter is a Monu- 
 ment du Centenaire, a symbolical bronze bust by Courbet, erected 
 in 1889. 
 
 The *Terrace of Meudon, supported by huge walls, commands a 
 beautiful * View of Paris. The public are not admitted to the re- 
 mains of the chateau, now an Observatory ; but on Sun. and holi- 
 days, after midday, they may visit the garden opposite, at the end 
 of the terrace, whence a path leads to old Meudon. 
 
 The tall brick Tower, near the terrace on the Bellevue side, belongs 
 fo a laboratory of vegetable chemistry. 
 
 The Bois de Meudon (Maps, opposite and p. 296), part of which 
 is enclosed as the Park of the chateau, lies on the heights between 
 Meudon and the valley of Sevres, Chaville, and Viroflay, and on the 
 heights on the other side of the valley of Meudon, this latter part 
 being also named the Bois de Clamart. The wood is intersected in 
 all directions by pleasant paths (finger-posts), but otherwise has 
 been left pretty much in a state of nature. The ground is hilly 
 between the parts known as the Bois de Meudon and Bois de Cla- 
 mart and on the skirts of the wood, except to the S., where it is 
 bordered by a plain on the other side of which is the Bois de Ver- 
 rieres (p. 356). 
 
 From the terrace the wood is reached by means of an iron stair- 
 case on the wall farthest from Paris and a walk traversing the Park, 
 the rest of which is not open to the public. From the lower end of 
 the Avenue de Meudon or from Bellevue, we ascend by the Pave 
 des Gardes and join the routes from Sevres at the Capsulerie. From 
 Meudon, or from the exit from the garden at the end of the terrace, 
 we may either follow the valley straight on to the part of the wood 
 beyond the park, or follow the Rue des Vertugadins to the left, to 
 the Bois de Clamart. 
 
 Between the last two paths lies the Fare de Chalais, in which is the 
 School of Military Aerostatics (no admission). 
 
 On the N. verge of the Bois de Clamart, above the hamlet of Fleury, 
 is the large and conspicuous Orphanage of St. Philippe, founded by the 
 late Duchesae de Gallidra (p. 298). 
 
 15. Vincennes. 
 
 The chief point of interest here is the Bois de VinceJines, somewhat 
 in the style of the Bois de Boulogne, reached either via Vincennes, to the 
 N., or via Char en ton , to the S. The Chdteau of Vincennes is closed to 
 the public, and only the outside can be seen (p. 305).
 
 302 15. PLACE DE LA NATION. 
 
 I. FROM PARIS TO VINGENNES DIRECT. 
 
 By Tramway. 5 M. From tlie Place du Louvre to Vincennes (TC; see 
 Appx., p. 28), in 1 hr. ; fares, inside 40 c. (including correspondance), 
 outside 20 c. The remarks on the St. Cloud tramway (p. 295j are appli- 
 cable to this line also. — The tramways from the Louvre and from St. 
 Augustin to the Cours de Vincennes stop at the fortifications, l'/* M. from 
 the chateau ; but the tramway from Kogent (p. 308j may be taken thence 
 to the chateau (15 or 10 c). 
 
 Tlie Tramway feom the Louvkb to Yincbnnbs runs 'by the 
 Quays, whicli command views of the Palais de Justice, the Tribunal 
 de Commerce, the Hotel-Dieu, and Notre-Dame on the Cite, to the 
 right ; and of the Place du Chatelet with its theatres and fountain, 
 the Tour St. Jacques, the Hotel de Yille, etc., to the left. It then 
 turns to the left into the Boul. Henri IV (p. 70), passes the Place 
 de la Bastille (p. 63), and follows the Rue du Faubourg -St- An- 
 toine. In the quarter traversed by this street the principal in- 
 dustry is the manufacture of furniture, for which there is even a 
 special school, viz. the Ecole BouUe, Rue de Reuilly 25 (PL R, 28). 
 On the right in the Rue du Faubourg-St-Antoine are the Hopital 
 Trousseau (for children), the Hopital St. Antoine, and the Orpha- 
 nage for Workmen's Children. 
 
 The Place de la Nation (PI. R, 31), formerly the Place du Trone, 
 at the end of this street, forms the E. extremity of Paris, while the 
 Place de I'Etoile forms the N.W. end, upwards of 41/2 M. distant. The 
 centre of the 'place' is adorned with a large basin and a bronze 
 group by Dalou, representing the Triumph of the Republic. The sur- 
 rounding buildings are uninteresting, with the exception perhaps of 
 the Ecole Arago, a superior municipal school opened in 1880. About 
 a dozen different streets radiate from this point, but the traffic is 
 insignificant. In 1660, after the conclusion of the Peace of the 
 Pyrenees, Louis XIV. received the homage of the Parisians on a 
 throne erected here , and from that event the 'place' derived its 
 former name. The two lofty fluted Doric columns erected here on 
 the site of the old barriere were begun in 1788, but not completed 
 till 1847. Each is adorned with two bas-reliefs by Desboeufs and 
 Simart. Those next the town represent Commerce and Industry, 
 those on the other side Victory and Peace ; and they are surmounted 
 with bronze statues of St. Louis, by Etex, and Philippe le Bel, by 
 Dumont. Beyond the columns begins the Cours de Vincennes, a 
 broad avenue leading direct to Vincennes (to the chateau 1^/^ M.). 
 
 The Foire cm Pain d'Epices, or 'gingerbread fair", held in the Place 
 de la Nation and in the Cours during three weeks after Easter, always 
 presents a very lively scene. 
 
 Tramway-iines run from the Place de la Nation to St. Augustin, La 
 Villette, the Place Valhubert (Jardin des Plantes), and Montreuil (p. 306). 
 
 The Vincennes tramway next traverses the Boul. de Picpus and 
 the Avenue de St. Mande, passing the station of that name on the 
 ^Vincennes railway. 
 
 To the S. of the Avenue de St. Mande, Rue de Picpus 35, is the small 
 Semetery of Picpus (PI. G, 31 ; adm. 50 c), which contains the tombs of
 
 15. ST. mand:6. 303 
 
 members of 3ome of the oldest families in France. In one corner is the 
 tomb of Lafayette (d. 1834). At the end is the 'Cimetiere des Guillotine's', 
 where 1300 victims of the Revolution, executed at the Earriere du Trone, 
 are interred. Among these are the poet Andri Ck^nier, the chemist La- 
 voisier, General Beauharnais, and representatives of many noble families. 
 At St. Mande, to the S., a village with 11,330 inhab., are two 
 asylums tor old men, and a cemetery containing a statue in bronze, 
 by David d" Angers, of Armand Carrel (d. 1836), who was killed in 
 a duel by Emile de Girardin. About 2 min. from the station is the 
 pretty Lac de St. Mande (p. 306). The tramway then runs near the 
 Bois de Vincennes, skirts the railway, turns to the right into Vin- 
 cennes, and, passing the chateau, haltsin the Cours Marigny (p. 305). 
 
 By Railway, 3^4 M. Chemin de Fer de Vincennes from the station at 
 the Bastille (PI. R, 25), in about V4 hr. ; fare 45 or 30 c. Trains every 1/4 hr. 
 
 The railway is carried on arches alongside the Avenue Daumesnil 
 and passes two stations within the fortifications, viz. Reuilly , near 
 the Place Daumesnil [p. 304), and Bel-Air, at the junction with the 
 Chemin de Fer de Ceinture (correspond. ; see Appx. p. 24). The 
 next station is St. Mande [see above), near the wood (comp. Map). 
 
 33/4 M. Vincennes. The station is in the Rue de Montreuil, 
 which leads, on the right, to the chateau (p. 305). The Rue du 
 Midi, opposite the station, leads to the Cours Marigny (p. 305). — 
 Continuation of the railway along the wood, see p. 308. 
 
 II. FROM PARIS TO VINCENNES VIA CHARENTON. 
 
 By Tramway. 1. From the Qaai du Louvre to Charenton (TK); fare, 
 inside 50 c, including correspondance, outside 25 c. — 2. From the Place 
 de la Ripuilique to Charenton (TY); same fares. — 3. From the Bastille to 
 Charenton (Tr. Sud); same fares. 
 
 The Tkamway from the Louvre to Charenton follows theBues 
 de Eivoli and St. Antoine (pp. 59, 68 ), passes the Bastille (p. 68), 
 then turns to the right, skirts the Bassin de V Arsenal, formed by 
 the Canal St. Martin (p. 70), and reaches the quays on the right 
 bank at the Pont d'Austerlltz (p. 264). On the opposite bank are 
 the Jardin des Plantes (p. 264) and the Gare d'Orleans (p. 24). 
 Farther on are the modern Fonts de Bercy and de Tolbiac, and on 
 the right bank the huge Wine Stores of Bercy (PI. G, 28, 29), 
 larger than those near the Jardin des Plantes. Passing the Pont 
 National, half of which is used by the Chemin de Fer de Ceinture, 
 we reach the fortifications, beyond which , also on the right bank, 
 are the Magasins Generaux des Vins (PL G, 33). Then the new 
 Pont d'lvry or Pont de Conflans, crossing the Seine to Ivry (p. 361). 
 Conflans and Les Carrieres, which we next pass, are parts of Cha- 
 renton (see p. 304). The tramway-terminus is in the lower part of 
 the village, less than l/o M. from the entrance to the Bois (p. 306). 
 
 The Tramway from the Place de la Rbpubliqije to Charenton 
 follows the Grands Boulevards to the Bastille (p. 68), turns to the 
 left by the Faubourg St. Antoine, then to the right by the Rxie Cro- 
 zatier, passing the rear of the Hopital St. Antoine, and follows the
 
 304 15. CHARENTON. 
 
 Bue de Charenton. Outside the city the line skirts the Bois de Vin- 
 cennes (p. 306} for a short distance. The terminus at Charenton 
 is in the Place des Ecoles (PI. G, 36), nearer the Bois (p. 306) 
 than the preceding. 
 
 The Tramway from the Bastille to Chaeexton follows the 
 Avenue Daumesnil to the right of the railway as far as the Place 
 Daumesnil , which is adorned with a bronze fountain with lions. 
 We enter the Bois between St. Mande (p. 303) and the Lac Daumes- 
 nil (p. 306) , and halt in the upper part of Charenton (see below). 
 
 By Steamer. Steamers between Auteuil and Charenton, from any pier 
 on the left bank within the city (exceptions, see Appx. , p. 32) to Cha- 
 renton; fare 20 c. on week-days, 25 c. on Sun.-, from the Pont d'Austerlitz 
 only, 10 or 15 c. 
 
 To the Pont d'Austerlitz (Jardin des Plantes), see p. 264. The 
 steamboat journey is pleasant in fine weather, especially in summer, 
 but offers no particular features of interest. Bridges and warehouses, 
 see above. "We finally quit the Seine for the Marne , near a lateral 
 Canal, pass under the Lyons line, which has a station at Charenton 
 (see the Map), touch at Alfortville (see below), and reach the Pont 
 de Charenton. 
 
 Charenton (Ca/e de la Terrasse, Cafe du Pont, both at the bridge), 
 situated between the Bois, the Marne, and the Seine, a place with 
 15,300 inhab. (including Confians and Les Carrieres), is now chiefly 
 known for its Lunatic Asylum (see below). Its most interesting 
 part is near the Bois. 
 
 In 16C6 a Protestant church was erected at Charenton with the sanc- 
 tion of Henri IV, but it was destroyed in 1685, after the Revocation of 
 the Edict of Nantes. 
 
 A little farther on is St. Maurice, with the Lunatic Agylum of Charen- 
 ton, an extensive building dating from 1830, with arcades and roofs in 
 the Italian style, rising picturesquely on the slope of the plateau occupied 
 by the Bois de Vincennes. It is rather more than 1/4 M. from the bridge. 
 Tramway, see below. 
 
 On the other side of the bridge is Alfortville (79S4 inhab.), with the 
 Veterinary College of Alfort. 
 
 Feom Chaeenton to St. Mace (La Varenne), 21/2 M., tramway pro- 
 pelled by compressed air. The line, which goes on to (33/4 M.) La Varenna 
 (p. 309), is divided into four sections (fares 15 or 10 c. per section). Pretty 
 scenery, dotted with country villas. The principal stations are Oravelle, 
 adjoining St. Maurice (see above) and not far from the race-course at 
 Vincennes (p. 307; steep ascent); St. Maur-Povt-Criteil, near the railway 
 station of St. Maur (p. 30S) aad about IV4 M. from Creteil tsea bel jW). A 
 branch-line r.ins to (11/4 M.) Joinville-le-Pont (p. 307) and is to be c n- 
 tinued to Vincennes. — St. Maur-des-Fosses or les-Fossis (pop. 17,350) 
 occupies, with its dependencies, the loop. 8 M. long, formed by the Marne 
 beyond Joinville (p. 307), and is supposed ti be the spot where Ma^imian 
 crushed the rebellious Gillie peasants in 283. — The next stations are 
 Adamville and La Varenne-St-Hilaire, dependencies of St. M ur, opposite 
 Chennevieres and not far from Champigny (p. 308). 
 
 Feom Chaeextont to Ceeteil, 2^/4 M., tramway (25 or 15 c), pas-ing 
 behind Alfortville, the fort of Charenton and Maisons- Alfort. Criteil, an 
 ancient but uninteresting village, not far from the Marne and St. Maur 
 ^see above), lies about 3 M. from Cjoisy-le-Roi (p. 361). 
 
 Vincennes lies about 3 M. from the steamboat-pier at Charenton.
 
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 15. VINCENNKS. 305 
 
 The road leads through the Bois, passing near the {^j^ M.) Lac 
 Daumesnil (p. 306), to the left. 
 
 III. VINCENNES. 
 Caf^s-Restadkants. — Cafi de la Paix, Coura Marigny, near the tram- 
 way-terminus, dej. 2V2. D. 3 fr. ; Continental. Rue de Paris, 30, with a small 
 garden, below the chiitcau, similar charges (also beds) ; Frangais, in front 
 of the chateau; Cafi-Restaurant de la Porte Jaune^ in the wnod, p. 808. 
 — Tramwarj (compressed air) from the Cours Marigny to (') 31.) Ville-Evr;ird, 
 via, Xogent-sur-Marne, see p. 308. This tramway begins at the fortifications 
 of Paris (Cours de Vincennes). — Post and Telegraph Office in the Rue de 
 THotel de Ville. 
 
 Vincennes^ a town with 24,600 inhab., is a place of no import- 
 ance except as one of the fortresses in the outskirts of Paris. The 
 only object of interest in the town is the Statue of General Dau- 
 mesnil, by Rochet, in the Cours Marigny, near the tramway-station. 
 The attitude of the figure is an allusion to the anecdote that 
 when the general, who defended the chateau in 1814 and 1815, 
 was called on to surrender, he replied that he would not do so till 
 the Allies restored to him the leg he had lost at the battle of Wag- 
 ram. At the end of the Cours is the modern Renaissance Mairie. 
 
 The Ch&,teau de Vincennes was founded in the 12th cent, and 
 afterwards gradually enlarged. It was used as a royal residence till 
 1740, and afterwards served various purposes. In 1832-44, under 
 Louis PhUippe, the chateau was strongly fortified and transformed 
 into an extensive artillery depot, with an 'P^cole de Tir'. 
 
 An order from the minister of war is necessary to view it ; but the 
 chapel is public at the services on Hun. and holidays, 8, 10. and 11.15 a.m. 
 
 The chateau was used as a State Prison from the days of Louis XI. 
 (14G1-83) onwards. Among many illustrious persons who have been con- 
 fined within its walls, mav be mentioned the King of Navarre (1574), the 
 Grand Conde (1650). Cardinal de Retz (1652). Fouquet (1661). Count Mirabeau 
 (1777), the Due d-Enghien (1804). the ministers of Charles X. (1830), and 
 the conspirators against the National Assembly (15th May, 1848). 
 
 A melancholy interest attaches to the fortress from its having been 
 the scene of the execution of the unfortunate Due d'Enghien , the last 
 scion of the illustrious Cond^ family. On the suspicion that he was 
 implicated in a conspiracy against the emperor, he was arrested by order 
 of Napoleon on 14th March, 1804. on German territory, conveyed to Vin- 
 cennes , and there condemned to death by a court-martial. The sentence 
 was executed on 20th March , and the body of 'he diike interred in the 
 fosse where he was shot. In 1816 Louis XVIII caused his remains to be 
 removed to the chapel, where he erected a monument to his memory. 
 
 The Chapel, with its tasteful Gothic facade, begun in 1379 under 
 Charles v., and completed in 1552 in the reign of Henri II, lias 
 recently been restored. The lofty vaulting and the stained gla.-^s 
 by Cousin are worthy of notice. The monument of the Duo 
 d'Enghien, now in the old sacristy, is a poor work by Deseine. 
 
 The Donjon, or Keep, in which state-prisoners were formerly 
 confined, is a massive square tower of five stories, 170 ft. in height, 
 with four smaller towers at the corners. The platform commands a 
 fine view . 
 
 Baedeker. Paris. 12th Edit. 20
 
 306 15. VINCENXKS. 
 
 Vincemies is adjoined on the X. by Montreuil ([op. 21,000), a place 
 celebrated for its peaches, but otherwise uninteresting. It is connected 
 with Paris by a tramway (TX) strrting at the Place du Chatelet. — About 
 IV2 M. fartlier to the 2?. is the uninteresting village of RomainviUe. lying 
 partly on the fortified hills to the E. and X . and commanding an exten- 
 sive view. An electric tramway (opened in 18" 6j runs from the Place de 
 la Re'publique at Paris (PI. B. 36) to RomainviUe via Les Lilas (PI. B, 36), 
 another village (p"p. 6420), with a a tasteful m( dern mairie. Le Pri-Sl-Ger- 
 vais to the N.E. of Les Lila=, see p. 206. — ■ RomainviUe lies I3/4 M. to 
 the E. of tbe fortifications of Paris. Less than 1 3t. to the K.E. is AoUy- 
 le-SeCy a station on tbe Chemin de Fer de TEst and on the Ligne de Grande 
 Ceintare (p. 344). 
 
 The Bois de Vincennes, a beautiful park, much less frequented 
 than the Bois de Boulogne, is of scarcely inferior attraction, though 
 unfortunately disfigured by the plain in the centre. The park was 
 once a forest, where Louis IX. (d. 1270) used to hunt and to ad- 
 minister justice; but it was entirely replanted by Louis XV. in 
 1731. In 1857-58 it was successfully transformed into a public 
 park by Vicaire and Bassompierre. It is more natural than the Bois 
 de Boulogne, and contains fewer exotics. It covers an area of about 
 2250 acres, including the Champ de Manoeuvres (I/2 M. wide) in 
 the middle, and the artillery 'Polygene'. 
 
 The Rue de Paris is continued beyond the fort by a road that 
 enters the forest to the right and there forks, the left branch lead- 
 ing towards Nogent-sur-Marne (p. 308), the right branch towards 
 JoinviUe-le-Pont (p. 307). 
 
 The street to the right of the chateau soon brings us to the 
 Esplanade and the most frequented part of the Bois. To our left is 
 the Plaine de Gravelle , which divides the Bois into two distinc* 
 parts. The plain extends from this point to the chateau, nearly 2 M. 
 distant, and is at places nearly 1 M. in width. At the beginning, on 
 the right are large new Barracks. On the left lies the Champ de 
 Manoeuvres, used for infantry drill; and farther distant, on the 
 left, is the Polygene de VArtillerie. At a crossway in the Champ 
 de Manoeuvres rises a Pyramid^ restored in 1871, where an oak 
 under which St. Louis administered justice is said to have stood. 
 
 The first walk on the right leads to the Lac de St. Mande, near 
 the village of that name (p. 303), the smallest but prettiest of the 
 lakes in the Bois, with beautifully wooded environs, affording 
 charming walks. The Avenue Daumesnil, which also begins at the 
 Esplanade and may be reached by various paths to the left of the 
 lake, is a continuation of the street of the same name in Paris. The 
 route diverging to the left from this avenue, at the point where the 
 tramway from the Bastille also turns fp. 304), leads towards Cha- 
 renton fp. 304). The adjoining part of the Bois was laid out in 
 1857-58. 
 
 At the end of the Avenue Daumesnil nearest Paris (No. l^is) is a 
 Miool of AvhoricuUure and Gardening^ open to the public on Sun., Tues., 
 Sd Thurs., from 1 to 5 p.m. 
 
 The Lac Daumesnil or de Charenton, the largest lake [50 acres)
 
 15. VINCENNES. 3<)7 
 
 in the Bois, contains two pretty islands, wliicli are connected with 
 each other and with the mainland on the Charenton side by bridg(;s. 
 From the Avenue Daumesnil they may be reached by a ferry'(10 c). 
 lioats on the lake, 72"^ fr. per hr., according to tariff. On one of 
 the islands are an artificial grotto, with a temple above it, and a 
 cafe. On the other the Pavilion des Forets, at the Trocadero during 
 the Exhibition of 1889, has been re-erected, and contains a *Musee 
 Forestier, consisting of the interesting collections previously ex- 
 hibited in it (adm., see p. 54). 
 
 The Museum consists of a collectii n of Specimens of Wood and Wooden 
 Articles, admirably arranged and furnished with explanatory labels. Several 
 specimens are placed in the exterior galleries. — Ground Floor. I'.etween 
 the free-trunks acting as columns in the large saloon are grouped speci- 
 mens of wood of all kinds, with articles made from them. Some tools 
 are also exhibited here, and, in the centre, unclassified specimens and 
 machines. — An annexe contains a Diorama, representing the inundation 
 work-^ and afforestation of the valley of the Rioux-Bourdtux, an Alpine 
 torrent. — First Floor, reached by a staircase to the rijzht of the entrance. 
 The rooms at the angles of the gallery contain farther specimens of wood; 
 als t, timber-framework, two paintings (inundation-works on the Bourget, 
 in the Alps, and the Pe'guere, in the Pyrenees), specimens of rock^, pro- 
 ducts derived from wood, preserved fruit?, curiosities, injuries caused by 
 insects, naturalized animals, etc. 
 
 A little to the S.W. of the lake (comp. the Plan of Paris and the 
 Map) is the Municipal Velocipede Track; subscription per month 5, six 
 months 15, year 25 fr. ; admission on Thurs. after 1 p.m., 50 c. 
 
 The Avenue de Gravelle, to the left before Charenton (p. 304) 
 as we come from the Lac Daumesnil, traverses the S. part of the 
 Bois. A little to the right are the Asile de Vincennes for patients of 
 the artizan class, and the Asile Vacassi, for the victims of accidents in 
 Paris. About l^/o M. from Charenton this avenue ends at the Lac 
 de Gravelle^ a small lake fed by means of a steam-pump on the bank 
 of the Marne, and drained by streams flowing into the other lakes. 
 A few paces from the lake is the Bond- Point de Gravelle (refresh- 
 ments in summer at the Pavilion Robert), which commands an 
 admirable survey of the valleys of the Marne and Seine. 
 
 The Race Course of Vincennes, a little to the left, is the largest 
 race-course near Paris, as well as one of the oldest and most im- 
 portant. There are six racing tracks, for flat races, hurdle-races, etc., 
 including a trotting-course specially intended to promote the breed- 
 ing of military chargers. 
 
 Farther on, to the right, we pass the Redoubts of Gravelle and 
 La Faisanderie, two forts ending the wood on this side and com- 
 manding the loop of the Marne (see below). Between them is a 
 Model Farm, worked by the Ecole d'Alfort (p. 304) and the In 
 stitut Agronomique of Paris. 
 
 The road on this side of the farm leads to Joinville-le-Pont (C« 
 r<es(aura}ii de la Tete-Noire, on the quay, etc.). a village (pop. 4:3'2i) situated 
 on the right bank of the Marne, and a station on the Chemin de Fer de 
 Vincennes (p. 304). Joinville is the chief boating-centre on this side of 
 Paris, as Asnieres (p. 293) is on the Seine. The siibterranean Canal df 
 St. Maur, which begins here, 660 yds. in length, constructed in 1825, enabh's 
 barges to cut off a circuit of 8 M. described by the Marne. — Champiguy 
 
 20* 
 
 fc- }
 
 308 15. VINCENNES. 
 
 see below) is about 1'/-' M. from the bridge. — Tramway to St. Maur- 
 des-Fo3se.s (p. 301), to be continued to (2'/.! M.) Vincennes. 
 
 Beyond the Kedoute do la Faisanderie, with its Ecole Militaire 
 de Chjmnastiqiie, we have three roads before us. That to the left 
 leads direct to Yincennes, passing between the camp and the Lac 
 des Minimes (see below); that in the middle also leads towards 
 the lake; while that to the right leads to Nogent-sur-Marne. 
 
 Nogent-sur-Marne is a village with 8400 inhab., on a hill above the 
 Marne, with a station on the same line as Joinville, another on the united 
 lines of the Grande Ceinture and the Belfort railway, and reached also by a 
 tramway from Vincennes (p. 305). The second of the above railway-lines 
 crosses the Marne here by means of a curved viaduct, Vz M. in length. 
 Nogcnt has numerous country-houses on the side next the Bois, and to 
 the N. , towards Fontenay -sous -Bois (see below), is the Fort de Cogent. 
 Champigny (see below) is 21/2 M from Xogent by the Grande Ceinture. — 
 The tramway is continued to (6 M. from Vincennes) Ville-Ecrard, where 
 there is a large lunatic asylum. 
 
 A branch of this tramway goes also to Bry-sur-Marne, a village on 
 the left bank of the Marne. In the church, behind the high-altar, is a 
 curious illusive painting, conveying the impression of a spacious Gothic 
 choir. This work is due to Daguerre (p. 347), who died at Bry, where a 
 monument is to be erected to hia memory. 
 
 Another branch runs to the N. to NeuiUy- Plaisance and Rosny-sous-Bois, 
 the last a village on the Chemin de Fer de I'Est. 
 
 The Lac des Minimes was formed in 1857 on ground which 
 belonged to the order of that name to 1784. The lake is 20 acres 
 in area , and contains three islands. The smallest of these , the 
 He de la Porte-Jaune at the N. end, is connected with the main- 
 land by a bridge and contains a Cafe - Restaurant. The others, 
 though united with each other, can be reached only by boat, which 
 may be hired (1/2 ^t. 50 c. each person) on the W. side, near the 
 keepers' houses. At the E. end are the small Cascades, on the two 
 streamlets by which the lake is fed. Round the lake, at some 
 distance from its banks, runs the Route Circulaire, and an avenue 
 also skirts the bank (a circuit of 30-40 min.). 
 
 Opposite the He de la Porte-Jaune begins an avenue leading to Fontenay- 
 sous-Bois, a village and railway-station about Vs 31- to the N.E., with a 
 number of pleasant villas (5S36 inhab.). 
 
 The Lac des Minimes is about V2 M. from the fort or 11/4 M. 
 from the entrance to the Chateau of Yincennes. 
 
 From Vincennes (Paris) to Beie-Comte-Robert, 19 M., railwav in 
 1 'A hr. (fares 2 fr. 25, 1 fr. 55 c, return-tickets 5 fr. 41"', 2 fr. 40 c ). Beyond 
 Vincennes the line skirts the Bois de Vincennes for some distance. — 
 IV/4 M. Fontenau-souS'Bois (see above); 1^4 M. Nogent-surMm-ne (see above^. 
 — Fine view of the Blarne Valley to the left. — 3 M. Joinvillele-Pont, see 
 p. 307. — 41/2 M. St. Matir-Port-Ckteil, see p. 304. — 5 M. Pare de S'. Maur. 
 
 6 M. Champigny (4625 inhab.), on the left bank of the Marne, is mem- 
 nrable as the scene of the battles of 80th Nov. and 2nd Dec, 1870, at 
 which Generals Trochu and Ducrot vainly endeavoured to force a passage 
 through the German lines. A monument on the hill behind Champigny 
 marks the site of a crypt containing the remains of the French and German 
 ?oldiers who fell on that occasion. Champigny is also a station on the 
 Irande-Ceinture railway, rejoining the Ligne de lEst at Xogent-sur-Marne 
 ie above). A bridge between Champigny and Xogent is about to be built. 
 
 Fine views of the valley of the Marne, Vincennes, and Paris are ob- 
 led from the places on the hills beyond Champigny, such as Chenneviires
 
 15. BRIE-COMTE-ROBERT. 309 
 
 (2 M. ; with a view superior to tliat from St-Germain-en-Laye, at least by 
 morning light), Sucy-en-Brie (2V2 M.), and Boissy-St-L^ger (2^2 M.). These 
 localities are reached from the stations of La Vurenne-Chennevi^res (3/4 M.), 
 beyond which we cross the Marne, Sucy-Bonneidl (3/4 M.), and Bo%ssy->H(- 
 Ligev Q/i M.). From Sucy-Bonneuil a branch of the Grande-Ceinture leads 
 to Valenton (2V2 M.) and \'illeneuve-St-Georges (2 M.). At Boissy-St-Le'ger, 
 to the left of the railway, is the Chdleau du Piple, with a Protestant nonral 
 school for girls. Aljout I'/i M. beyond the villa^je is the fine Chdleau de 
 Gros-Bois (18th cent.), with a large park. Adjacent is an inn. Less than 
 2 M. to the W. is the Chateau de la Grange, dating from the same period. 
 We can descend from here to (3 M.) Erunoy (p. 363) or to Villeneuve-St- 
 Georges (p. 362). — The following stations are of no interest. 
 
 19 M. (221/.2 M. from Paris) Brie-Comte-Robert (H6tel des Voyageurs), 
 a very old and decayed little town, formerly capital of the Brie Francaise, 
 was founded in the 12th cent, by Comte Robert, brother of Louis' VIL 
 The Rue de la Gare, the Rue de Paris (to the left), and the Rue Gambetta 
 (to the right) lead to the Place du Marche, whence we ascend to the left 
 to the Church., a handsome building of the 12-16th cent., with fine but 
 much damaged decorations. The interior is worth a visit. In the adjoining 
 Rue des Halles is an interesting Gothic Fagade of the 13th cent., b-'longing to 
 an old hospital. Farther on are the ruins of a chateau of the 12th century. 
 
 The railway goes on from Brie to (U M.) Verneuil-l'Etang. where it 
 joins the line to Troyes and Belfort. See Baedeker's Northern France. 
 
 16. Versailles. 
 
 Those who can pay only one visit to Versailles should start early and 
 visit the gardens before the opening of the palace. A second visit, in suid- 
 mer, may be combined with a pleasant afternoon-excursion to Rambouillet 
 (see Baedekers Northern France). 
 
 I. FROM PARIS TO VERSAILLES. 
 
 By the Ligne de la Rive Droite, 141/2 M. , in 35-50 min. ; fares 1 fr. LO, 
 1 fr. 15 c. (no reduction on return-tickets). The trains start from the 
 Gare St. Lazare (booking-office and waiting-rooms to the left) every hour 
 or oftener. There are also several additional trains, particularly on Sun- 
 days and holidays (see Indicateiir). — Best views to the left. 
 
 Some trains go to and from the Gare des Chantiers (p. 310), without 
 passing the station of the right bank: fares by these trains. 1 fr. SO, 
 1 fr. 20 c. 
 
 To (97-2 M.) St. Cloud and(10V2 M.) Sevres -Ville-d'Avr ay, see 
 pp. 294, 293. — n M. Chaville , near the Bois de Ville-d'Avray, 
 Fausses-Reposes , and Chaville (seethe Map, p. 300). — 13 M. 
 Viroflay. To the left, farther on, is seen the Viaduct which crosses 
 the higliroad and unites the lines of the right and left banks. The 
 trains to the Gare des Chantiers cross this viaduct. — 14 M. Ver- 
 s lilies (Gare de la Rive Droiteor Gare des Chantiers). 
 
 By the Ligne de la Rive Gauche, IV ft M., in 30-40 min. ; fares 1 fr. 35. 
 90 c. The trains start from the Gare Montparnasse (PI. G, 16; pp. 24, 297) 
 every hour or oftener; booking-office on the groundtloor to the left; 
 waiting-rooms on the first floor. Best views to the right. 
 
 To (6 M.) Sevres, see p. 294. — 8 M. Chaville. To the right 
 is the line on the right bank with its viaduct (see above). 81/-2 ^'. 
 VirofJay. — 11 1/4 M. Versailles (Gare de la Rive Gauche or Gar>' 
 des Chantiers ; see below). 
 
 By Tramway, 12 M.. in IV2 hr. ; fares, inside 1 fr. (including corre.<<p«>n- 
 dance), outside 85 c. We take the united lines from the Qiiai du Lomre 
 to Sf. Clovd and lo Si ires and Versailhs (TAB; see Appx.) to Iho I'niut-
 
 310 16. VERSAILLES. 
 
 du-Jour, -whence the second car of every alternate train {i.e. those starting 
 at 35 min. past each hour) goes on to Versailles. Return from Versalles 
 at 15 min. past each hour. Comp. remarks on the St. Cloud tramways 
 (p. 295). 
 
 To Sevres, see pp. 295, 298. — Then Chaville (office No. 84) 
 and Viroflay (No. 33). We pass under the above-mentioned viaduct. 
 40 ft. in height, and enter the long avenue from Paris , which ends 
 at the Place d'Armes, opposite the palace of Versailles. 
 
 II. VERSAILLES. 
 
 Arrival. The Station of the Rive Droite Line is about V* M., the 
 Station of the Rive Gauche Line about V2 M. from the palace. — The Gare 
 des Chan'tiers (see p. 309), to the S.E. of the latter, for trains of the Brittany 
 line and of the Chemin de Fer de Grande Ceiniure. is 1 M. from the pal- 
 ace. The terminus of the Paris Tramways is near the Place d'Armes, at 
 the end of the Avenue de St. Cloud. 
 
 Hotels. '"Hotel des Resekv^oiks, Rue des Reservoirs 9, D. 5 or 6 fr. ; 
 Hotel Vatel. Rue des Reservoirs 26-28, good cuisine; Hotel Suisse, near 
 the latter, Rue Pe'tigny and Rue Neuve, R., L., & A. 31/2^, B. 1, dej. 3, 
 D. 3V2, pens. 8-li fr. ; Hotel de France, Rue Colbert 5, on the ;K. side of 
 the Place d'Armes, with a restaurant-, Hotel de la Chasse, Rue de la 
 Chancellerie 6. on the S. side of the Place d'Armes. with a restaurant. 
 
 Cafes-Restaurants (generally expensive). Hdtel des Reservoirs, see above; 
 Restaurant de Neptune. Rue des Reservoirs 14; Caf 6- Restaurant Lacharte, 
 No. 19 same street, near the palace-railing, 3-4 fr.; Hotel Suisse, see above; 
 Cafe Anglais. Rue du Plessis 49. near the station of the Rive Droite, dej. 
 3, D. 5fr. ; Cafd Amiricain, Rue du Plessis 47, dej. 3, D. 5 fr. : Ildtel du 
 Sabot d'Or, Rue du Plessis 23. dej. 21/2, D. 31/2 fr. ; Cafi-Restaurant de la 
 Place Roche, dej. 2-2i/2, D. 3-3i/-.i fr. ; Brasserie Miiller, at the corner of 
 the Avenue St. Cloud and the Rue de la Pompe ; Caf^ de la Place d'Armes, 
 curner of the Rue Hoche. 
 
 Cabs. Per drive, with one horse IV4, two horses I72 fr. ; per hr., 2 
 or 2'/2 fr. 
 
 Tramways. To Paris, see above. In the town : from the Square du 
 Plessis. at the end of the Rue da Plessis, to Grandchamp^ at the end of 
 the Rue Royale; from the Square du Plessis to the Orangerie ; from the 
 Gare des Chantiers to Montreuil. on the S.E.. and to Chesnau, on the N.; 
 fares 15 or 25 c. — Steam Teamway to (3 M.) St. Cyr (p. 329). 
 
 Fountains in the Palace Garden, p. 324. 
 
 Post and Telegraph Office: Rue St. Julien, near the S. wing of the 
 palace (see Plan), and Rue de Jouvencel, behind the Prefecture. 
 
 English Church. Rue du Peintre Lebrun, corner of Rue de la Pompe; 
 services at li a.m. and 4 p.m. Chaplain, Rev. J. W. Browne. 
 
 Versailles, the capital of the Seine-et-Oise department, with 
 51,679 inhab., is indebted for its origin to Louis XIV. During the 
 first years of his reign that monarch, like his predecessors, had 
 resided at St. Germain in summer, but is said to have conceived a 
 dislike to it as it commanded a vie-w of the tower of St. Denis 
 (p. 3393, the royal burying-place. 
 
 The site of Versailles was hardly favourable for a town, and still less 
 80 for a park, as the water for its ornamental ponds had to be conveyed 
 to it from a great distance at a vast expense. The town was called by 
 Voltaire '■Vabime des dipenses\ its palace and park having cost the treas- 
 ury of Louis XIV. the enormous sum of 1000 million fr., while its annual 
 maintenance also involved heavy expenditure. The accounts handed down 
 to us regarding the erection of this sumptuous palace and the laying out 
 of its grounds almost border on the fabulous. Thus no fewer than 36,0U0
 
 16. VERSAILLES. 311 
 
 men and 6000 horses are said to have been employed at one time in form- 
 ing the terraces of the garden, levelling the park, and constructing a road 
 to it from Paris and an aqueduct from Mainten(m, a distance of 31 31. 
 from Versailles. This aqueduct v^as intended to bring the water of the 
 Eure to Versailles, but was discontinued owing to the great mortality 
 among the soldiers employed; and the breaking out of the war in 1688 
 prevented the resumption of the works. The waterworks of Marly (p. B32) 
 were afterwards constructed, and a farther supply nf water obtaiued from 
 the ponds on the plateau between Versailles and Rambouillet. 
 
 After the year 1682 Versailles became the permanent headquarters of 
 the court, and is therefore intimately associated with the history of that 
 period. It witnessed the zenith and the decadence of the prijsperity of 
 Louis XIV. ; and under his successor the magnilicent palace of the grand 
 monarque' became the scene of the disreputable Pompadour and Du Barry 
 domination. It was at the meeting of the Estates held here in 1789 that 
 the 'Tiers Etat' took the memorable step, — the first on the way to the 
 Revolution, — of forming itself into a separate body, the Assemblee Ra- 
 tionale, which afterwards became the Assemblee Constituante. The in- 
 judicious fete given by the court to the Garde du Corps in the palace- 
 theatre a few months later precipitated events. On Oct. 6th the unfortun- 
 ate Louis XVI. saw the palace of Versailles sacked by a Parisian mob, 
 which included many thousands of women ('les dames de la halle"), and 
 since that period it has remained uninhabited. During the Revolution it 
 narrowly escaped being sold. Napoleon neglected it owing to the great 
 expense which its repair would have entailed, and the Bourbons on their 
 restoration merely prevented it from falling to decay and erected the 
 pavilion on the S. side. Louis Philippe at length restored the building, 
 and converted part of it into an historical picture-gallery. 
 
 From 19th Sept., 1870, to 6th March, 1871, the palace was the head- 
 quarters of the King of Prussia, and a great part of the edilice was then 
 used as a military hospital, the pictures having been carefully covered to 
 protect them from injury. An impressive scene took place here on 18th 
 Jan., 1871, when the Prussian monarch, with the unanimous consent of 
 the German states, was saluted as German Emperor. The house No. 1, 
 Boulevard du Roi , was the scene of the uegociations between Prince 
 Bismarck and Jules Favre on 23rd-24th Jan. and 26th-28th Jan., which 
 decided the terms for the capitulation of Paris and the preliminaries 
 of peace. After the departure of the German troops (12th Mar., 1S71), 
 Versailles became the seat of the French government, and it was from 
 here that Marshal Macmahon directed the struggle against the outbreak 
 of the Commune. It was not till 1879 that the government and the cham- 
 bers transferred their headquarters to Paris. 
 
 On the way from the station of the Rive Droite to the palace, 
 we turn to the right in the middle of the Marche Notre Dame, and 
 follow the Rue de le Paroisse, in which is the Church of Notre Dame, 
 erected by Mansart in 1684-86. 
 
 The Rue Hoche leads hence , to the left, to the palace, passing 
 a Statue of General Hoche, 'n^ k Versailles le 24 Juin 1768, soldat 
 ^ 16 ans, general en chef h 25, mort h 29, pacificateur de la Vendf^e', 
 by Lemaire. In front of the palace extends the spacioiis Place 
 d'Armes, at the end of the wide Aveiiue de St. Cloud and of the two 
 other chief streets of Versailles, the Avenue de Paris and the Avenue 
 de ScenuT. 
 
 On approaching the palace the traveller is assailed by vendors of 'com- 
 plete'' guides to the collection, which, however, are rendered quite un- 
 necessary by the following explanations and the inscriptions on the pic- 
 tures themselves. 
 
 The *Palace of Versailles presents a less imposing appearance
 
 312 16. VERSAILLES. 
 
 when approached from the Place d'Armes than when seen from the 
 garden, the facade towards which is no less than 1/4 M. in length. 
 The building dates from several different periods , and its style 
 lacks uniformity. The central part is the original chateau of 
 Louis XIII., bunt of brick and stone by Lemercier, and the wings 
 were added by J. H. Mansart (d. 1708} under Louis XIV. On the 
 right rises the chapel with its pointed roof, also by Mansart, etc. 
 Other buildings of considerable size situated on each side are con- 
 cealed by those of the first court, some of which were built by 
 Gabriel, under Louis XV., to whom is due the theatre, at the end 
 of the right or N. wing. 
 
 Apart from tlie disappearance of the gilding on its roofs, its railings, 
 and its metal ornaments, the palace presents to-day substantially the same 
 appearance as at the close of the reign of Louis XIV. It is impressive 
 chiefly for its size. In the heyday of its prosperity it accommodated about 
 10,000 courtiers, dependants, servants, etc. 
 
 The CouR d'Honneur is separated from the Place d'Armes by a 
 railing. The groups which adorn the pillars at the entrance are em- 
 blematical of the victories of Louis XIV. over Austria (the eagle) and 
 Spain (the lion). Around the court are placed sixteen colossal Statues, 
 some of which stood on the Pont de la Concorde until 1837. 
 
 On the right: Cardinal Richelieu (d. 1642), regent of France under 
 Louis XIII.; Bayard (d. 1524), the 'chevalier sans peur et sans reproche' :, 
 Colbert (d. 1633), the able finance minister of Louis XIV.; Marshal Jourdan 
 (d.l833); Marshal Massena (d.l8I7); Admiral Tourville (d. 1701); Admiral 
 Dugay-Trouin (d. 1736); Marshal Turenne fd. 1675). On the lefl: Suger 
 (d. 1152), Abbot of St. Denis and regent under Louis VII.; Bertraiid du 
 Guesclin (d. 1380), Connetable of France; Sully (d. 1641), the celebrated 
 minister of Henri IV; Marshal Lannes (d. lS09j ; Marshal Mortier (d. 
 1835) ; Admiral Suffren (d. 1788) ; Admiral Duquesne (d. 1687) ; the Great 
 Conde (d. 1686), general of Louis XIV., by David d' Angers. 
 
 In the centre of the court stands a colossal Equestrian Statue 
 of Louis XIV. in bronze, the horse by CarteUier [d. 1831), the 
 figure by Petitot (d. 1862). 
 
 The *lIuBee Historique, founded by Louis Philippe , and oc- 
 cupying an almost interminable suite of apartments in the palace, 
 is an unrivalled collection of its kind. In 1832 these rooms were 
 entirely refitted, and adorned with historical pictures brought from 
 the Louvre and other palaces, the deficiencies being supplied by 
 works of the most eminent living artists. The foundation of the 
 museum is said to have cost 15 million fr., the greater part of 
 which was paid out of the royal coffers. The subsequent govern- 
 ments have left the original arrangements of the museum un- 
 disturbed, and have greatly enriched and extended it. The histor- 
 ical object of the foundation of the gallery having always been 
 predominant, numerous works have necessarily been received without 
 much regard to their artistic merit. The critical eye will therefore 
 detect very inferior productions intermingled with the eiTorts of 
 undoubted genius. The number of rooms is so great, that a single 
 visit suffices only for an inspection of the more important works.
 
 16. VERSAILLES. 313 
 
 The order of the following description should be adhered to, so that 
 no objects of special interest may be overlooked and no time wasted 
 on those of secondary consideration. The descriptions of the latter 
 are printed below in smaller type. 
 
 The principal Entrance to the Mus^e (open daily, except Mon. 
 and the holidays mentioned at p. 56, 11-5 in summer, 11-4 in 
 winter) is from the vestibule of the chapel, to the right (comp. 
 the Plan, p. 315), and there is another entrance on the opposite 
 side, by the Cour des Princes. Wet umbrellas must be left in the 
 custody of an attendant (10 c). — The rooms on the second floor 
 are not open till noon. 
 
 Ground Floor of the N. Wing. 
 
 The Palace Chapel, erected in 1699-1710, produces a better 
 impression when seen from the first floor, as its proportions were 
 calculated from the galleries. It is richly adorned with sculptures 
 and paintings. Over the entrance-door is the royal gallery, above 
 which is a Descent of the Holy Ghost, by Jouvenet (1709). The 
 Resurrection over the high-altar is by Charles de Lafosse. The 
 large *Paintings in the vaulting of the roof, with God the Father in 
 the centre, are by Coypel. On the ceilings of the side-galleries are 
 the Apostles, by Louis and Bon Boulogne. 
 
 In the vestibule of the chapel is a large relief by Coustou of the 
 Passage of the Rhine under Louis XIV. To the right is the Galerie 
 des Tombeaux, by which we shall return. To the left we enter the 
 I. Gallery of the History of France, consisting of a vestibule 
 {Room I) and eleven rooms with historical pictures from the time 
 of Charlemagne to that of Louis XVI. 
 
 II. Room. Ari/ Scheffer (1827), Charlemagne submitting his capitularies 
 (laws and ordinances) to the Frankish estates in 779. Paul Delaroche, 
 Charlemagne crossing the Alps in 773. Rouget^ St. Louis (d. 1270) mediat- 
 ing between the King of England and his barons. — III. Room. Brenet, 
 Death of Bertrand du Guesclin before Chatcauneuf- de-Randon in Lan- 
 guedoc, 13S0. VincJion, Charles VII. anointed at Rheims, 14'29. Barth^leinu, 
 The French army entering Paris, 1436. — IV. Room. Cahanel, Apotheosis 
 of St. Louis (placed temporarily here). Jollivei, Battle of Agnadello, in 
 Venetia, 1509. Lariviire ^ Bayard wounded at the capture of Brescia, 
 1512. — V. Room. Ary Scheffer^ Gaston de Foix's death at the Battle of 
 Ravenna, 1512. Schneiz^ Battle of Cci-isoles, 1544. — VI. Room. Scenes 
 from the reigns of Henri II. Henri III, and Henri IV. — VII. Room. 
 Sieges and battles of the reign of Louis XIII. and the early part of the 
 reign of Louis XIV. — Rooms VIII & IX. Campaigns of Louis XIV. — 
 Rooms X & XI. Reign of Louis XV. and scenes from the Seven Years' 
 War. — Room XII. End of the Seven Years' War. Ifersent (1817), Louis XVI. 
 and his family distributing alms (1788). 
 
 A handsome modern staircase here ascends to the first and 
 second floors. To the right is the Galerie des Tombeaux, and in 
 front of us the Theatre, the entrance to which, however, is in the 
 Rue des Reservoirs (fee). The theatre was used from 1871 to the 
 end of 1875 for the meetings of the Assemblee Nationale, and from 
 1875 to 1879 for those of the Senate.
 
 314 16. VERSAILLES. 
 
 The Galekib des Tombeaux, parallel to tlie Historical Gallery, 
 contains casts of funereal monuments. The most interesting are in 
 the middle: Tombs of Ferdinand [d. 1516) and Isabella of Castile 
 (d. 1504); Charles theBold(d. 1477) and Mary of Burgundy (d. 1482). 
 — To the left (open the door if closed) is the entrance to the five — 
 
 *Salles DBS Croisades, remarkable for their sumptuous de- 
 coration and the magnificent modern pictures they contain : — 
 
 *lst Saloon. Gallait (1S47), Coronation of Count Baldwin of 
 Flanders as Greek Emperor, 1204. J?es.«e, Taking of Beyrout, 1197. 
 Lariviere , Battle of Ascalon, 1177. — *2nd Saloon. Jacquand, 
 Taking of Jerusalem by Jacques de Molay, Grand Master of the 
 Templars, 1299. Papety, Defence of Ptolemais by Guill. de Cler- 
 mont, 1291. Rouget, Louis IX. receiving the emissaries of the 'Old 
 Man of the Mountain', 1251. — *3rd Saloon (large hall). The 
 armorial bearings on the pillars are those of Frederick Barbarossa, 
 Richard Cceur-de-Lion, and other celebrated Crusaders. A mortar 
 from the island of Rhodes, and the gates of the hospital of the 
 knights of St. John, from Rhodes, presented by Sultan Mahmoud 
 to Prince Joinville in 1836, are also preserved here. Horace Vernet, 
 Battle of Las Navas de Tolosa (Spain), 1212. Schnetz, Procession 
 of Crusaders round Jerusalem, 1099. Lariviere, Raising of the siege 
 of Malta, 1565. Odier, Raising of the siege of Rhodes, 1480. After 
 Delacroix (original, see p. 132j, Capture of Constantinople, 1204. 
 Blondel, Surrender of Ptolemais to Philip Augustus and Richard 
 Cceur-de-Lion, 1191. — 4th Saloon. Signal (1840 I, St. Bernard 
 preaching the 2nd Crusade at Yezelay in Burgundy. 1146. Schnetz, 
 Battle of Ascalon, 1099. — 5th Saloon. Signal, Taking of Jerusalem, 
 1099. Gallait, Taking of Antioch, 1098. Hesse, Adoption of God- 
 frey de Bouillon by Alexander Comnenus, 1097. Signol, Crusaders 
 crossing the Bosphorus under Godfrey de Bouillon, 1097. 
 
 The adjoining staircase leads to the fourth room of the Galerie 
 de Constantine (see below). We, however, return to the Galerie 
 des Tombeaux and ascend by a small staircase, in the vestibule, 
 to the left of the chapel. If closed, open the door in the panelling. 
 
 -First Floor. 
 
 North. Wing. — After viewing the interior of the chapel from 
 the royal gallery (p. 313), we enter a Gallery of Sculptures, 
 containing several fine marble statues by Duseigneur, Delay the 
 Elder, Nanieuil, Ir. Anguier, Foyatier, Jaley , Lehongre, Etex, 
 Valois, Foucou, Seurre. etc. In the centre are several works by 
 Pradier , the best of which is the *Monument of the Duke of 
 Orleans (p. 155), with reliefs relating to the sieges of Antwerp 
 and Constantine. 
 
 To the right is the *Galbrie de Constantine (PI. I-YIl),
 
 16. VERSAILLES. 315 
 
 cousisting of seven rooms -whioli contain some of tlie finest pictures 
 in the collection, particularly the battle-scenes by Horace Vernet. 
 Room I. : Principal wall: Ch. L. Muller, Opening of the Cham- 
 bers on 29th March, 1852. Duhufe, Congress of Paris, 1.^56. 
 Gcrome, Napoleon III. receiving ambassadors from Siam, 1861. 
 
 Room II. : *Yvon, Retreat from Russia, 1812. ProtaiSj Storm- 
 ing of the 'Mamelon Vert' at Sebastopol, 1855. 
 
 Room HI. : '^Horace Vernet (1845), Taking of the Smalah of 
 Abd-el-Kader (16th May, 1843), a magnificent picture 71 ft. in 
 length and 16 ft. in height, containing numerous portraits, to which 
 the sketch below it is a key. 
 
 The 'Smalah'' of Abd-el-Kader, consisting of his camp, his itinerant 
 residence, his court, harem, and treasury, and upwards of 20,000 persons, 
 including the chiefs of the principal tribes with their families, was taken 
 by surprise on this occasion by the Due d'Aumale at the head of two 
 cavalry-regiments. Booty of enormous value and 5000 prisoners were the 
 prize acquired with so little difficulty. Abd-el-Kader himself was absent 
 at the time. 
 
 *H. F€rn€f (1846), Battle of Isly, 1844. £eauce. Taking of Fort 
 St. Xavier, near Puebla, 1868. Vernet, Capture of Rome in 1849. 
 Beauce, Entry into Mexico, I860. Beauce, Storming and capture 
 of La.shouat (Algeria), 4th Dec. , 1852. Tissier , Napoleon HI. 
 liberating Abd-el-Kader (1852). 
 
 Room IV. : *Horace Vernet, Siege and capture of Constantine, 
 in Oct., 1837 (three paintings); Attack on theMexican fort St. Jean 
 d'UUoa by Admiral Baudin in 1838; Storming of the pass of Tenia 
 Mouzaia in 1840; Siege of the citadel of Antwerp, 1832; Battle 
 of the Habrah, 1835. 
 
 Room v.: *Yvon, Entrance to the Malakoff tower; Storming 
 of the Malakoff (8th Sept., 1855); Curtain of the Malakoff; Battle 
 of Solferino (1859). Pils, Battle of the Alma (1854). Riga, Battle 
 of Magenta (1859). Barrias, Debarkation on the coast of the Crimea. 
 Room VI. : H. Vernet, Inauguration of the Muse'e of Versailles 
 by Louis Philippe (1837). Couder, Institution of the Conseil d'Etat, 
 1799; *Oath taken on 20th June, 1789, in the Jen de Paume 
 ( p. 289) ; 'Fete de la Fc'de'ration' in the Champ-de-Mars, 14th July, 
 1790. Vinchon, Louis XVIII. tendering the 'Charte' of the con- 
 stitutioTi, and opening the Chambers. 
 
 Room VII.: To the left: *C. L. Muller , Roll-call of the last 
 victims of the Reign of Terror (1794), containing many portraits; 
 the seated figure in the middle is Andre' Ch«?nier, the poet. Vinchon, 
 Departure of the National Guard for the army, 1792. Georyes- 
 Bertrand, 'La Patrie', placed provi^ioTially in this room. 
 
 We now return to the Sculpture Gallery (p. 314), which we 
 traverse to the Theatre (p. 313), at the N. end. Here, to the left, 
 is a *Statue of Joan of Arc, by Princess Marie of Orleans (d. 1839), 
 daughter of Louis Philippe. 
 
 The staircase to the left ascends to the Attiquk nu Nokd, a suite of 
 eleven rooms on the Second Floor, containing an immense collection of
 
 316 
 
 16. VERSAILLES. 
 
 
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 — I 1 — iJIjI 
 
 portraits of sovereigns and 
 other celebrated persons from 
 the 14th to the 19th century. 
 ilost of these are uninterest- 
 ing and oflittle artistic value, 
 hut there are a fev? good 
 works bj' Rigaud^ Mignard,, 
 Lebi'un. Vanloo, Coypel, and 
 Cithers. Some of the best are 
 being removed to the ground- 
 floor (p. 323). The rooms also 
 contain a few casts and med- 
 als. We descend by the same 
 staircase. Visitors who are 
 pressed for time may omit 
 this part of the collection. 
 
 Tlie II. Gallery of 
 THE History of France 
 (PI. 1-10), parallel \fitli 
 the gallery of sculptures, 
 consists of ten rooms with 
 historical scenes from the 
 years 1797-1835. The 
 chronological beginning of 
 the series is at the other 
 end. 
 
 1st Room (1880-1835): 
 Covrl, Louis Philippe sign- 
 ing the well-known procla- 
 mation of 31:-t July, 1830, 
 ending with the words : ''La 
 Charte sei-a disormais une 
 vi7-itf. The portraits deserve 
 inspection. — 2nd Room 
 (1824-1830): Girard (1829), 
 Coronation of Charles X. at 
 Rheims (1825). B. Vernet, 
 Ch; rles X. reviewing the Xa- 
 tional Guard in the Champ- 
 de-:ilars (1824). — 3rd Room 
 (1814-1823): Paul Delaroche 
 (1827), Storming of the Tro- 
 cade'ro near Cadiz, under the 
 Duke of Angouleme, 1823. 
 Gros^ Louis XVIII. quitting 
 the Tuileries on the night of 
 l9th March, 1815, on being 
 apprised of Xapoleon's ap- 
 proach. — 4th Rutm (1811- 
 1814) : Henri Schetfer (brother 
 of Ary), after ^. Vernei (1835), 
 Battle of Montmirail. 1814. 
 Fdron^ after Horace Vernet 
 (1835), Battle of Hanau, 1813. 
 Bemmed^l), Battle ofLiit- 
 zen, 1813. — 5th Room (1809- 
 1812): Langlo's (1837),Battl. s 
 of I'orodinu (1812), .Smolensk 
 1812). and Castella (1812). —
 
 16. VERS.MI.LES. 
 
 317 
 
 6th Room (1809-1810): Meynicr 
 (I8l2j, "Napoleon in the island 
 of Loban after tlie battle of 
 Easling, J809. Bellang^ (1837), 
 Battle of Wagram, 1809, a 
 bird's-eye view. Gautherot^ "N'a- 
 poleon wonnded on the battle- 
 field ofRatisbon, 1809 (engrav- 
 inirs from this picture are com- 
 mon). - 7th Room (1807-1809): 
 Hersent (1810). Taking of Lands- 
 hut, 1809. Thhenin (1811), Tak- 
 ing of Ratisbon, 18fi9. Tmmnij, 
 The imperial euai-ds entering 
 Paris 1807. — 8th Room (1806, 
 1807): Camus (1808), 2s\'ipoleon 
 at the tomb of Frederick the 
 Great at Potsdam, 1808. Vaf- 
 flard (1810), Destruction of the 
 monument at Rossbach, where 
 the French had been defeated 
 bv Frederick the Great in 1757. 
 — 9th Room (1800-1805): Tau- 
 nrip. The French entering Mu- 
 nich, 1805. — 10th Room (1797- 
 1800): Htnnequin^ Battle of the 
 Pyramids, 1798. Colson, Napo- 
 leon entering Alexandria, 1798. 
 Langlois, Battle of Benouth, 
 1799. 
 
 At the top of the stair- 
 case ascending from the 
 vestibule of the chapel, we 
 turn to the right into the — 
 
 Main Edifice. The 
 rooms on the N. side of the 
 first floor of the central part 
 of the palace formed part of 
 the Grands Appartements du 
 Roi, which also included 
 several rooms to the S. of 
 theCourdeMarbre, parallel 
 with the Galerie des Glaces 
 (seep. 318). The walls are 
 hung with battle-pieces by 
 Van derMeulen and his pu- 
 pils, illustrating the cam- 
 paigns of Louis XIV. 
 
 I. Room, with the Apo- 
 theosis of Hercules on the 
 ceiling, by Lemoine. — 
 II. Room, with ceiling- 
 painting by Houasse. em- 
 blematical of royal abund- 
 ance or magnificence. 
 
 
 i^^SiJg 
 
 a.a-2 

 
 31 S IG. VERSAILLES. 
 
 Ill k IV. Rooms (to the left of the last, see Plan) , closed at present 
 for restoration. They contain drawings in crayon ('youaches') by Van 
 Blarenberyhe. chiefly irom the campaigns in tbe Kethei-lands in 1745-46. 
 
 — V. Room, containing large pictures by Lizard and Alaux referring to 
 tbe States General, and a frieze by Boulangei\ representing the Procession 
 of the States General to the Church of Xotre-Dame at Versailles on 4ih 
 May, 1789. On the wall, tapestry with Apotheosis of Homer, designed 
 by Ingres. 
 
 VI. Room (adjoining R. II), with a ceiling-painting by Houasse^ 
 representing Venus subduing all the other deities. Statue of 
 Louis XIV. by J. Warin. — VII. Room, with ceiling-painting by 
 Blanchard^ representing Diana as goddess of hunting and naviga- 
 tion. On the vaults paintings by Audran, Lafos^e^ and Sarrazin. 
 Busts of Louis XIV. by Bernini^ and other busts of the royal family. 
 
 — VIII. Room, with a fine ceiling adorned with paintings by Aud- 
 ran (Mars iu a chariot drawn by wolves), Houasse (Horrors of war), 
 and Jouvenet (Benefits of war). — IX. Room, with ceiling by J. B. 
 de Champagne; Mercury in a chariot drawn by two cocks. — 
 X. Room, with ceiling by Ch. de Lafosse: Apollo in a four-horse 
 chariot, escorted by the Seasons, 
 
 We now enter the *Salon de la Gubrbe (PI. B), so called from 
 its allegorical ceiling-paintings by Lebrun: in the cupola, France, 
 hurling thunderbolts and carrying a shield with a portrait of 
 Louis XIV; in the spandrels, Bellona, Spain, Germany, and Hol- 
 land cowering in terror. The walls are lined with parti-coloured 
 marbles and embellished with bronze reliefs. Over the fire-place 
 is a huge equestrian relief of Louis XIV., by Coyzevox. 
 
 *Galerib DBS Glacbs or DE Louis XIV., a superbly-decorated 
 hall, 240 ft. long, 35 ft. wide, and 42 ft. high, commanding a beau- 
 tiful view of the garden and its ornamental sheets of water from 
 the seventeen large arched windows , opposite which are as many 
 mirrors in gilded niches. The chief decorations are the paintings, 
 executed by Charles Lehrun, and celebrating the achievements of 
 Louis XIV. in the pompous and heavy style of the 17th cent., with 
 all its mythological machinery. Above the door from the Salon de 
 la Guerre, Alliance of Holland with Germany and Spain (1672); 
 at the other end, Holland abandoning this alliance and accepting 
 peace (1678). On the ceiling , beginning from the Salon de la 
 Guerre: side next the garden. Passage of the Rhine, Land and 
 naval armaments ,- on the other side, Louis ordering four fortresses 
 in Holland to be attacked, 'Le roi gouvernant par lui-meme', Re- 
 solution to make war on Holland, Franche-Corate conquered for the 
 second time, Capture of Ghent. There are also eighteen medallions. 
 The four statues in the niches are modern; to the left, Venus, by 
 Dupaty, Minerva, by Cartellier; to the right, Apollo and Mercury, 
 by Jacquot. — King William of Prussia was proclaimed German 
 Emperor in this hall in 1871. — Salon de la Paix , etc., see 
 p. 319. 
 
 We may now inspect the apartments parallel with the Galerie
 
 16. VERSAILLES. 319 
 
 des Glares, wliicli, with two otliers 1)011111(1 them by which they wore 
 entered (PL 1-5), also belonged to the 'Grands Appartements' of the 
 king. The Salle du Consbil (PL 5), to the N., contains a time- 
 piece with very ingenious mechanism, by Morand (1706), and a 
 handsome table. 
 
 The Petits Appartements du Roi, to the left, are not very interest- 
 ing. They are shown by one of the custodians (fee), i. Bedchamber of 
 Louis XV., in which he died on 3Iay 10th, 1774. This room contains a 
 model o f the statue of Louis XV. erected in the Place de la Concorde 
 (p. 80) and a large picture of his coronation by Signol. — 2. f^alon des 
 Pendules containing two astronomical clocks by Passement, and an Eu'j;- 
 lish cloc'k taken at Algiers in 1830. — 3. To the left. Cabinet des Chasses, 
 with a frieze of sporting scenes; adjoining is a court where part of the 
 game w as given to the hounds. — 4. Dining Room. 5-7. Cabinets, used for 
 ditferen* purposes. — 8. Lihrary of Louis XVI. — This room is adjoined 
 by RK. III-V of the Grands Appartements (p. 318). 
 
 Adjoining the Salle du Consell is the Bedchamber of Louis XIV. 
 (PL 4), with gorgeous mural decorations, and containing the richly 
 adorned bed of the king, who died in it on Sept. 1st, 1715. No 
 one was allowed within the railing in front of the bed, without the 
 express permission of the king. The furniture, in tortoise-shell and 
 gilded bronze, was made by Charles Andree Boule or Buhl, court- 
 cabinet-maker under Louis XIV. (1642-1732), whose name has 
 since been applied to this kind of work. — We now enter the — 
 
 Salle de l'CEil de Bceuf (PL 3), so called from its oval win- 
 dow, where the courtiers used to await the Hever'' of the king, and 
 celebrated as the scene of numerous intrigues. One of the paint- 
 ings, by Nocret, represents Louis XIV. and his family with the 
 attributes of the pagan deities. 
 
 A door (closed; apply to an attendant) to the left of that commun- 
 icating with the Galerie des Glaces leads to the Petits Appartements de la 
 Reine. Most of the original furniture has disappeared. The exit is in the 
 1st antechamber (PI. 2). 
 
 To the left are the Premiere Antichamhre and the Salle des 
 Gardes (PL 2, 1), containing pictures of battles. Farther on is the 
 Escalier de Marhre (PL A), which formed the access to the Grands 
 Appartements from the Cour Eoyale. 
 
 We now return to the Galerie des Glaces, adjoining which , to 
 the left, is the *Salon de la Paix. (PL C), with ceiling-paintings 
 by Lebrun. — The handsome rooms on the S. side of the main edi- 
 fice, overlooking the garden, are the — 
 
 Grands Appartements de la Reine (Planl-VIII), the de- 
 corations of which are more interesting than the pictures. Room I., the 
 C'HAMBRE de LA Reine, coutains portraits by Nattier and Mme. Lebrun.^ 
 atid paintings in grisaille on the vaults, hy Boucher. — Room IL (Sa- 
 lon DE LA Reine). Ceiling-painting by Michel Corneille, represent- 
 ing Mercury as the patron of the arts and sciences. These two rooms 
 were successively the bedroom and drawing-xoom of Maria Theresa, 
 Maria Lesczinska, and Marie Antoinette. — Room III., the Salon 
 DU Grand Couvert ox Antichambre de la Reine, has flue ceiling- 
 decoration, after LcSrun, representing Daxius at the feet of Alexan-
 
 320 16. VERSAILLES. 
 
 der. Among the pictures is (at the other door) a portrait of Philip 
 of France, Duke of Anjou, proclaimed King of Spain as Philip V. 
 (1700), painted by Gerard in 1834. — In Room IV., the Salle 
 DBS Gardes de la Reinb, the walls of which are lined with marhle, 
 are a statue of Louis XV., hy Cortot, and several interesting ousts. 
 This room was invaded by the mob in 1789, when three guards 
 sacrificed themselves to save the queen. The ceiling-paintings by 
 Noel Coypel represent Jupiter accompanied by Justice and Peace, 
 Ptolemy Philadelphos , Alexander Sever u.s , Trajan , and Solon. 
 Doors in this and the following room lead to the Escalier de Marbre 
 (p. 322). — Room V., the Salle du Sacre de Napoleon, formerly 
 contained the picture of the Coronation of Napoleon, by David 
 (now in the Louvre), here replaced by BolVs painting of the Cent- 
 enary Festival of the States General at the Bassin de Neptune 
 (p. 327) in 1889. Among the other paintings are: David (1810), 
 Napoleon distributing Eagles to the Army in 1804; * 6^7-05(1806), 
 Battle of Aboukir (1799). In the centre of the room : *Last mo- 
 ments of Napoleon I., by Vela, a sitting figure in white marble. — 
 Room VI.: Campaigns of 1792-1793: Lami (1836), Battles of Hond- 
 schooten and Watignies. — Room VIL : Campaigns of 1793-1794, 
 to the left (not always shown): Bellange (1836), Battle of Fleurus 
 (1794). 
 
 This room was one of the Apiyartements de Mme. de Mamienon. A small 
 dnor to the left leads to three Cabinets, containing pictures illustrating 
 the campaigns of 1794-96. They may also be entered from the other side, 
 from tlie landing of the Escalier de Marbre CPl- A; p. 319). 
 
 Room VIII. (1792), beyond VI: Portraits of celebrated soldiers, 
 represented according to the rank they held in 1792. Among the 
 large paintings here are two by L. Cogniet: tlie Cannonade of Valmy, 
 and Departure of the National Guard to join the army. Then, after 
 H. Vernet, Battle of Jemmapes (1792). In the centre of the room is a 
 columnin Sevres porcelain, embellished with paintings, and crowned 
 with a statue of Victory, which was presented by the city of Paris 
 to Napoleon I. , on the occasion of his marriage with Marie Louise. 
 
 A few steps to the left ascend to the eight Salles des Aqdakelles des 
 Campagnes de 1796 a 1814 (PI. D ; not always shown). The water-colours 
 here, executed by French staff-officers, are interesting on account of the 
 subjects alone. 
 
 South Wing. — Quitting Room VIII, we cross the landing of 
 the Escalier des Princes (PI. E), and enter the — 
 
 **Galee,ie des Batailles. This is a magnificent hall, 132 yds. 
 in length, and 14 yds. in width, and is divided into two parts. It 
 contains 34 admirable compositions by modern painters, and busts 
 of 80 celebrated warriors who have fallen in battle , their names 
 being inscribed on tablets in the corners and window-recesses. 
 
 Left: *Ary Scheffer {iS37), Battle of Tolbiac, near Cologne (496); 
 * Steuben (1836), Battle of Tours (732). In front of the columns, 
 *A. de Neuville, Battle of Champigny (1870), fragment of a pano- 
 rama, to be looked at from a distance. *Ary Scheffer (1836), Sub-
 
 16. VERSAILLES. 321 
 
 mission of the Saxon Duke Wittekind to Charlemagne (785) ; Schnetz, 
 Count Eudes defending Paris against the Normans (885-886); 
 *Horace Vernet, Philip Augustus victorious over the Barons at Bou- 
 vines (1214); Eug. Delacroix (1837), Battle of Taillebourg (1242); 
 Larivilre, Battle of Mons-en-Puelle (1304); Henri Scheffer (brother of 
 Ary, 1836), Battle of Cassel in Flanders (1328); Larivilre, Battle 
 of Cocherel (1364) ; H. Scheffer^ Joan of Arc relieving Orleans (1429). 
 In front (provisionally), P. Jobert, The Russian squadron arriving at 
 Toulon in 1893. — Then, Larivilre^ Battle of Castillon (1453); Feron^ 
 Charles VIII. entering Naples (1495); Fragonard^ Francis I. defeat- 
 ing the Swiss at Marignan (1515); Picot, The Due de Guise tak- 
 ing Calais from the English (1558) ; Gerard, Henri IV entering Paris 
 (1594); Heim, Conde defeating the Spaniards at Rocroy (1643); 
 Franque, Conde defeating the Spaniards at Lens (1648) ; Lariviere, 
 Siege of Dunkirk (1793). 
 
 At the end : Alaux (1837), Capture of Valenciennes (1677). In 
 front, A. Morof, Cuirassiers'charging at the battle of Worth (1870). 
 — Adjoining room, see below. 
 
 On the other side, in returning : /)ei;ma , Battle of La Marsaille 
 (1693); Alaux, Battle of Villa viciosa, the Due de Vendome defeats 
 the Imperial army under Starhemberg (1710) ; Marshal Villars defeat- 
 ing Prince Eugene at Denain (1712). *j?. Fernef (1828), Battle of 
 Fontenoy, in which the English were defeated by Marshal Saxe(l 745); 
 Couder, Battle of Lseffelt or Lawfeld, near Maastricht (1747) ; Cou- 
 der , Siege of Yorktown in America, conducted by Generals Ro- 
 chambeau and Washington (1781) ; Mauzaisse , Battle of Fleurns 
 (1794). — *Philippoteaux , Battle of Rivoli, Bonaparte defeats the 
 Austrians (1797); Bouchot, Battle of Ziirich (1799); H. Schopin, 
 Battle of Hoheiilinden (1800) ; *Gerard, Battle of Austerlitz (1805). 
 Vernet, Napoleon addressing the Guards before the Battle of Jena 
 (1806); Battle of Friedland (1807); *Battle of Wagram (1809). 
 
 The following Salle de 1830 (closed at present) contains pictures 
 referring to the 'July Monarchy'': — Larivilre, Arrival of the Duke of 
 Orleans at the Place de rHotel-de-Ville, where he is received by Lafayette, 
 31st July, 1830. Girard, The declaration of the deputies read, and the 
 Duke of Orleans proclaimed 'lieutenant-gene'ral du royaume'. Ary Scheffer, 
 Louis Philippe at the Barriere du Trone, receiving'^his eldest son the Due 
 de Chartres, afterwards Due d'Orleans , jat the head of his regiment of 
 hussars, 4th Aug., 1830. Court, The King distributing colours to the Na- 
 tional Guard in the Champ-de-Mars (p. 283). Among the other paintings 
 temporarily placed here : J. 0. Vibert., Apotheosis of Thiers (d. 1877). 
 
 Parallel with the Galerie des Batailles is a Scdlptcke Gallert, con- 
 taining statues and busts of eminent persons of the 17th and 18th centuries. 
 Most of these are by B. Prieur, G. Gudrin, Bra, Houdon, Monnot, Bridaii, 
 Dejoux^ Mouchy ^ Lemaire, Roland, Fajou, Duret, A. Dumont, Seurre^ and 
 other modern sculptors. 
 
 We may now return to the Escalier des Princes, where, in a 
 recess to the right, is a-beantiful group of the Three Graces, by 
 Pradier. Then a statue of Napoleon I., hy Cartellier. Thence we 
 may descend, either to leave the palace or to visit the S. wing and 
 central part of the groundfloor. It is, however, preferable to pro- 
 
 Baedeker. Paris. 12th Edit. 21
 
 322 16. VERSAILLES. 
 
 ceed first to the second floor. To do so we return to the Salle du 
 Sacre (PI. V ; p. 320), cross it obliquely to the door in the corner 
 (PI. F), and thus regain the Escalier de Marbre (PI. A). The Escalier 
 de la Reine ascends hence to the — 
 
 Second Floor. 
 
 Only some parts of the palace have a second floor or 'attique'. Most 
 of the rooms are also occupied by paintings, hut are at present under- 
 going re-arrangement. The Attique du Nord has already been described 
 (p. 317). 
 
 The Attique Chimat, the central part, is entered by the second door 
 at the head of the staircase (PI. p. 317; a k). On the landings are busts 
 of modern celebrities. — 1st Room (PI. a). Selection of portraits of various 
 epochs (including those of Charlotte Corday and Mme. Roland), by Nattier 
 (12), Largilliere, Drouais , Boucher , Lebrun , Tocqtii, Rigaud (Boileau), etc. 
 Also two views of the gardens of Versailles , by Hubert Robert. — In an 
 adjoining room are some good paintings by Pkilippoteaux., Bcrgeret., Rdvoil, 
 and Biard. — 2nd Room (PI. b). Portraits of members of the Orleans 
 family, by Winterhalter (d. 1873) and Ingres. — We now pass through 
 the door at the end. — 3rd Room (PI. c). To the right, Bonnat, Thiers 
 as President of the Republic ; C. de Montalivet, the senator. Then other 
 celebrities of the 19th cent.: Delacroix, Ingres, Aiigier, Balzac, Percier, 
 De Musset, Aurelles de Paladines, Etex (on the left side). Desaugiers, 
 Cousin, Alex. Dumas the Elder. Flandrin, Victor Hugo, Delphine Gay, 
 Lamartine (by Gerard), etc. In the centre, a Sevres vase, with a portrait 
 of Thiers. Other paintings : to the left, Philippoteaux, Battle of Montebello 
 (1800); Bellangi, Battle of the Alma (1854). To the right, Bellangi., Capture 
 of the Mouzaia (1840) :, Isabey., Body of Napoleon I. brought to France ; at 
 the end, B. Ulmann, Thiers at a meeting of the Chamber of Deputies. — 
 4th and 5th Rooms (PI. d, e). Portraits of the Bonapartes, by Oros, E. 
 Scheffer.^ Hibert.^ Oirard., Robert- Lefkvre., and Dubufe. To the right of the 
 fireplace : ^David.^ Bonaparte, First Consul , crossing the St. Bernard in 
 1800 (an imaginative work). Busts and other sculptures. — Adjoining this 
 room are six cabinets containing portraits of eminent Frenchmen, small 
 paintings of events in the reign of Louis Philippe, etc. In the 6th. : H. 
 Vernet., The Duke of Orleans (Louis Philippe) setting out for the Hotel de 
 Vine (1830). 
 
 We now regain the staircase-vestibule. Opposite is a door leading to 
 the Attique dd Midi, a series of rooms which contains a Gallery of Por- 
 trats of celebrated persons from the 13th cent, downwards (now under- 
 going alteration). In one of the rooms are views of royal residences, some 
 of which have been destroyed or altered. 
 
 We now return to the first floor, and descend by the Escalier des 
 Princes (PL E ; p. 320) to the groundfloor. 
 
 Ground Floor of the S. Wing and Main Edifice. 
 
 We first visit the rooms to the right, which contain the Galerib 
 DB li'EMPiRB, consisting of 13 saloons (PI. p. 315; 1-13), beyond the 
 passage leading to the Cour des Princes in the garden. Many of the 
 pictures and sculptures in these rooms were removed for the sittings 
 of the Chamber of Deputies in 1871-79, and the arrangement of the 
 gallery since then has not yet been completed. 
 
 1st Room (1796). Unimportant works. — 2nd Room (1796-1797). Lelhitre 
 Conclusion of peace at Leoben (1797). — 3rd Room (1798). Girodet-Trioson, 
 Revolt in Cairo. Guirin., Napoleon pardoning the rioters at Cairo. — 4th 
 Room (1802-1804). Jlennequin, Napoleon distributing the crosses of the 
 Legion of Honour in the camp at Boulogne (1804). — 5th Room (1804).
 
 16. VERSAILLES. 323 
 
 Sirangeli, Napoleon at he Louvre after his coronation, receiving deputa- 
 tions from the army. — 6th Room (1806). Small pictures of scenes from 
 the first campaign of the Grande Armee. — TtliKoom. Salle des Pas-Perdnt 
 of the Ghambre des Ddputis, formerly containing busts of members of the 
 imperial family. — 8th Room (1805). Meynier, Marshal Ney restoring to 
 the 76th Regiment of Foot its colours found in the arsenal at Innsbruck. 
 Debret, 'Napoleon rend honneur au courage malheureux', the words used 
 by the emperor in saluting a waggon containing wounded Austrians in Italy. 
 
 — 9th Room (1805). Oiordet-Trioson, Kapoleon receiving the keys of "Vienna. 
 Oros^ Interview of Napoleon with the Emperor Francis I. of Austria during 
 the bivouac on the day after the battle of Austerlitz. 3rd Dec, 1805. 'Je 
 vous recois dans le seul palais que j'habite depuis deux mois', were the 
 words with which Napoleon addressed Francis. 'Vous tirez si bon parti 
 de cette habitation, qu'elle doit vous plaire', was the reply. — 10th Room 
 (1806, 1807). Meynier, The French army entering Berlin, 27th Oct., 1806. 
 Mauzaisse (after Gros), Napoleon on the battle-field of Eylau (1807). Berthon, 
 Napoleon receiving the deputies of the senate in the palace at Berlin (i&Je). 
 
 — ilth Room (1807). Gotse, Interview of Napoleon with the King and 
 Queen of Prussia, at Tilsit. Debvet, Napoleon presenting a decoration to 
 a soldier of the Russian army. — 12th Room (1807-1808). C. Vernet, Na- 
 poleon before Madrid (1808). Regnault , Marriage of Prince Jerome with 
 the Princess Frederica of Wurtemberg. Gros^ Capitulation of Madrid (1808). 
 
 — 13th Room (1809, 1810). Debret, Napoleon adressing his German troops 
 before the battle of Abensberg (1809). Rouget, Marriage of Napoleon with 
 the Archduchess Marie Louise of Austria, 1810. 
 
 Salle de Marengo (1800), so called from a picture by C. Vernet, now 
 removed. Thivenin, The French army crossing the St. Bernard (1800). 
 
 The adjoining Salles des Marines (I-IV) are now occupied by the 
 President of the Chamber of Deputies and are not shown to the public. 
 
 The Gallery of Sculptures, parallel with the Galerie de TEmpire, 
 chiefly contains Statues and Btists of celebrities of the first republic and 
 empire, and generals who fell in battle. 
 
 To the right of this gallery is the former Chambre des DfipuTiiS, 
 containing, above the chair of the president, a large painting by Couder : 
 the Opening of the States General on 5th May, 1789. This hall was con- 
 structed in 1875 out of an interior court of the palace, and is still used 
 for the Congress, i.e. the joint meeting of the senate and the chamber 
 of deputies. It may be visited on application to a custodian (fee; entrance 
 in the Cour des Princes, see below). 
 
 We now leave the S. Wing hy the Cour des Princes (see Plan, 
 p. 315). Those who are fatigued may omit the central part of 
 the groundfloor, which is comparatively uninteresting, and pass 
 directly into the gardens (p. 324). 
 
 Central Part of the Ground Floor. We enter by a door opposite the 
 exit from the S. wing. The series of rooms devoted to the Admirals, Con- 
 stables, and Marshals of France (PI. I-IX and 1-8) is at present undergoing 
 re-arrangement ; but probably the greater part of the important series of 
 portraits here, most of them of historical interest only, will be allowed 
 to remain. 
 
 The first rooms being closed, we traverse several vestibules, and reach 
 the entrance to the Nouvelks Salles, to the right of the Escalier de Marbre, 
 or at the second angle to the left in the Cour Royale (comp. the Plan, 
 p. 316). — The vestibules contain Sculpfxires and Casts., including two 
 statues of the Empress Josephine, by Vital Duhray and Lagrange, and one 
 of Elisa Bonaparte, by BartoUni. — In the corridor before the 'Nouvelles 
 Salles' are Busts of artists of the 19th cent., etc. The next room and 
 others adjoining contain views of Royal Residences. The Recent Acquisitions 
 of the museum are exhibited in the following room , to the left of the 
 vestibule of the Cour de Marbre. Among these are: Bronze statue of 
 Napoleon I., by Seurre; bronze half-length figure of Louis XII., by Lor. 
 da Mugiano; silver statuette of Henri IV, hi Bosio ; model of the statue 
 
 21*
 
 321 16. VERSAILLES. 
 
 of Henri IV on the Pont-Neuf, 'by Lemot; silver statuette of Bonaparte 
 at Brienne, by Rochet. — The adjoining two rooms next the garden (VIII 
 & IX on the Plan, p. 316) are hnng with Portraits of different periods, by 
 Mich. Vanloo , Mme. Lebrun., Largillihve., Naloire (R. VIII), Nattier^ Tocqui., 
 Drouais , and Rigaud. A fine piece of Gobelins tapestry (portrait of 
 Louis XV., after M. Vanloo) in also shown here. 
 
 In the middle is the Galekie Louis XIII. , containing casts and several 
 large paintings. Schnetz., Battle of Rocroy (1643). ZUgler, Louis XIV. receiving 
 satisfaction from Pope Alexander VII. through Cardinal Chigi in 1664. 
 Mauzaisse (after Testelin and Van der Meulen), Surrender of Cambray (1677). 
 
 On the other side of the vestibule are four Salles de Tableaux-Plans, 
 with representations of sieges and conquests of the years 1627-1814. 
 
 We return to the Galerie Louis XIII. and thence continue onr tonr of 
 the groundfloor, through rooms containing portraits of French Marshals 
 and other Famous Soldiers. At the end, to the right, are three vestibules 
 with statues and busts of French Generals killed in battle. 
 
 We leave these vestibules near the chapel, beside the entrance, and, 
 turning to the left, enter the gardens. 
 
 The *Gardens (comp. Map, p. 310), at the "back of the Palace of 
 Versailles, with their small park and ornamental sheets of water, 
 are partly at least in the same condition as when first laid out by 
 Le Notre (d. 1700), the most famous landscape-gardener of his time. 
 Some authorities, however, ascribe them to Boisseau. A more artifi- 
 cial style can hardly be conceived. The chief object seems to have 
 been to subject nat\ire to the laws of symmetry, and to practise geom- 
 etry, architecture, and sculpture upon lawns, trees, and ponds. On 
 the other hand the grounds are interesting on account of their quaint, 
 solemn, old-fashioned appearance, which harmonises admirably with 
 the heavy and formal architecture of the palace, and is in perfect keep- 
 ing with the notions of art which prevailed in the time of Louis XIV. 
 The greater part of the grounds, which are not very extensive, may 
 be surveyed from the terrace of the palace. They are adorned with 
 numerous statues and vases, some of which are copies from cele- 
 brated antiques, and others originals of the 17th and 18th centuries. 
 
 The gardens were kept with greater care under Louis XIV. than 
 at present, though some restorations have recently been taken in 
 hand; most of the metal statues were gilded; there were more 
 ornamental ponds and works of art; and the larger sheets of water 
 were animated by flotillas of boats of different countries, of which 
 the names of the Allee des Matelots and Allee de la Petite-Venise 
 are now the only traces. 
 
 Several of the most interesting 'bosquets' are closd in winter (ist 
 Nov.-30th April); these are marked below by the words 'in summer'. — 
 The gardens are shut at dusk, a bell being rung 1/4 hr. previously. 
 
 The playing of the *Gkandes Eaux always attracts vast crowds of 
 spectators. This imposing spectacle, which it costs 8-10,000 fr. 
 to exhibit , generally takes place on the first Sun. of every month 
 from May to October, and frequently also on the third Sun. in 
 June, July, and August, and is always advertised long beforehand 
 in the newspapers. The Petites Eaux play on Sun. and Thurs. from 
 May to October. The best way to avoid the crush is to proceed to
 
 16. VERSAILLES. 325 
 
 Versailles early, and to leave it immediately after the playing of 
 the fountains, as most of the spectators remain till a later hour. 
 The fountains play between 4 and 5 o'clock, but not simultaneously. 
 
 The order is as follows (marked by a red line on the Plan, p. 310). 
 First the Petites Eaux — viz. those of the Bastin de Laione, the "Salle 
 des Rocailles (PI. 1), the ^Bosquet de la Colonnade (PI. 2), the Bastin d'Apol- 
 lon, the Bastin dEncelade (PI. 3), and the Bains d'Apollon (PI. 5). Next 
 the Grandes Eaux, which begin to rise about 5 o'clock, — viz. those of 
 the All^e d''Eau, the Bastin du Dragon., and the Batsin de Neptune. The 
 jets of these are about 74 ft. in height, but they do not play for more than 
 20 minutes. A good place should if possible be secured in time. The 
 visitor unacquainted with the grounds had better follow the crowd. 
 
 Among the principal sculptured groups are those in the Parterre 
 d'Eau, in front of the palace, and the Parterres du Midi and du Nord 
 [p. 327), to the right and left. Beneath the parterres are cellars, 
 15 ft. in height, with the pipes used to feed the various sheets of water. 
 
 On the terrace in front of the palace are two vases, that to the N. by 
 Coyzevox ^ that to the S. by Tuby ., with reliefs referring to the defeat of 
 the Turks by the imperial troops aided by Louis XIV., and to Louis XIV. 's 
 victories in Flanders. Next the palace are bronze statues of Bacchus, 
 Apollo, Antinous, and Silenus. These and the others mentioned below 
 without the sculptors' names are copies from the antique. The two basins 
 in the Parterre d'Eau are surrounded by fine groups and by statues of 
 river-gods, by Goyzevox, Le Hongre., Regnaudin, Tuby, etc. 
 
 Near the steps descending to the lower part of the garden, are 
 two large basins, the Fontaine de Diane to the right, and the Fon- 
 taine du Point du Jour to the left, both adorned with groups of ani- 
 mals in bronze and other good sculptures. To the right : Two lions 
 fighting with a boar and a wolf, by Van Cleve; Noon or Venus, by O. 
 Marsy ; Evening or Diana, by Desjardins ; Air, by Le Hongre. To the 
 left: Bear and tiger, Stag and dog, by Houzeau; Daybreak, by O. 
 Marsy ; Spring, by Magnier ; Water, by Legros. 
 
 This point commands a survey of the huge, monotonous facade 
 of the palace, 456 yds. in length. Beyond the Parterre du Midi two 
 flights of marble steps, 103 in number, and 22 yds. in width, descend 
 to the Orangery. The orange-trees , about 1200 in number, are 
 dispersed throughout the gardens in summer. One of them is said 
 to date from 1421. Farther on is the large Piece d'Eau des Suisses, 
 excavated by the Swiss guards of Louis XIV. At the end is a poor 
 equestrian statue of Louis XIV., by Bernin, transformed by Girardon 
 into a Marcus Curtius. Beyond the pond extends the Bois de Salary . 
 
 The former Potager or vegetable-garden, near the Piece des Suisses, on 
 the side next the town was converted in 1873 into a School of Horticulture. 
 
 At the foot of the steps which descend opposite the Parterre 
 d'Eau is situated the large ^Bassin de Latone, constructed by 
 B. Marsy, consisting of several steps of red marble, on which 
 there are gilded frogs, lizards, and tortoises spouting water against 
 a fine group in white marble of Latona with Apollo and Diana. 
 According to the myth, Latona having besought Jupiter to chastise 
 the peasants of Lycia for having refused her a draught of water, 
 the god metamorphosed them into frogs (Ovid's Metamorph. vi. 
 313-381).
 
 326 16. VERSAILLES. 
 
 The Statues in the Pourtour de Latone are among the finest in the gar- 
 den. On the right as we approach from the palace is a singular statue 
 representing Melancholy, by La Perdrix^ the book, purse, and bandaged 
 mouth being allusions to the proneness of scholars, misers, and taciturn 
 persons to this mood. Then Antinous, Captive Barbarian, a Faun, Bacchus, 
 Faustina as Ceres, Commodus as Hercules, Urania, and Ganymede. In 
 front, Nymph with a shell, after Coyzevos. On the other side, as we 
 return towards the palace, are the Dying Gladiator, Apollo Belvedere, Urania, 
 Mercury, Antinous, Silenus, Venus Callipygos, Captive Barbarian, Fire, 
 and Lyric Poetry. 
 
 To the right and left are bosquets with other basins (see below). 
 We proceed straight on by the Tapis-Vert^ a long lawn leading to the 
 Bassin d'ApoUon (p. 327). 
 
 Next the bosquets are marble Hermse. Before the Tapis- Vert: to the 
 right, Papirius and his mother, Laocoon; to the left, Castor and Pollux, 
 Arria and Psetus. — Statues at the sides of the Tapis -Vert: to the right, 
 Roguery, by Leconte; Juno, Hercules, and Telephus; Venus de Medicis; 
 Cyparissa, by Flamen ^ Artemisia with the ashes of Mausolus, by Lefevre 
 and Desjardins. To the left (beginning at the top). Fidelity, by Lefevre; 
 Venus quitting the bath ; Faun and kid ; Dido on the funeral pyre, by 
 Poultier : Amazon; Achilles in the dress of a woman, by Vigier. — At the 
 Bassin d'Apollon to the left, Ino and Melicertes, by Granier ; to the right, 
 Aristaea and Proteus, by Slodtz; then Hermee, Silenus (Faun and Child 
 from the antique), and Bacchus. 
 
 The Bassin d'Apollon^ with a group of the sun-god in his chariot, 
 environed with tritons, nymphs, and dolphins [popularly known as 
 the 'Char Embourbe'), is one of the chief of the 'Petites Eaux' 
 (p. 324). The figures, by Tuby, after Lebrun, are in lead. — The 
 cruciform Canal to the W. of the basin of Apollo , about 1 M. in 
 length, extends to near the Grand Trianon (p. 328). 
 
 To reach the Grand Trianon hence we follow the avenue immediately 
 to the right of the railing; the other is not open all the way. The statues 
 between the basin and the canal are much mutilated and of little interest 
 
 There are several other basins and groups of statuary in different 
 parts of the grounds, which are worthy of a visit when the foun- 
 tains play. On the S. side , on our left as we leave the Bassin de 
 Latone, is the Quinconce du Midi (concerts given here in summer; 
 terminal figures after Poussin). A little farther up is the Salle de 
 Bal or des Rocailles (PI. 1 ; in summer"), with a cascade and a group 
 of Cupid and a Satyr. In the broad avenue descending hence is a 
 basin with a Bacchus and small satyrs , in lead , by the brothers 
 Marsy. On our left is the Bosquet de la Reine (in summer), where 
 the affair of the diamond necklace is said to have taken place. Far- 
 ther down, in the broad side-walk, is a basin with Saturn and chil- 
 dren, by Girardon. To the left is the Bassin du Miroir, with two 
 Yestal Virgins , an Apollo , and a Venus (all restored antiques). 
 Then the Bosquet or Jardin du Roi, with the Farnese Hercules and 
 Flora, etc. On the other side of the AUee de Saturne, the Salle des 
 Marronniers (PI. 2), with statues of Antinous and Meleager, and 
 antique busts. Still nearer to the Tapis- Vert is the *Bosquet de 
 la Colonnade (PL 3 ; in summer), containing several basins of marble 
 beneath a marble colonnade of 32 columns and adorned in the centre 
 with the Rape of Proserpine, in marble, by Girardon, after Lebrun.
 
 16. VEESAILLES. 327 
 
 On the N. side, or to the left of the Tapis Vert as we re-ascend, 
 are the Bassin d'Encelade (PI. 4), where the giant (by G. Marsy), 
 half- buried beneath Etna, spouts forth a jet of water 74 ft. in 
 height ; and the Obelisk (PI. 4), a fountain deriving its name from 
 the form of the Cent Tuyaux, or hundred jets of water (recently 
 restored). In the walk ascending in the middle is a basin with 
 Flora and Cupids, by Tuby. Next the Tapis-Vert lies the Bosquet 
 des Domes (in summer), from which the statues have been removed 
 during the restoration of the basin. Farther up is the Quinconce du 
 Nord, with terminal figures after Poussin. The second basin in the 
 walk ascending in the middle has a Ceres and Cupids, by Regnaudin. 
 
 The *Bosquet des Bains d'ApoUon (PI. 5 ; in summer) , to th3 
 right, the most interesting of all, was remodelled in 1778 after 
 Hubert Robert. A grotto in it contains a group of Apollo attended 
 by nymphs, by Girardon and Regnaudin. The two groups of the 
 Steeds of Apollo, at the sides, are by Guerin and the brothers Marsy. 
 
 The Etoile, to the left of the walk and almost opposite this bosquet, 
 has four antiques: Mercury, Urania, a Bacchante, and Apollo; a Ganymede 
 after the antique; and a Minerva by Bertin. In the Rond-Vert, higher up, 
 are four antiques: Faun, Pomona, Ceres, and Hygieia. 
 
 We now return to the Parterre du Nord, beside the Parterre 
 d'Eau (p. 325). It contains two small basins, and a fountain (La 
 Pyramide), by Girardon, near the Allee d'Eau (see below). 
 
 At the staircase, at the top, are a Crouching Venus and a Knife Grinder, 
 bronze copies of the antique. By the Bosquet d'Apollon, beginning at the 
 fountain of Diana (p. 325) at the top : Europe, hj Mazeline ; Africa, by Cornu; 
 Night, by Raon; The Earth, by Masson ; Pastoral Poetry, by Granier. At 
 the foot, and skirting the parterre: Five terminal figures; then. Autumn, 
 by Regnaudin; America, by Guirin; Summer, by Hutinot; Winter, by 
 Girordon; Satiric Poetry, by Buyster; Asia, by Roger; Phlegm, by Les- 
 pagnandelle ; Epic Poetry, by Drouilly. 
 
 Beyond the Parterre du Nord, to the N. , is another sloping 
 parterre, at the beginning of which is the Bath of Diana, a square 
 basin, with lead-reliefs of *Diana and her nymphs bathing, by 
 Girardon; adjacent are statues of Choler, by Houzeau, and a Flute 
 Player, by Jouvenet. Then the Allee d'Eau or des Marmousets, 
 consisting of 22 groups, with three children in each, in basins, and 
 supporting goblets whence the water descends into the Bassin du 
 Dragon (the dragon by the brothers Marsy, restored in 1890 by Tony 
 Noei), and thence to the *Bassin de Neptune , the largest in the 
 grounds. The latter, restored in 1889, is the fountain that plays 
 last; evening displays, with coloured lights , are sometimes given 
 here. It is adorned with live groups in metal : Neptune and Amphi- 
 trite, by the elder Adam; the Ocean, by Le Moyne; Proteus guard- 
 ing the flocks of Neptune, by Bouchardon, and two dragons, each 
 bearing a Cupid, by Girardon. When the 'grandes eaux' play, this 
 fountain is a veritable hydraulic marvel, with jets issuing in every 
 direction, from the groups, from the 22 vases on the ledge of the 
 wall, from pipes placed in and near the basin, from the grotesque 
 heads, from the shells beneath the vases, etc.
 
 328 16. TRIANONS. 
 
 Near the Bassin de Neptune, is the Bosquet de I'Arc de Triomphe 
 (PI. 6 ; in summer) , recently restored , -with a statue of France 
 between Spain and Germany , by Coyzevox and Tuby. The other 
 statues have been brought hither from bosquets that have been 
 removed: .^sop and Cupid j Galatea, by Tuby; Flora, by Magnier; 
 Break of Day, by Legros; Arion, by Raon, and Meleager. 
 
 To the left (W.) is the Avenue de Trianon, leading to the Grand 
 Trianon. 
 
 The Trianons. 
 
 The Grand Trianon, a handsome villa of one story, in the form 
 of a horseshoe, situated about 3/4 M. to the N. "W. of the terrace 
 of the palace, was erected by Louis XIV. for Madame de Maintenon, 
 from plans by Mansart. It is reached by the Avenue de Trianon, 
 which begins at the Bassin de Neptune (see above). The villa 
 is open at the same times as the Palace of Versailles (p. 313), but 
 visitors are conducted through it by an attendant, whose attempts at 
 hurrying should not be yielded to. It contains several richly-furnish- 
 ed apartments, and a few good works of art. 
 
 The Salon des Glaces contains a table, of whicli the top, made of a 
 single piece of oak, is 9 ft. across. In the Salon de Famille is a table 
 given by Charles IV. of Spain to Napoleon I. The Geande Vestibule, in 
 which the famous trial of Marshal Bazaine took place in 1873, contains a 
 group in marble by Vine. Vela (1862), representing France and Italy ex- 
 changing the kiss of peace, presented to the Empress Eugenie by the 
 ladies of 3Iilan. In the next room, to the right, is an Olympia by Etex. 
 Other rooms contain Japanese and Sevres porcelain, some fine malachite vases 
 given to Napoleon I. by Alexander I. of E-ussia, paintings by Boucher, etc. 
 — The left wing of the palace , the Trianon-sous-Boig, is not shown. In 
 one of the Petits Appaetejients de Napoleon I. is a table in Roman 
 mosaic. Then the rooms prepared in 1846 for the Queen of England, who, 
 however, did not occupy them. 
 
 The Grand Trianon Garden is open from 8 a.m. to 4 or 5 p.m. The 
 entrance is by a gate to the right of the facade, or from the garden of 
 the Petit Trianon, to the left, behind the Salon de Musique (see p. 329). 
 This garden, of no great interest, has recently been put in order and its 
 ornaments restored. Among the latter is the Buffet de V Architecture, a small 
 cascade designed by Mansart, with three steps of red marble, white marble 
 basins, ?tatuettes, and embelli.'^hments in gilded lead. To the left is 
 another restored basin , known as the Plafond de Mansart or the Miroir, 
 with two dragons and four groups of children by Hardy. 
 
 To the right of the Grand Trianon is a *Musee des Voituees 
 (open at the same times as the Trianon), being a collection of seven 
 state-carriages from the time of the first Empire to the baptism of the 
 Prince Imperial in 1856, sledges of Louis XIV., sedan-chairs, etc. 
 A collection of harness from the time of Louis XIV. to the present 
 day is arranged in glass-cases. 
 
 The Petit Trianon, a little to the N.E. of the other, erected by 
 Louis XV. from the plans of Gabriel, was a favourite resort of Marie 
 Antoinette. Admission as to the Grand Trianon. 
 
 It contains painting? by Natoire, Patei\ Watteau, etc., which, however, 
 there is no time to inspect. A tasteful staircase ascends to the first floor. 
 In the 3rd room, to the left, is a fine jewel-cabinet, once belonging to
 
 16. TRIANONS. 329 
 
 Marie Antoinette ; in the 5th (Boudoir) is a bust of the queen in Sevres 
 china, shattered at the Revolution and afterwards restored ; in the 6th 
 (Bedchamber) is a portrait of the Dauphin Louis XVII., by Mmt. Lehrun. 
 
 A visit should be paid to the *Jari)In du Petit Tkianon, which 
 is laid out in the English style and contains some fine exotic trees, 
 an artificial lake, a 'Temple of Love', and a '■Hamlet'' of nine or ten 
 rustic cottages, where the court-ladies played at peasant life. 
 
 The walk on the other side of the lake leads hack to the vicinity 
 of the chateau, where there is a 'Salon de Musique', with an orna- 
 mental pond, rockeries, etc. 
 
 Beyond the adjoining mound is a gate, to the right from which lies 
 the garden of the Grand Trianon, and to the left, the exit. 
 
 To the S. of the Place d'Armes (comp. PI. p. 310) is the Salle 
 DU Jeu de Paume, or tennis-court, in which the members of the Third 
 Estate met in June, 1789 (p. 312), after they had found the as- 
 sembly-room closed against them, and where, on the motion of the 
 deputy Mounier, they took a solemn oath, 'de ne jamais se separer, 
 de se rassembler partout ou les circonstances I'exigeront, jusqu'k 
 ce que la constitution du royaume soit ^tablie et affermie sur des 
 fondements solides'. 
 
 In 1883 a Musie de la involution was established in this famous hall 
 (open daily, except Mon., 12-4). Opposite the entrance is a marble statue 
 of Bailly, the president of the sitting above mentioned, by St. Marceaux. 
 On the walls are busts of 20 members of the Third Estate and the names of 
 the 700 persons who signed the minutes of the meeting. On the end-wall 
 is a copy in grisaille of David's 'Oath of the Jeu de Paume' (p. 138). The 
 glass-cases contain portraits, engravings, and other relics of the same period. 
 
 A little to the S. of the Jeu de Paume is the Eglise St. Louis, 
 or cathedral of Versailles, a heavy and ungraceful building of 1743- 
 1764. In the square in front of it is a Statue of Abbe de VEpee, in 
 bronze by Michaut. The church contains a St. John and a St. Pe- 
 ter by Boucher^ several other pictures, a monument to the Due de 
 Berry [d. 1820), by Pradier, and stained-glass windows made at 
 Sevres, from designs by Deve'ria. 
 
 In a square at the end of the Rue du Plessis, beyond the station 
 of the right bank, is a Statue of HoudoUj the sculptor (1741-1828), 
 by Tony Noel, unveiled in 1891. 
 
 From Versailles to the Valley of the Biivre, see p. 356; to Rambotiil- 
 let^ Chartres, and Dreux, see Baedeker's Northern France. 
 
 FiiOM Veksaillks to St. Germain-en-Laye. — 1. By the Chemin de 
 Fer de Grande- Ceinture , 14 M. , in s/^-l hr. (fares 2 fr. 5, 1 fr. 60, 1 fr. 
 25 c). — The train starts from the Gare des Chantiers (p. 310), threads 
 a short tunnel, and passes near the Piece d'Eau des Suisses (p. 325). Fine 
 view of the palace from behind. 
 
 4 M. St. Cyr, with a celebrated military school, attended by 750-80U 
 pupils from 16 to 20 years of age and furnishing 350 officers to the army 
 every year. The school now occupies the 'Maison d'Education' estab- 
 lished here by Mme. de Maintenon, for which Racine composed his 'Esther' 
 and 'Athalie'. St. Cyr is also reached by tramway from Versailles. — 
 ^'/•iM. Bailly. — Beyond (7 M.) A"ow'/-'e-iJo» the train enters the forest of 
 Marly (p. 332). Short tunnel, beyond which a junction -line diverges to 
 the right to the railway to St. Germain via Marly-le-Koi (p. 331). — At
 
 330 17. CHATOU. ^ 
 
 (8V2 M.) St. Nom-La-Bretiche-Forel-de-Marly we join tlie line from Paris to 
 St. Germain via Marly (p. 331). 
 
 2. By the Chemin de Per de V Quest., as far as Becon (comp. p. 298), 
 and thence by the line to St. Germain (see below) , in I'/z hr. (through- 
 fares 1 fr. 60, 1 fr. 35 c). 
 
 17. St. Germain-en-Laye. 
 
 Comp. the Mai^s. pp. 29^, 296, 336. 
 St. Germain should be visited on Tues., Thurs., or Sun., as on these 
 days the museum is open free. 
 
 I. FROM PARIS TO ST. GERMAIN BY RAILWAY. 
 
 Two lines unite Paris with St. Germain, the Direct Line and a line via 
 Marly-le-Roi. The latter, though longer and a little more expensive than 
 the other, affords a pleasant variation. 
 
 A. By the diebct Line. 
 
 13 31. Chemin de Per de V Quest. Trains start from the Gare St. Lazare 
 (p. 24 ; booking-office upstairs in the central portion) every hour, or oftener. 
 — The journey occupies 30-50 minutes. Fares 1 fr. 50, 1 fr. 5 c.; no reduc- 
 tion on return-tickets. 
 
 From Paris to Asnieres., see p. 293. To the left diverge tlie 
 Versailles line and a loop-line via Becon-les-Bruyeres , rejoining 
 OTir line at La Garenne (see below). At Bois-de-Colombes, farther 
 on, the line to Argenteuil (p. 346) diverges to the right. — Beyond 
 (51/2 M.) La Garenne-Bezons diverges the line to Rouen, Havre, 
 and Dieppe (see p. 393). The village of Bezons, II/4 M. distant, on 
 the right bank of the Seine, is served by a diligence in connection 
 with the trains (25 c.) and by an omnibus from the Pont de la 
 Jatte (15 c. from La Garenne) at Neuilly, in connection with the 
 tramway from the Madeleine in Paris. The road to Bezons passes 
 Petit-Nanterre, with its large prison and asylum. — Fine view to 
 the left (Mont Vale'rien, p. 294; etc.). 
 
 71/2 ^. Nanterre is a village (10,430 inhab.), where, according 
 to tradition, Ste. Genevieve, the patron-saint of Paris, was born in 
 422 (p. 242). About 1/2 M. from the station, by the main street, to 
 the left, is the church, near which is the Well of St. Genevieve, at 
 one time believed to be of miraculous virtue. A 'Rosiere' festival is 
 held here on Whit-Sunday. In the Place de la Fete is a fountain 
 with a bronze figure in memory of J. B. Lemaitre , a benefactor of 
 the town. Steam-tramway, see below. 
 
 33/4 M. Rueil (p. 332). The station is about 1/2 M. from the town 
 (steam-tramway, p. 333). — The train crosses the Seine, which is 
 divided here by an island into two arms. 
 
 91/2 M. Chatou (^Hotel- Restaur ant du Soleil-d' Or ; Cafe-Restau- 
 rant de l'H6tel-de-Ville, both beside the Hotel de Ville; others at 
 the station) , a village with 3580 inhab. , has numerous pretty 
 country houses. The district that begins here and extends to Le 
 Pecq as a kind of park dotted with houses, is one of the favourite
 
 17. MARLY-LE-ROI. 331 
 
 summer-resorts in the vicinity of Paris. The road to the right of the 
 exit from the station leads to the centre of the village, through which 
 runs the road to St. Germain. The Hotel de Ville is modern. The 
 Church, a little to the right, contains a fine ancient Madonna and a 
 modern relief. The road turns to the left, then to the right, to the 
 bridge. — On the other side of the railway is the modern village of 
 Croissy (omnibus in summer to Bougival, 2 M. ; see p. 333). 
 
 101/2 M. Le Vesinet [Cafes-Restaurants de la Gare and du Chalet^ 
 Rue de I'Eglise, near the station) is a modern village with 4342 
 inhab., built in an ancient park. The Church, a short distance beyond 
 the station to the right, has stained-glass windows by Lobin. A 
 street leads from the right corner of the square behind the church to 
 the (1/2 M.) old race-course, round the 'Grand Lac', about 1/4 M. 
 from the station of Le Pecq. In another part of the village is the 
 Asile du Vesinet^ a convalescent home for women. 
 
 113/4 M. Le Pecq lies on the slope of the hill of St. Germain. 
 In the cemetery (more conveniently reached from St. Germain) is 
 the monument of the composer Felicien David (1810-1876), with a 
 bust and a statue of Music by Chapu. 
 
 The train now recrosses the Seine, here divided into two arms by 
 an island, and ascends a steep gradient (1:29), passing over a viaduct 
 and through two tunnels, to (13 M.) St. Oermain-en-Laye (p. 334). 
 
 B, Via Marly-lb-Roi. 
 
 24m. Chemin de Fer de V Quest, from the Gare St. Lazare, as above, 
 in I1/3-IV2 ^^- (fares 1 fr. 80, 1 fr. 20 c.) Trains almost every hour. 
 
 From Paris to (91/2 M.) St. Cloud, see pp. 293, 294. — The St. 
 Germain line, which diverges from the Versailles line in the park of 
 St. Cloud , is uninteresting , but it afterwards affords a pleasant 
 view of the Seine and St. Germain. Beyond (10^2 M.) Garches 
 (p. 297) the train passes the chateau of Villeneuve-V Etang, the race- 
 course of La Marche, and tlie Hospice Brezin, an institution for aged 
 workmen. Tunnel. — I21/2 M. Fawcresson. Then a tunnel. To the 
 left, a stud-farm and the Chateau of Beauregard. Wc then obtain a 
 good view to the right. — 14 M. Bougival-la-Celle-St- Cloudy pret- 
 tily situated near a small wood. Bougival, see p. 333. To the left 
 is the Aqueduct of Marly (p. 332). — 15 M. Louveciennes, a vil- 
 lage with numerous large villas. — The train now passes through a 
 tunnel and some cuttings, and crosses the road and tramway-line 
 from Rueil to Marly-le-Roi (p. 333) by a viaduct 930 ft. long and 
 145 ft. high. Good view of St. Germain. 
 
 IBM. Marly-le-Roi, with a celebrated chateau, built by LouisXl V., 
 and destroyed in the Revolution. The remains include the Abreuvoir, 
 a large basin near the tramway-station, and parts of the extensive 
 garden-walls. The small Park, the nearest entrance to which is at 
 the end of the avenue ascending to the right from the Abreuvoir, 
 affords a pleasant walk. The main avenue, crossing the site of tlie
 
 332 17. RUEIL. 
 
 chateau and commanding a fine view , ascends to the Aqueduct of 
 Marly, constructed under Louis XIV. to bring to Versailles the 
 water raised by the hydraulic machine at Marly (p. 333). It is 
 700 yds. long and 75 ft. high. On the other side is Louveciennes 
 (p. 331). 
 
 The N.E. half of the Forest of Marly, beyond TEtang-la-Ville (see 
 below), also affords picturesque walks. The part adjoining Marly is too 
 bare, the underwood being kept down for the shooting-parties of the Presi- 
 dent of the Republic. It contains a fort and several batteries. The entire 
 forest, 6 M. long and 21/2 M. broad, is surrounded with walls. There are 
 gates* at the top of the park and at the end of the village, beyond the 
 church. To the right of the latter is the villa of Victonen Sardou, the 
 dramatist, with ten sphinxes of red granitte at the entrance. 
 
 i7^l2M. L'Etang-la-Ville (Restaurant Yvon) , a small village 
 situated in a valley. We reach the Forest of Marly from this point 
 in 1/4 hr. by turning to the left; but the next station, (I8V2 M.) St. 
 Nom-La-Breteche-ForU-de-Marly^ is within the forest itself. Here the 
 line joins the Orande Ceinture line. The village of St. Nom is about 
 11/2 M., and the hamlet of La Breteche about 1 M. from the station. 
 Fine view of St. Germain to the right. — 2O1/2 M. Mareil-Marly. 
 Beyond the next station, Fourqueux, to the W., is the Forest of St. 
 Germain. From (22^/2 M.) St. Germain- Grande- Ceinture, 1 M. from 
 the chateau, the line makes a wide curve to (24 M.) St. Germain- 
 Ouest, the terminus, beside the chateau (p. 334). 
 
 II. FROM PARIS TO ST. GERMAIN BY STEAM TRAMWAY. 
 
 11 V2 M., in 11/2 hr. (fares 1 fr. 65, 1 fr. 15, return 2 fr. 70, 1 fr. 85 c). The 
 cars start regularly from the Place de TEtoile, to the right, beyond the 
 Arc de Triomphe, at 45 min. past each hour, returning from St. Germain 
 at 14 min. past each hour ; in summer exti-a cars start at 15 and 44 min. 
 past from the respective termini. To Bougival, 1 hr. (fares 1 fr. 20, 80 c, 
 return 2 fr. 5, 1 fr. 35 c.) ; to Marly-le-Roi, IV2 hr. (fares 1 fr. 60, 1 fr. 10, or 
 2 fr. 65, 1 fr. 80 c). — We may also take the train to Eueil, and thence 
 proceed by tramway in connection with the above. — Besides the tramway- 
 stations mentioned below, there are 24 other points at which the cars stop 
 if desired. — This route is slow and tedious, especially on Sundays. 
 
 The Steamboat Journey from Paris is pleasant but rather long (31/2 hrs., 
 return 4 hrs.); fare 3, in the reverse direction 2, return-fare 472 fr. 
 Dej. on board 4 or 6, D. 5 or 7 fr. The steamer, named the '■fouriste''., starts 
 in summer from the Pont-Royal (left bank) at 10.30 a.m. , and leaves Le 
 Pecq at 5 p.m. (in Sept. 4 p.m.). 
 
 The steam-tramway quits Paris by the Avenue de la Grande 
 Armee and the Porte Maillot (p. 156), traverses Neuilly (jp. 155) 
 by the Avenue de Neuilly, crosses the Seine, and at the top of the 
 Avenue de la Defense-de-Paris turns to the left. — 2 M. Courbevoie 
 (p. 293), near the Pont de Neuilly. — 21/2 M. Bond- Point de la De- 
 fense, near the Monument de la Defense de Paris, by Barrias. Turn- 
 ing to the left , the tramway crosses the railway to Versailles via 
 St. Cloud. — 31/2 M. Rond-Point des Bergeres, a stopping-place not 
 far from the railway-station of Puteaux (p. 294). We cross the plain 
 to the N. of Mont Valerien(p. 294), with an extensive view to the right. 
 
 We stop at (43/4 M.) Nanterre (p. 330), to the S.E. of the village. 
 — 5V2 M. Bueil (Cafe -Restaurant Matte), a small town with
 
 17. BOUGIVAL. 333 
 
 9937 inhabitants. The Empress Josephine is interred in the little 
 church, recently restored in the Renaissance style, in which a 
 monument was erected to her memory by her children Eugene 
 Beauharnais (d. 1824), and Queen Hortense (d. 1837), mother of 
 Napoleon III. The statue, by Cartellier^ represents the empress in a 
 kneeling posture. Queen Hortense is also interred in this church, 
 and a monument of similar design, executed by Sarfoiini of Florence, 
 was erected to her in 1846. The handsome organ-loft, by Baccio 
 d'Agnolo of Florence (15th cent.), was presented by Napoleon III. 
 
 Railway Station, to tlie N.W. , see p. 330. A branch Steam Tramway 
 runs thence to connect with that from Paris. 
 
 6'/2 M. La Malmaison , with the chateau in which the Empress 
 Josephine resided after her divorce in 1809 and where she died in 
 1814. After the battle of Waterloo, Napoleon retired to the chateau 
 of Malmaison, but quitted it on the approach of the Prussian troops 
 on 29th June, 1815. It is now private property. In the distance 
 to the right is the Aqueduct of Marly (p. 332). 
 
 7M. La Jonchere. A road (1 1/2 M.) ascends hence to the right to La 
 Celle-St-Cloud (p. 331), skirting the chateau of La Jonchere, which 
 belonged to Louis Bonaparte. The tramway next passes a fine grove 
 of chestnuts, and a wood (to the left) with the Etang de St. Cucufa. 
 
 8M. Bougival (Hotels- Restaurants Pignon and de V Union, on the 
 quay), a prettily-situated village, on the left bank of the Seine, much 
 frequented by rowing parties. Part of the Church, which possesses a 
 handsome Romanesque bell-tower (restored in 1893), dates from the 
 13th century. A fine view is obtained on the road from Bougival 
 to La Celle (p. 331), reached by the first street to the left beyond the 
 church. The flight of steps in the second street to the left is a short- 
 cut to the direct road to La Celle. On the opposite bank of the Seine 
 are Croissy and Chatou (p. 330). — Railway-station, see p. 331. 
 
 81/2 M. La Machine, a suburb of Marly, is named from the hy- 
 draulic machine by which Versailles and St. Cloud were supplied 
 with water. The old machinery, constructed at a time (1685) when 
 mechanical science was in its infancy, consisted of 14 water-wheels, 
 each 38 ft. in diameter, 221 pumps, and ponderous iron and wood- 
 work, and is said to have cost 4 million francs. This huge and form- 
 idable apparatus was replaced in 1855-59 by a stone dyke , 6 iron 
 wheels, and 12 forcing-pumps, by means of which the water is driven 
 up in a single volume to the reservoir, situated ^j^ M. from the river 
 and 505 ft. above it. The quantity of water thus raised averages 
 38,550 cubic ft. per hour. The steam-engine in front is no longer 
 used. Visitors are admitted to inspect the works (fee). 
 
 At (91/2 M.) Port-Marly the tramway-line quits the banks of 
 the Seine. 
 
 A branch of the steam-tramway to (IV4 M.) Marly-le-Roi (p. 331) ascends 
 to the S., passing under the Viaduct of Marly (p. 331). 
 
 The main line follows the highroad to St. Germain , to the S. 
 side of which it ascends , traverses the Place Royale and the Rue
 
 334 17. ST. GERMAIN-EN-LAYE. 
 
 Gambetta, turns to the left into the Rue Thiers, skirting the palace, 
 and halts in the Place du Chateau. — 11 V2 M. St. Germain-en-Laye. 
 
 III. ST. GERMAIN-EN-LAYE. 
 
 Hotels-Restaurants. *Pavillon Henki IV et de la Terrasse (PI. 9 ; 
 F, 4), at the beginning of the terrace (see below), of the first class, with a 
 beautiful view (Thiers died here on 3rd Sept., 1877); du Prince de Galles, 
 to the right of the church (PI. 4: E, 3): Colbert, next door, in the Rue 
 de rintendance. with fine view (table-d'hote); de l'Ange-Gardien, Rue 
 de Paris 74, behind the barracks (table-d^hote de'j. 21/2, D. 3 fr.). 
 
 Cafes-Restaurants. Crenier, near the Gare de TOuest (PI. E, 3) ; Pa- 
 vilion Louis XIV (table d'hote). Rue de Pontoise 35 (PL E, 3), with a gar- 
 den, closed in winter; du Printemps, Rue de Poissy 56, Place du Marche, 
 D. 21/2-3 fr. ; Sighin, Rue au Pain 67, behind the church, dej. I3/4, D. 2 fr. 
 
 Cabs. Within the barriers, per drive IV4 fr., on Sun. and holidays 
 IV2 fr-; per hour 2 and 2^/2 fr. Beyond the barriers, within a radius of 
 91/2 M., 2'/2 and 3 fr. per hour; 'indemnite' for return if the carriage be 
 dismissed outside the barriers. 
 
 St. Germain, a quiet town with 14,262 inhah., is indebted for 
 its importance to the fact that it was long a favourite summer 
 residence of the kings of France, who were first attracted to the spot 
 in the 12th century by the beauty of its situation. Its lofty and heal- 
 thy site and its attractive walks render it a favourite summer-resort, 
 and have induced a number of English families to reside here. 
 
 The Ch3.tean (Pl.E, 3) was formerly known as the Vieux Cha- 
 teau, in contradistinction to the Chateau Neuf, of which the Pavil- 
 ion Henri IV (PL 9; F, 4) is now the sole relic. Early in the 
 middle ages the French kings possessed a fortress on this site com- 
 manding the Seine. The chapel, which is still in existence, was 
 built by St. Louis. During the wars with England the castle 
 was destroyed. It was restored by Charles V., but the present 
 building , whose gloomy strength contrasts strikingly with the 
 cheerful appearance of contemporaneous edifices, dates from the 
 time of Francis I., who here celebrated his nuptials with Claudia, 
 daughter of Louis XII. Henri II built the adjacent Chateau Neuf, 
 which continued to be a favourite royal residence till the time of 
 Louis XIV., who was born here in 1638. After Louis XIV. had 
 established his court at Versailles (p. 310} the chateau was occu- 
 pied for 12 years by the exiled king James II., who died here in 
 1701 and was interred in the church. The Chateau Neuf was al- 
 most entirely taken down in 1776. Napoleon I. established a school 
 for cavalry-officers in the old chateau, and it was afterwards used 
 as a military prison. It is now being restored in accordance with 
 the original plans of A. Ducerceau, the architect of Francis I.; and 
 the part in the Place du Chateau, adjoining the railway-station, 
 alone awaits completion. 
 
 The *Mus:6e dbs Antiquites Nationalbs , which the chateau 
 now contains, embraces an interesting collection of objects dating 
 from the dawn of civilisation in France down to the period of the 
 Carlovingians. These are suitably arranged, and provided with ex-
 
 
 
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 17. ST. GERMAIN-EN-LAYE. 335 
 
 planatory notices. The museum is open to the public on Sun. from 
 10.30 a.m., on Tues. and Thurs. from 11.30 a.m., to 4 or 5 p.m., 
 and to strangers on other days(Mon. excepted) by special permission. 
 
 — Below we give a short summary of the most interesting objects, 
 referring for details to the excellent catalogue (1 i/o fr.). There are 
 also illustrated catalogues (5 fr.) with pictures of the objects marked 
 by small squares of tinsel. The usual entrance to the museum is 
 by the first door to the left in the court, but in wet weather by a 
 small door to the left of the vestibule, which leads to Room S (see 
 below). Those who wish to follow a strictly chronological order 
 must begin with the first floor. Explanatory labels. 
 
 Ground Floor. Rooms S and R, to the left of the principal entrance: 
 Casts of medallions and bas-reliefs from the Arch of Constantine at Rome; 
 casts of statues of Gauls ; models of Roman engines of war (others farther 
 on), etc. — Rooms A, B, and C, to the right of the entrance : Casts of 
 bas-reliefs from the Are d'Orange and the Julian tomb at St. Remy, near 
 Aries. Room B also contains a medallion of a mosaic found at Autun in 
 1830, representing Bellerophon and the Chimeera. — We now return to 
 the entrance, and ascend the handsome brick and stone staircase to the 
 entresol. Rooms D, E, and F are not yet open. 
 
 Entresol. Room XIX. Gallic milestones and geographical inscriptions. 
 
 — Room XX. Celtic and Roman inscriptions; sepulchral stones. — Room 
 XXI. Gallic mythology; altars, statues, and reliefs, of rough workman- 
 ship, but great historical interest. — Room XXII^ on the other side of 
 the staircase. Sculptures relating to the Roman legions in Gaul. By the 
 pillars to the left, tombstones. — Room XXIII. Building materials, etc. 
 
 — Room XXIV. and adjoining passages. Fuueral urns, coffins, etc. — 
 Rooms XXV <{• XXVI. Sculptures illustrating Gallic costumes, arts, and 
 pursuits. — Room XXVII is not yet open. 
 
 First Floor. Rooms I-III , to the right, contain objects of the pre- 
 historic or bone and flint period. Room I: Cut flints of immense antiquity, 
 and fossilised bones of animals either altogether extinct or no longer found 
 in France. Cases 1-15 contain objects found in alluvial deposits and 
 the open country ; Cases 16-33 contain tools and ossifications from cav- 
 erns , the first shelter of primpeval man. In the middle, casts of the 
 heads of the rhinoceros (r. tichorinus), tiger (felis speleea), great cave- 
 bear (ursus spelfeus), urns (bos primigenius) , the long-haired elephant 
 (18-20 ft. high), and the so-called Irish elk (Megaceros hibernicus-, 9-10 ft. 
 high); also a tusk and a molar of the mammoth (elephas primigenius); 
 farther on a Norwegian elk. In Case 12, between the second and third 
 windows, are difl'erent types of flint implements (from St. Acheul, from 
 Moustier in Dordogne, etc.). — Room II. Models of dolmens and 'menhirs' 
 (V20 of the real size); implements of the polished-flint period; plan of the 
 AUees de Carnac, in Brittany; bone implements and ornaments. — Room III. 
 Dolmen from the tumulus of Gav'rinis (Morbihan), Brittany, and casts of 
 the unexplained characters from the tumulus. To the left of the mantel- 
 piece is placed an interesting collection of flint arrow-heads. 
 
 Adjoining this room is the Galerie de Mars or Salle des Fetes, occupy- 
 ing the whole height of the first and second stories. It has not yet been 
 restored but part of it has been shut off from the rest for the restoration 
 of the adjoining chapel. This room is also called the Salle de Comparai- 
 son, as it contains objects from different countries. At present, however, it 
 is mainly devoted to objects to be afterwards placed in the other rooms, 
 and may be passed over by hurried visitors. The cases to the right and left 
 of the entrance contain a collection of Romano-Gallic earthenware (better in 
 RR. XIV-XVI), while the other cases contain arms and armour from difl'erent 
 sources, objects in iron and bronze, etc. Casts of the Igel column and 
 other Roman and Celtic monuments. At the end is the Return from the 
 Hunt, a painting of a scene in the primitive period, by Cormon.
 
 336 17. ST. GERMAIN-EN-LA YE. 
 
 Returning to Room III, we ascend thence by a short staircase ad- 
 joining the Galerie de Mars (open the door) to the — 
 
 Second Flooe, where we begin on the side next the station. — To 
 the left, in the turret, is the Salle de Nuviismatique, containing Gallic, Gallo- 
 Roman, and Merovingian coins, trinkets, Merovingian pottery and arms, 
 etc. In the first case to the left, in the middle, are ornaments in gold 
 and silver. The corresponding case on the other side and the case behind 
 contain Merovingian fibulse and other objects in bronze, gold, and glass. 
 Characteristic features of the barbaric art of this epoch are the inlaying 
 of gold on glass and the use of precious stones. — Room JV. Lacustrine and 
 flint period (epoch of the lake-dwellings") : polished flints, polished bone 
 implements, objects in wood, vases. By the second window to the right: 
 bread, grain, fruit, and cloth found in the lake-dwellings on the Lake of 
 Constance. — Room V. Objects of the bronze period. In the glass-case in 
 the centre are about a thousand different articles found in a vault at Lar- 
 naud (Jura). The most characteristic types are exhibited in the other glass- 
 cases (notably Case 7, near the entrance, containing weapons) and in the 
 cases by the walls beyond th;;t and beside the windows on the outer side. — 
 Room VI. Gallic antiquities of the early historic period. Weapons in iron 
 and bronze objects of other kinds, found in burial-places (tumuli), includ- 
 ing fragments of war-chariots. In the 2nd case, Gallic helmets; in the 
 20th (in the middle), fine bronze vases, bracelets, necklaces (torques), etc. 
 
 Room VII , on the other side of the staircase. Continuation of the 
 Gallic antiquities: objects from the burial-places of the i/a/'«e ; bracelets, 
 rings, necklaces, brooches, vases, and belts in bronze ; weapons and knives 
 in bronze; weapons, etc., of iron; terracotta vessels. — Room VIII. Objects 
 from the burial-ground of Chassemy, in the department of Aisne. — Room IX. 
 Specimens of Gallic tombs ; reconstruction of a Burial in a chariot, found 
 in 1875 at La Gorge Meillet (Marne), with the chief below and an attendant 
 above. The original objects found in this tomb are in Case 2, to the left. 
 — Rooms X-XII are not yet open. — "We now return to the — 
 
 FiKST Floor. Room 'XIII. Roman conquest of Gaul. To the left, 
 Roman soldier armed with the pilum ; in the centre, large relief-plan of 
 Alite (Alesia), and of the siege of that town by Caesar; farther on, models 
 of Csesar's besieging-Avorks and of objects found in the excavations at AHse. 
 Models of other works of Cpesar: bridge on the Rhine before Uxellodu- 
 num (perhaps the modern Puy dlssolu in Lot) and another before Avaricum 
 (Bourges) ; model of a Gallic wall and articles found at Mont-Beuvray, the 
 Bibracte of Csesar, to the E. ofAutun; arms, projectiles, and other articles 
 relating to Roman warfare; medals, etc. — Room XIV. Gallo-Roman pot- 
 tery; vases and figures in white clay. — Room XV. Pottery; vases with red 
 glazing and reliefs; bronze vases, statuettes, andfibulfe; extensive collection 
 of glass. — Room XVI. Pottery. — Room XVII. Pottery. Originals and 
 casts of Roman bronzes; statuettes and vases; antique pins, needles, and 
 thimbles of bone and bronze; small objects in iron, knives, keys, etc. — 
 Room XVIII is not yet open. 
 
 The Church of St. Germain, situated opposite the chateau, 
 contains a simple monument in white marble, erected by George IV. 
 of England to the memory of James II. (p. 334). The monument 
 was afterwards restored by order of Queen Victoria. 
 
 In the small Place to the right of the fa(jade of the chateau is a 
 Statue of Thiers (PI. E, 4), by Mercie', erected in 1880. 
 
 The Hotel de Ville (PL 7 ; E, 3), in the Rue de Pontoise, near 
 the station, contains a small library and collection of pictures on 
 the second floor (open daily, except Mon., 10-4). 
 
 The paintings are in a gallerv, to the left, at the end. We begin at 
 the side next the librarv. " 106. '.School of Rubens. Happiness under the 
 Regency; 100. Teniers, Children playing; above, Fr. Franck, Passage of 
 the Red Sea. — 101. Lucas van Ley den, Juggler; 90. Murillo or Tohar, Por-
 
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 17. ST. GERMAIN-EN-LAYE. 337 
 
 trait; 88. Guido, Madonna; 83. Titian, Ecce Homo; 71. After Maniegna^ 
 Peter receiving the keys; 109. De Champaigne (?), Portrait; 50. Vivien, De- 
 lille; 89. Velazquez {1). Portrait; 115. De Grayer, Madonna; 122. Leon Cog- 
 niet, Cain and Abel; 110. Ger. Don ('?), Monk; 86. Padovanino, Mary Mag- 
 dalen ; 103, 104. Van Kessel, Hearing, Taste. — 117. After Velazquez, Mso^ ; etc. 
 
 The *Tbrrace (PI. F, G, 2, 1) of St. Germain extends fori 1/2 M. 
 along the E. slope of the viue-clad hill at a considerable height above 
 the Seine, and commands a magnificent survey of the valley, the wind- 
 ing river, and the well-peopled plain. The middle distance resembles 
 a huge park sprinkled with country-houses. The nearest village 
 is Le Pecq, beyond which is Le Vesinet. Montmartre is visible on the 
 horizon, and to the right, the Eiffel Tower, but the rest of Paris is 
 concealed by Mont Valerien. Farther to the right , on the hill, is 
 the aqueduct of Marly (p. 332). To the left, on the bank of the 
 Seine, are the new buildings of the 'Petite Roquette', a prison 
 intended to supersede the 'Maison des Jeunes Detenus' in Paris 
 (p. 179). Beyond the corner of the park of Le Vesinet, the tower and 
 cathedral of St. Denis are faintly distinguishable, while on the 
 intermediate hills lies Montmorency. 
 
 The beautiful Forest of St. Germain , occupying nearly the 
 whole of a peninsula formed by the windings of the Seine, is about 
 11,000 acres in extent, being 6 M. long from S.W. to N.E., and 
 2Y2-4:i/'2 M. broad from S.E. to N.W. It is kept in admirable order, 
 and affords pleasant and shady walks in every direction. The popular 
 Fete des Loges, which takes place in the forest on the first Sunday after 
 Aug. 30th and on the nine following days, derives its name from 
 Les Loges, a country-seat 2 M. distant from the town, erected by 
 Anne of Austria, wife of Louis XIII., and now a school for daugh- 
 ters of members of the Legion of Honour. The most frequented part 
 of the forest lies to the right, before Les Loges is reached. The 
 Pontoise road, striking to the right beyond Les Loges, leads to 
 (3 M.) Acheres (see below and the Map). It crosses the road from 
 Poissy to Maisons (p. 348), which lies about 2 M. to the right of 
 the point of intersection. Fine view on quitting the wood. The part 
 of the forest next the Seine is less interesting, and a number of 
 market-gardens have been laid out here to utilize the sewage of 
 Paris, conducted hither by the new conduits mentioned at p. 346. 
 
 From St. Germain to Maisons-Laffitte (Argenteuil ; 3Iaps, pp. 336, 33S), 
 101/2 M., railway (Grande Ceinture) in 35-45 niin. (fares 1 fr. 90, 1 fr. 30, 
 95 c.). Omnibuses also ply to (^ 4 M.) P.i^sy (50c.; steam-tramway con- 
 templated), to (41/4 M ) Maifons-Laflltte (70 c), etc. — The railway describes 
 a wide curve through the Forest of St. Germain. — 21/2 M. St. Germain- 
 Grande- Ceinture (p. 332). — 5 M. Poissy (Hdtel de Rouen); the station is 
 to the E., at the opposite end of the town to that of the Rouen railway 
 (p. 393). — 8 M. Achkres, see p. 34S. Our line now coincides with the 
 Rouen line (p. 393) till the Seine is crossed. — IOV2 M. Maisons- Lnffitte, 
 see p. 348. The railway continues to the left to Argenteuil (p. 346). 
 
 From St. Germain to Versailles, see p. 329. 
 
 Baedeker. Paris. 12th Edit
 
 338 
 
 18. St. Denis, Enghien, and Montmorency. 
 
 The trains between Paris and these places follow the Ligne Circulaire 
 between the Gave du Nord and the Oare St. Lazare (18 M.). Through- 
 tickets are issued at low rates but do not allow of a break in the journey. 
 
 I. From Paris to St. Denis. 
 
 4V2 M. Chkmin de Fer du !Nord, in 8-14 min. (fares 80, 50, 35 c. ; 
 return-tickets 1 fr. 20, 85, 55 c). Trains start from the Gare du Kord in 
 the Place Roubaix (see p. 24), 4 times an hour or oftener (three 'trains- 
 tramways''). 
 
 Tbamwats. Three lines run to St. Denis, the 1st starting from the 
 Op^ra^ Rue Scribe (PI. B, 18; 77), the 2nd from the Madeleine (PI. R, 18; 
 //), and the 3rd from the Place du Chdielet (PI. R, 20-23 ; F). These lines 
 are very convenient, as they have 'correspondance' with the Paris omni- 
 buses (see Appx.), but the routes are uninteresting. The journey takes 
 about 3/4 hr. :, fares 60 or 30 c. There is also a tramway from NeuiUy 
 (Porte Maillot-St-Denis; p. 156). 
 
 IY4M. La Chapelle- Nord-Ceinture, also a station on the Chemin 
 de Fer de Ceinture (p. 24). The hnge goods station of the Chemin 
 de Fer du Nord is situated here. A little beyond the fortifications the 
 Soissons railway diverges to the right. — 21/2 M. La Plaine- Voyageurs. 
 The 'trains-tramways' also stop at Le Landy and Pont de la Revolte. 
 
 41/2 M. St. Denis. — Hotel du Grand-Ceef, Rue de Paris and Place 
 aux Gueldres, to the S., with restaurant a la carte ; Hotel de Fra>;ce, 
 Rue de la Republique 60, with restaurant, dej. 2, D. 2Vz fr. — Cafd de 
 I'' Industrie , Rue du Chemin-de-Fer 27. — The terminus of the first two 
 tramways above mentioned is in the Rue de Paris; that of the third in the 
 Place aux Gueldres. — Post d: Telegraph Office, Rue de la Republique 61. 
 
 St. Denis, a prosperous industrial town with 50,992 inhab., is 
 celebrated as the burial-place of the kings of France. 
 
 The importance of the town dates from the foundation of its Bene- 
 dictine abbey by Dagobert I. (d. 638). Under the Carlovingian dynasty 
 the monks of St. Denis are found concerning themselves with political 
 as well as with spiritual matters. When Pepin the Little took possession 
 of the throne of France in 751 he sent Fulvad, Abbot of St. Denis, to 
 Rome, to procure the papal confirmation of his title. Three years later Pope 
 Stephen II. too'k.Tefugeh.eTe from the Lombards, and anointed Pepin's sous 
 Charles and Charlemagne. Here, in presence of his nobles, Pepin handed 
 over his dominions to his sons before he died. The members of the 
 house of Capet also favoured this abbey. Louis VI. (d. 1137), whose best 
 adviser was the penetrating, sagacious, and liberal abbot Suger, solemnly 
 adopted the Ori/?awiwie(-auriflamma% from its red and gold colours), or standard 
 of St. Denis, as the banner of the kings of France. It was suspended above 
 the altar, whence it was removed only when the king took the field in per- 
 son. Its last appearance was on the unfortunate day of Agincourt (p. xvi). 
 AMlard (p. 181) dwelt in this abbey during the 12th cent., until he became 
 abbot of Paraclete near Nogent-sur-'Seine. During the absence uf Louis VII. 
 on a crusade in the Holy Land (1147-49) Suger became the administrator 
 of the kingdom, and used his power to increase the dependence of the 
 nobility on the throne. Among the other merits of this renowned abbot, 
 who possessed the confidence of the whole nation, and died at St. Denis 
 in 1151, is that of having collected and continued the chronicles of the 
 abbey. The Maid of Orleans hung up her arms in the church of St. Denis in 
 1429. In 1593 Henri IV abjured Protestantism in this church, and in 
 1810 Napoleon I. was married here to the Archduchess Marie Louise. 
 
 The railway-station is 3/^ M. from the cathedral. To reach the 
 latter we cross the Canal de St. Denis (p. 204) and follow the Rue
 
 ^1 m |4 
 
 ^--wTl'-'^ S-^' 
 
 
 
 
 M '.- %. 
 
 1^ I , *^ 
 
 O 
 
 

 
 18. ST. DENIS. 339 
 
 du Chemin de Fer, and tlien the Rue de la Republique. At the 
 beginning of the latter stands a modern Parish Church, built by 
 Viollet-le-Duc in the style of the 13th century. "We then cross the 
 Rue de Paris, which intersects the town from N. to S. To the left 
 is the Hotel de Ville, in the Renaissance style, built in 1883. 
 
 The cathedral is open the whole day, Tlie royal tombs are shown on 
 week-days every V2 hr. hstween 10 a.m. and 5 or 5.30 p.m. (except from 
 11.30 to 12 and during service). Admission to the interior of the church 
 is free; to the treasury and crypt V2 fr., but the attendants also expect a 
 small gratuity. Visitors should read the following description before 
 entering the church, for so little time is given to examine the monuments 
 that what might otherwise be a profoundly interesting and instructive ex- 
 perience is frequently nothing but a weariness and a deception. The 
 efforts of the attendants to hurry the visitor should not be implicitly 
 yielded to. The church is so dark in the late afternoon that it is then 
 scarcely worth while to enter it. 
 
 The *CATHEiiRAL Or Basilique of St. Denis , converted into 
 a parish church in 1895 , traditionally occupies the site of a 
 chapel erected about the year 275 above the grave of St. Diony- 
 sius , or St. Denis, the first bishop of Paris (p. 207). Dagobert 
 I. (d. 638) substituted a large basilica for the chapel, and handed 
 it over to the Benedictine monks, for whom he also built an abbey 
 at the same place. Of this church but little remains, the greater 
 part of the present edifice having been built by Suger, the celeb- 
 rated abbot of St. Denis (1121-51; see p. 338). Suger^s building 
 marks the beginning of the Gothic tendency in architecture, the 
 development of which from the Romanesque style can be traced 
 here, though perhaps not in all details. The facade, completed in 
 1140, shows the round arch still maintaining its ground along with 
 the pointed arch which afterwards entirely replaced it. The choir, 
 consecrated in 1144, is surrounded by radiating chapels, a feature 
 of the Romanesque style, and at the same time exhibits the Gothic 
 buttress system in an advanced stage of development. A thorough 
 restoration was carried out from 1230 onwards by the abbots Eudes 
 Clement and Matthieu de Vendome, in the pure Gothic style then 
 dominant. The upper part of the choir, the whole of the nave, and 
 the transept were entirely rebuilt. During the 14th cent, additional 
 chapels were erected in the N. aisle. Ruined during the Revolu- 
 tion, the church was at first restored ineffectually and in bad taste ; 
 but under Napoleon III., who entrusted the work of restoration to 
 Viollet-le-Duc, one of the greatest Gothic architects of modern 
 times, it regained much of its ancient magnificence. 
 
 The West Facade formed part of the building consecrated by 
 Abbot Suger in 1140. It contains three recessed portals decorated 
 with sculptures , which , however , have been so altered and sup- 
 plemented, that their original character is scarcely traceable. Those 
 of the S. portal represent the Months, and St. Dionysius in prison, 
 after a painting in the Louvre (p. 121); those of the central bay, 
 the Last Judgment, and the Wise and Foolish Virgins; and those 
 
 22*
 
 340 18. ST. DENIS. 
 
 of the N. portal, St. Dionysius on Ms way to Montmartre and the 
 signs of the Zodiac. The battlements along the top of the facade 
 were erected for defensive purposes during the 14th century. Behind 
 them rises the high-pitched roof of the nave, surmounted by a statue 
 of St. Dionysius. On the right and left are two towers, above the 
 side-portals. That on the right rises for two stages above the battle- 
 ments and is crowned by a lofty sc^uare roof; that on the left is on 
 a level with the top of the fagade, its tall spire having been shat- 
 tered by lightning in 1837. — The statues of princes and the Mar- 
 tyrdom of St. Dionysius on the portal of the N. transept are in better 
 preservation, but it is impossible to obtain a near view of them. 
 
 The Interior consists of nave and aisles, crossed by a simple 
 transept. Length 354 ft., breadth 130 ft. The dim twilight of the 
 Vestibule, which dates from Suger's time, and is borne by heavy 
 columns, forms a striking contrast to the airy and elegant Nave 
 of the 13th cent., with its thirty-seven large windows, each 33 ft. 
 high, its handsome triforium-gallery , and its lofty columns. The 
 stained-glass windows are nearly all modem. 
 
 The High Altar is a modern imitation of the style of the 13th 
 century. Behind it stands the altar of St. Denis and his fellow- 
 martyrs (p. 339). 
 
 The Church of St. Denis is chiefly important and interesting as 
 the BuEiAL Chuech of the Feench Kings . nearly all of whom from 
 Dagohert I. (d. 63S) are interred here with their families. The numer- 
 ous monuments of the early period have perished during the frequent 
 alterations or rebuilding of the church. Louis IX. (1226-70) erected 
 a number of mausoleums and monuments with recumbent figures in the 
 choir to the memory of his ancestors, and from his time down to 
 Henri IV (d. 16i0) monuments were erected to all the monarchs , as 
 well as to several princes and eminent personages. After Henri's death 
 the coffins of his successors were merely deposited in the royal vault. 
 When the first Revolution broke out, the Convention resolved that the tomba 
 should be destroyed, in accordance with the motion of 5a;'r^)-e (31st July, 
 1793) : — -La main puissante de la Re'publique doit eflfacer impitoyablement 
 ces epitaphes superbes et demolir ces mausolees qui rappeleraient des rois 
 Teffrayant souvenir'. By a singular coincidence, the work of desecra- 
 tion was begun on 12th Oct., 1793, the anniversary of the day on which, 
 one century before, Louis XIV. had caused the demolition of the ancient 
 tombs of the German emperors at Spires. Hentz, the agent employed by 
 the Convention, was, moreover, a namesake of the superintendent of the 
 work of destruction at Spires. In order the more speedily to accomplish 
 the work , the wall of the crypt was broken through , and the bodies of 
 the illustrious dead of a thousand years, from Dagobert to Louis XV., 
 besides other celebrated personages, were thrown into ^fosses communes'' 
 dug in the neighbourhood. 
 
 In 1817 Louis XVIII. caused the remains of his ancestors, as well 
 as those of Louis XVI. and ilarie Antoinette , who had been interred in 
 the churchyard of the Madeleine, to be replaced in the crypt. He himself 
 (d. 1824), the Due de Berry, who was assassinated in 1820, and several ot 
 his children were the last of the Bourbons interred here. 
 
 The preservation of the tombs which have survived these disastrous 
 vicissitudes was chiefly due to the exertions of the indefatigable Alex. 
 Lenoir (p. 249), who caused them to be transferred to the Musee des 
 Petits-Augustins, now the Palais des Beaux-Arts. Unfortunately, however, 
 all the metal monuments had already been melted down. When 
 Louis XVIII. ordered the monuments to be restored to the church in
 
 18. ST. DENIS. 34t 
 
 1817, they were placed in the crypt, but with many arbitrary alterations 
 and restorations, while numerous monuments from other churches pre- 
 served in the Musee Lenoir were also erected here. During the work of 
 restoration under M. Viollet-le-Duc they were all placed as nearly as 
 possible in their original positions, but there are still several monuments 
 not properly beloniiing to St. Denis. There are now fifty tombs and ten 
 other monuments, besides statues, urns, columns, and bas-reliefs. 
 
 We now proceed to inspect the monuments in detail, beginning 
 with those in the left or N. transept. 
 
 N. Side. Tombs of the Family of St. Louis. — *Tomb of 
 Louis XII. (d. 1515) and his consort Anne de Bretagne (d. 1514), 
 probably executed in the first half of the 16th cent, by Jean Juste 
 of Tours. This large detached monument is in the Renaissance 
 style, and, like several others in the church, bears considerable 
 resemblance to the fine monument of Giangaleazzo Visconti in the 
 Certosa di Pavia. The king and queen are represented on the sar- 
 cophagus in a recumbent posture , executed in a rude, realistic 
 manner, and again in a kneeling attitude above. The monument is 
 surrounded by twelve arches, richly decorated, beneath which are 
 statues of the Twelve Apostles. At the corners are allegorical figures. 
 On the pedestal are small reliefs of the entry of Louis XII. into MUan 
 (1499), his passage of the Genoese mountains (1507), his victory 
 over the Venetians at Agnadello (1509), and their final submission. 
 — Then, to the right, a fine truncated column by Barth. Prieur, 
 commemorating Henri III (d. 1589). From this point we see, to 
 the right of the high-altar, the tomb of Dagobert I. (d. 638), an 
 interesting monument of the 13th cent., with curious allegorical 
 reliefs representing the king's soul leaving his body and its reception 
 in heaven, a recumbent statue of Dagobert (modern), and erect 
 statues of Sigebert, Dagobert's son (modern), and Queen Nantilde 
 (13th cent.). — To the left, *Tomb of Henri II (d. 1559) and his 
 queen Catherine de Medicis (d. 1589), the masterpiece of Germain 
 Pilon , executed in 1564-83. This fine work consists of white 
 marble, adorned with twelve composite columns and twelve pilasters, 
 and with bronze statues of the four cardinal virtues at the corners. 
 The deceased are represented twice, by nude marble figures on the 
 tomb, and by bronze figures, fuU of vitality, in a kneeling posture 
 above the entablature. Behind are monuments of the family of 
 Valois, to see which properly we ascend some steps. — To the left, 
 another monument to Henri II and Catherine de Medicis (see above); 
 recumbent marble figures on a bronze couch. It is said that in her 
 old age the queen disapproved of the nude figures on the other mon- 
 ument, and caused these robed and elderly effigies to be executed. 
 
 The chapels round the choir, which we now pass, contain no 
 monuments ; but the chapel of the Virgin has ancient stained-glass 
 windows, a mosaic pavement dating from the 12th cent., and 
 sculptured scenes from the life of Christ. We now pass behind 
 the altar of St. Denis and his fellow-martyrs, SS. Rusticus and 
 Eleutherus, known as the Confession de St. Denis , another piece
 
 •^42 18. ST. DENIS. 
 
 of modern workmanship, containing reliquaries. On one side is a 
 representation of the Oriflamme (p. 338). 
 
 The Sacristy, to the S. of the choir, is adorned with ten modern 
 paintings relating to the history of the abbey: Monsiau, Coronation of 
 Marie de Medicis ; Delay (after Gros), Charles V. and Francis I. visiting 
 the abbey; Menjaud, Death of Louis VI. ; Guirin, Philip III. presents the 
 abbey with the Eelics of St. Lonis ; Barbier, St. Louis receiving the Ori- 
 flamme (p. 338); Landon, St. Louis restoring the burial-vaults; Met/nier, 
 Charlemagne at the consecration of the church; Garniei\ Obsequies of 
 King Dagobert; Monsiau. Preaching of St. Denis; Heim, Discovery of the 
 remains of the kings in 1817. 
 
 The Tkeasuet is contained in a room adjoining the Sacristy on the 
 left. Of the valuable articles which were formerly kept here St. Denis 
 itself now possesses none, although a few are preserved in the treasury 
 at Notre-Dame, the Galerie d'Apollon at the Louvre, and elsewhere. The 
 present contents are almost all modern, and their number has been so di- 
 minished by a daring robbery in 1882, that a visit to them is of little 
 interest. — The greatest artistic value among the remaining objects is 
 possessed by a copper altar-piece, in repouss^ work, of the 13th cent., on 
 the left wall. On the right wall are a gilt copper cross (divided lengthwise 
 into two sections, which are hung apart from each other), dating from 
 the 13th cent., and another silver altar, of the period of Louis XIV. In the 
 glass-case is a large modern monstrance, in the style of the 13th century. 
 
 S. Side. Opposite the Sacristy : The interesting Tomh of Fre- 
 degonde (d. 597), which was formerly in the Church of St. Ger- 
 main-des-Pres. The figure of the queen is represented by a kind 
 of mosaic, formed of small pieces of differently coloured marble 
 mingled with minute pieces of copper. The hands and feet are 
 of the colour of the stone itself, the shape being indicated only 
 by the lines of the mosaic , and seem to have been originally paint- 
 ed. Some authorities consider the tombstone contemporaneous 
 with the queen, while others, with more probability, refer it to the 
 11th or 12th century. — We now descend a flight of steps, to the 
 right of which is the entrance to the crypt. 
 
 The Cetpt, which was built by Suger for the bones of the three holy 
 martyrs, lies immediately under the apse, and has a choir encircled with 
 chapels corresponding exactly with those of the church above. The cen- 
 tral part of the crypt, under the sanctuary, is occupied by the burial- 
 vault of the Bourbons, which was formed by Henri II and now contains 
 the coffins of the following royal and princely personages: Louis XVI., 
 Marie Antoinette, Louis XVIII., Adelaide and Vicioire de France; the Due 
 de Berry and two of his children; Louis Joseph and Louis Henri Joseph, 
 the last two princes of the house of Conde; lastly, Louis VII., formerly 
 in the Abbey of Barbeau near Melun , and Louise of Lorraine , wife of 
 Henri III, from the Eglise des Capucins in the Place Vendome. The 
 remains brought back by Louis XVIII. in 1817 from the 'fosses communes' 
 (p. 340) are placed in a double vault at the end of the ambulatory, where 
 the names of the deceased are inscribed on two large black marble slabs. 
 — Adjacent is the 'Caveau Imperial', constructed by Napoleon III. as the 
 burial-vault of his dynasty, but quite untenanted. — In the crypt-chapels 
 and by the external wall of the central part of the crypt are a few in- 
 different statues, including a Statue of Marie Antoinette, a kneeling figure 
 in a ball dress, by Petitot; a Statue of Louis XVI.. by Gaulle; a Statue 
 of Diana of France, of the 16th cent. ; four colossal allegorical figures 
 intended to form part of a monument to the Due de Berry ; and monuments 
 to Henri IV, Louis XIII., Louis XIV., Louis XV., etc. 
 
 On the other side of the flight of steps, to the right of the choir :
 
 18. ST. DENIS. 343 
 
 Monument of Du Guesclin, 'comte de Longueville et Connestable de 
 France' (d. 1380), one of France's most heroic warriors in her 
 contests with England. In the left eye is indicated the wound 
 which the constable received in battle. The tomb of his compan- 
 ion-in-arms, the Constable Louis de Sancerre (d. 1402) is close by. 
 — Statue of Charles V. (d. 1380), formerly in the Eglise des C^es- 
 tins, a masterwork of the 16th century. — Tomb ofRenee de Longue- 
 ville (d. 1515), a daughter of Francois II, Duke of Longueville, 
 who died at the age of seven years ; also from the Eglise des Ce- 
 lestins. — In the choir, to the right, are several less important 
 monuments ; and on the other side of the altar, the Monuments of 
 Blanche and Jean, children of St. Louis, of enamelled copper, the 
 figures in repousse work, probably executed at Limoges; Blanche's 
 monument formerly stood in the abbey of Poissy, Jean's in that of 
 Royaumont. — To the left, * Monument of Francis I. (d. 1547), with 
 kneeling figures of the king, his wife Claude, and their three child- 
 ren on the entablature, and scenes from the battles of Marignano and 
 Cerisoles, in relief, on the pedestal. This monument is in the same 
 style as that of Louis XII., and is still finer. It is said to be the 
 joint production of Philibert Delorme, Germain Pilon, and Jean 
 Ooujon. — *Vrn, containing the heart of Francis I., originally 
 destined for the Abbey des Hautes Bruyeres near Rambouillet, a 
 masterpiece in the Renaissance style by the otherwise little- 
 known sculptor Pierre Bontemps. — Monument of Louis d' Orleans 
 (d. 1407) and Valentine de Milan (d. 1408), erected by their grand- 
 son , Louis XII., in the Eglise des Celestins , and Monument of 
 Charles d'Etampes (d. 1336), a masterpiece of the 14th century, with 
 statues of the deceased and 24 statuettes of apostles and martyrs. 
 
 The extensive building which adjoins the church was erected 
 by Louis XIV. and Louis XV. on the site of the old Abbey. Since 
 1815 it has been the seat of the '■Maison d^ Education de la Legion 
 d'Honneur', a school affording a free education to daughters of 
 officers on active service down to the rank of captain, and of civilian 
 members of the Legion of Honour occupying a corresponding social 
 position. The privilege is granted only for one daughter of each 
 member, but the other children, or the grand-daughters, sisters, 
 nieces, and cousins of those entitled to the privilege, are admitted 
 for an annual payment. The pupils, who number upwards of 500, 
 are uniformly dressed in black, and the discipline is of an almost 
 military character. Strangers are not admitted. 
 
 Near the Place aux Gueldres, on the side of the town next Paris, 
 is an old 13th cent, church known as the Petite- Paroisse, restored in 
 1896 and converted with the adjoining Carmelite convent into a 
 law-court. Princess Louise Marie of France (d. 1787), daughter of 
 Louis XV., was abbess of this convent, which she entered in 1770. 
 
 In the Seine, beyond the railway, is the lie St. Denis, and on the 
 opposite bank is the Plaine de Oennevilliers, with the village of that name, 
 21/2 M. from St. Denis (p. 293).
 
 344 18. ENGHIEN. 
 
 II. From St. Denis to EngMen and Montmorency. 
 
 Railwat to (3 M.) Enghien in 10-15 min. (65,45, 30 c.): from Enghien 
 to (2 M.) Montmorency in 7 min. (50 or 35 c). 
 
 A short way beyond St. Deuis the main line of the Chemin de 
 Fer du Nord (R. '22) diverges to the right. Our line passes the 
 Fort de la Briche. To the left flows the Seine. — 6 M. (from Paris) 
 Epinay , a village of 2600 inhabitants. — Railway to Beaumont, 
 see pp. 352, 351. 
 
 Fkom Epinat to Xoist-le-Sec, S M., Grande Ceiniiire Railway. The 
 chief station is (5V2 M.) Le Bourget (p. 377). — At Noisy-le-Sec (5772 inbab.) 
 the Grande Ceinture Railway joins the Chemin de Fer de TEst. See 
 p. 307 and Baedelcer's Northern France. 
 
 The Grande Ceinture Railway also runs from Epinay to (372 M.) Ar- 
 genteuil (p. 846), skirting the Seine. 
 
 7M. La Barre-Ormesson, two 'dependances' of Epinay, to the 
 right and left. 
 
 71/2 M. (3 M. from St. Denis) Enghien. — Hutel des BAiMs.at the 
 Etablissement; Hot. des Quatre-Pavilloxs, opposite the lake: Hot. de la 
 Paix, Grande-Rue 50; Gb. Hot. d'Enghien, Grande-Rue 73, dej. 4, D. 
 5 fr. — PuESTalkasts. Jeanson, Grande-Rue 39 ; also at the hotels. — Cafe. 
 Eiosque Chinois. on the banks of the lake. 
 
 Cabs at the station : per hr. 21/2 fr. (3 fr. on Sun. and holidays); to 
 Monlmorency, 2^/4 or 2V2 fr. ; etc. 
 
 Small Boats on the lake, 2 fr. per course' (2V2 fr. on Sun.) and 1/2 fr- 
 additional for each pars, more tban one; ferry across the lake l'/2 fr. — 
 Mineral Water. 10 c. per glass; subscription for a fortnight 872 fr.: sulphur- 
 baths 2 fr. 60-4 fr. 80, douche I72 fr.-4 fr. 80 c. ; less for subscribers. 
 
 Casixo, near the lake. — Post 6: Telegraph Office. Grande-Rue 83. 
 
 Enghien^ a pretty little modern town with 2670 inhab., is pleas- 
 antly situated on the banks of a wooded lake (* 2^^^- l^^'^iej V* ^« 
 broad), and near the forest of Montmorency. It enjoys some repu- 
 tation for its cold Sulphur Springs, discovered in 1776, but its proxmi- 
 ity to Paris has prevented it becoming so fashionable as the more 
 distant spas. The Etablissement, at the end of the Grande-Rue, is 
 a modern and well-organized building. The Church is modern. 
 
 To the N.W. of the lake is the Race-Course (adm. 3 fr. for a 
 pedestrian), which is served by a special railway-station. 
 
 The distance from Enghien to Montmorency in a direct line is only 
 174 M. , but the train makes a detour and passes Soisy. Fine views. — 
 Walkers from Enghien to Montmorency follow the Rue du Chemin-de-Fer, 
 on the other side of the railway, and then take the first turning on the 
 left and the second on the right, opposite the Protestant Church. 
 
 Montmorency. — Hotel de France, at the station, R., L., & A. 372, 
 B. 1, dej. 272. D. 3, pens. 10 fr.; Hotel du Cheval Blanc, Place du 
 Marche'. — Cafes-Restaurants. Chalet des Flews, at the station, dej. 272, 
 D. 3 fr.; Trois Mousquefaires, at the Hermitage, with a casino. 
 
 Horses 172-4 fr. per hr., bargaining advisable on Sun. and holidays. 
 Asses i-272 fr. per hr. — Comp. the Map, p. 33S. 
 
 Montmorency, an ancient town with 4570 inhab., is charmingly 
 situated on a hill covered with orchards. It is another favourite 
 summer-resort of the Parisians, chiefly owing to its beautiful forest 
 (see p. 345). 
 
 Montmorency was once the residence of Rousseau, who spent two 
 years (1756-58) in the house called the '■Ermitage de Jean Jacques Rousseau'.,
 
 18. MONTMORENCY. 345 
 
 and there wrote his Nouvelle Helolse. This unpretending abode was fitted 
 up for the philosopher's use by the Countess d'Epinay, in order to prevent 
 his return to Geneva. During the Revolution the Hermitage became national 
 property, and was for a time occupied by Bobespierre. In 1798 it was 
 purchased by the composer Grilry^ who died here in 1813. 
 
 The town proper is poorly built , but the quarter adjoining the 
 railway-station and the forest consists of tasteful villas and shady 
 avenues. The Church, with its small but conspicuous spire, dates 
 from the 14th cent, and contains the tombs of two Polish generals. 
 On the side of the town next to Enghien, Rue du Temple 24, is an 
 interesting house in a mixed Gothic and Renaissance style, with fine 
 sculptures. The chateau , plundered in 1814 and afterwards de- 
 stroyed, stood in this vicinity. The finest street is the Avenue 
 Emilie, between the station and the Place du Marche'. The Boule- 
 vard de I'Ermitage leads direct from the station to (2/4 M.) Rous- 
 seau's Hermitage (see above; no admission). To the left is the 
 Chdtaigneraie, a fine group of chestnuts. 
 
 The Forest of Montmorency, which begins to the S.E. of the 
 Chataignerale and extends to the N,W. for a distance of 51/2 ^f •; """ith 
 a breadth of iV4~'^V2 ^l-> covers a very irregular tract, the highest 
 point of which is 600 ft. above the sea. Three of the hills , at 
 Montmorency, Montlignon (see below) , and Domont, have lately 
 been crowned with forts. The forest consists mainly of chestnuts 
 and has been left to a great extent in a natural state, a fact which 
 adds to its attractions but makes it difficult for the stranger to find 
 his way. Some of the higher points command charming views. The 
 pleasantest route, well-marked and easy to follow, ascends beyond 
 the station and skirts the S. slopes, which afford fine views, to An- 
 dilly, IV.2 M. to the N.W. From the hill just above this village, 
 the prospect extends to the heights of Montmartre, Mont Valerien, 
 and St. Germain-en-Laye. On this plateau stands the Fort of 
 Montlignon , named after a neighbouring village. Riders generally 
 prolong the excursion to the Croix Blanche (restaurant), a point a 
 little farther to the N., which may also be reached direct from Mont- 
 morency. They descend thence to the W. to the (15-20 min.) Car- 
 re four du Pont d' Enghien (Cafe' -Restaurant du Rendez-vous de 
 Chasse), whence a path to the right leads to (10 min.) the Chateau 
 de la Chasse, with the scanty ruins of a castle of the 14th cent., 
 surrounded by ponds and moats. This spot is about 4 M. to the 
 N.W. of Montmorency and nearly in the centre of the forest. 
 
 III. From Enghien to Paris vi& Argenteuil. 
 
 11 M. Railway in 45-50 min. ; fares 1 fr. bO, 1 fr. 20, 80 c. 
 
 The train passes the Lac d'Enghien on the left and the race- 
 course of Enghien (p. 344) on the right. Fine view on the same 
 side. On a height in the distance rises the tower of the Chciieau 
 de la Tour, above St. Prix (1 M. from St. Leu, see p. 347). — 8 M.
 
 346 18. ARGENTEITIL. 
 
 (from Paris) St. Gratien. 91/2 M. Ermont. Railway to Pontoise and 
 to Valmondois, see R. 19. 
 
 The line now turns to the S. Beyond (10 M.) Sannois the 
 train descends between the hills oiOrgemont on the left and of San- 
 nois and Cormeilles on the right to the valley of the Seine. 
 
 111/2 M' Argenteuil {Soleil d'Or, with restaurant, near the 
 bridge), an ancient town with 13,340 inhab., lies on the right bank 
 of the Seine and is the headquarters of pleasure-boat sailing on 
 that river. The wine of Argenteuil is mediocre, but its asparagus 
 is justly celebrated. Adjacent to the Gare de I'Ouest, in the N.W. 
 of the town, lies the station of the Ligne de Grande Ceinture (for 
 Maisons, Epinay, etc.; see pp.344, 337). The road to the left 
 from the exit of the station leads to the Seine, that straight in front 
 to the interior of the town. 
 
 The Church, near the other end of the town, is a modern Ro- 
 manesque structure by Ballu, with a lofty tower. 
 
 This cliurcli boasts of possessing the seamless coat of Our Saviour 
 (distinct from the seamless robe or upper garment at Treves), said to have 
 been presented by Charlemagne to a convent at Argenteuil of which his 
 daughter Theodrada was abbess. The relic is preserved in a large modern 
 reliquary above the altar in the right transept, and is usually displayed 
 on Frid.' (at other times on application). 
 
 Beyond Argenteuil, farther down the river, a new Aqueduct- 
 Bridge carries part of the liquid sewage of Paris across the Seine. 
 On the left bank a Pump raises the sewage to the top of the plain 
 of Argenteuil, whence it flows towards Herblay (p. 347), near which 
 it recrosses the Seine by means of a siphon to fertilize the fields 
 of Acheres, at the end of the Forest of St. Germain (p. 337). 
 
 A little beyond the bridge is Colombes (see below), on this side of 
 which is its Race-Course. From Colombes the latter is reached either by 
 the road descending towards Argenteuil or by the road leading to the new 
 bridge (comp. the Map.). 
 
 We now cross the Seine. I31/2 M. Colombes (18,918 inhab.); 
 14 M. Bois-de-Colombes ; 15 M. Asnieres (p. 293). — 18 M. Paris 
 (Gare St. Lazare, p. 24). 
 
 19. The Valley of the Oise. 
 
 I. From Paris to Pontoise. 
 
 18-22 M. Railway in 3/4-IV4 hr. (fares 3 fr. 55, 2 fr. 65, 1 fr. 95 c), either 
 from (1) the Oare du Iford, via St. Denis, Enghien, and Ermont; or from 
 (2) the Gare St. Lazare, via Argenteuil and Ermont; or from (3) the Gare 
 St. Lazare, via Argenteuil and Conflans-Ste- Honorine; or from (4) the 
 Gare St. Lazare, via Maisons-Laffitte and Acheres. The return-tickets of the 
 Ligne du Nord are also available via Argenteuil and Ermont and vice 
 versa, but not by the other routes. Those who have time should go on 
 as far as Beaumont and return by one of the two lines described farther 
 on. Comp. the Map, p. 338. 
 
 1. Via St. Dbnis or Argenteuil and Ermont. — For the two 
 routes from Paris to [9 M.) Ermont, beyond which they are identi- 
 cal, see pp. 338-346. Ligne de Valmondois, see p. 352.
 
 19. CONFLANS-STE-HONORINE. 347 
 
 To the right is seen the chateau of La Tour, rising from the 
 Forest of Montmorency on a height in the distance ; to the left, the 
 Hills of Cormeilles (see below). — 10 M. Cernay. — ihl2^l.Francon- 
 ville. The village is about ^2 ^- to ^^^ S. of the station, and 1 M. 
 from Cormeilles (see below). We next see the Fort of Cormeilles, at 
 the W. end of the chain of hills. — 13 M. Montigny-Beauchamps. 
 Montigny, about 17-2 M. to the S.W., is more conveniently reached 
 by the following line. — 15 M. Pierrelaye. Farther on, a junction- 
 line branches off to the right towards Beaumont (p. 350). — 18 M. 
 St. Ouen-V Aumone (p. 349). — On the right we have a fine view 
 of Pontoise. To the left our line is joined by that from Acheres (see 
 p. 348). The train crosses the Oise. — I8V2 M. Pontoise (p. 348). 
 
 2. Via Argenteuil and Conflans-Ste-Hoxorine. — From 
 Paris to (6 M.) Argenteuil, see p. 346. This railway then crosses 
 the Ligne de Grande Ceinture, and diverges to the left from the 
 Ermont line, making a wide curve to tbe N. in a deep cutting, and 
 again approaching the Grande Ceinture. It then turns again to the 
 N.W. and runs along a high embankment among the vineyards of 
 Argenteuil. To the right stretch the fortified heights of Sannois 
 (440 ft.) and Cormeilles (545 ft.), commanding a fine view, to the 
 W., of the valley of the Seine. In the distance is the hill of the 
 Hautil (555 ft.; fine view), between the Seine and the Oise. — 
 10^2 M- Cormeilles -en-Farisis, a large village picturesquely situated 
 on the S.W. slopes of the hill of the same name. Near the church 
 (13-15th cent.; modern tower) is a bust of Daguerre (1787-1851), 
 a native of Cormeilles. We traverse another deep cutting and two 
 viaducts above the valley in which lies the village of La Frette, on 
 the bank of the Seine. To the right are the curious Butte de li 
 Tuii^ (390 ft.) and Monfigrni/ (another station, see above), prettily 
 situated at the end of the heights of Cormeilles, about 1 M. from 
 Herblay. The churcli of Montigny contains some good wood-carvings 
 of tbe time of Louis XV. — I272 M- Serhlay, a large village with 
 a conspicuous church (12th cent.), on the steep right bank of the 
 Seine, opposite the wood of St. Germain-en-Laye. 
 
 15^/2 M. Conflans-Ste-Honorine is a large village picturesquely 
 situated on the steep right bank of the Seine. On the height are a 
 square Tower, the relic of a castle, and the Church (12-16th cent.), 
 behind which is a handsome modern Chateau. The confluence of the 
 Seine and Oise, from which the village takes its name, is about ^2 ^^• 
 lower down, near the station of Conflans-Fin-d' Oise (see p. 348). 
 
 The continuation of the line to Mantes (see Baedeker s Northern 
 France) here diverges to the left, while our line turns to the N. — 
 17 V2 M. Eragny-Neuville, on the left bank of the Oise. Here we 
 join the following route. 
 
 3. Via Maisohs-Lafpitte AND Acheres. — From Paris to(3M.) 
 Asni^res, see p. 293. The Ligne de Versailles branches off to the
 
 348 19. MAISONS-LAFFITTE. 
 
 left (p. 293), and the Ligne d'Argenteuil to the right (p. 345). — 
 5V2 ^- 1^0, Garenne-Bezons, where the line to St. Germain-en-Laye 
 (p. 330) diverges to the left. To the right is the reformatory of Petit- 
 Nanterre (p. 330), and farther on are Argentenil and the heights 
 of Montmorency, Sannois, and Cormeilles; to the left, Mont Vale- 
 rien. We again cross the Seine. — 8 M. Houilles - Carrieres - St- 
 Denis. The former of these Tillages lies near the railway, to the 
 right, the latter about II/2 ^I- to the left on the Seine, about half- 
 way to Chatou. The church of Carrieres contains an interesting 
 stone altar-piece (12th cent.). To the left, we see St. Germain with 
 its terrace. From this point to Acheres our line coincides with the 
 Ligne de Grande-Ceinture (p. 337). To the right is the chateau of 
 Maisons. We again cross the Seine. 
 
 101/2 ^. Maisons-Laffitte {Hotels and Cafes near the station), 
 a village with 4750 inhabitants. The Chateau here, erected by Man- 
 sart in the 17th cent., was once the property of the Comte d'Artois 
 (Charles X.). It was afterwards presented to Marshal Lannes by 
 Napoleon I., and eventually purchased by M. Laffltte, the banker, 
 who robbed it of its greatest charm by parcelling out the grounds in 
 building-lots. The villas here are in great request as summer-quarters 
 among the financial magnates of Paris. In the vicinity is a Race 
 Course. On the opposite bank lies the prettily-situated 5arfrouuJWe. 
 
 From Maisons-Laffitte to St. Germain-en-Laye and Argenteuil by the 
 Grande-Ceinture. see p. 337. 
 
 We next pass through the lower part of the forest of St. Ger- 
 main. — At (131/2 ^I-) A.cheTes (Buffet), a station near the Bace 
 Course of St. Germain^ our line diverges to the right from those of 
 the Grande-Ceinture and Rouen, both of which pass (3 M.) Poissy 
 (p. 337). Farther on is a station for the village of Acheres, beyond 
 which we again cross the Seine, near its confluence with the Oise. 
 To the left is the hill of the Hautil (p. 347). Fine view of Conflans 
 to the right. 
 
 16 M. Conflans-Fin-d'Oise, about 1/2 M. from the village (p. 347). 
 Near the station the Oise is crossed by a suspension-bridge (toll 5 c.). 
 To reach (1 1/2 ^0 Andresy, we cross the bridge and turn to the left. 
 — Our line again follows for a short distance the left bank of the 
 Oise, passing under the lofty viaduct of the line to Mantes. The 
 river a little farther on makes a detour of 6 M. — 19 M. Eragny- 
 Neuville^ where we join the line from Paris via Argenteuil and 
 Conflans (p. 349). Then St. Ouen-VAumone (see p. 349). To the 
 right is the Nord line to Paris and Beaumont; to the left the line 
 to Pontoise, crossing the stream. 
 
 22 M. (19 M.) Pontoise (Hotel de la Gare, Hotel de Pontoise, 
 both at the station"), a town with 7200 inhab., picturesquely situated 
 on a height on the right bank of the Oise. The town dates from 
 the days of the Romans, and from an early period played a somewhat 
 important part in French history, owing to its position as capital of
 
 19. PONTOISE. 349 
 
 the Vexin (Veliocasses) and its proximity to Paris. It was frequently 
 involved in the wars of the kings of France with the kings of Eng- 
 land and the dukes of Normandy, and also in the civil struggles of 
 later date. The only remains of its fortifications are the walls of the 
 ancient chateau, which protected the town on the side next the river. 
 
 On leaving the station, we see facing us, on an eminence, the 
 Church of St. jVaclou, with a handsome flight of steps in front of it. 
 At the top of the steps is a marble statue, hy Lemot, of General 
 Leclerc (1772-1802), brother-in-law of Napoleon I. and a native of 
 Pontoise. The church is a Gothic edifice of the 12th cent., recon- 
 structed in the 15-16th centuries. The most striking features of 
 the exterior are the tower, terminating in a lantern in the Renais- 
 sance style, and the beautiful Flamboyant rose-window in the W. 
 facade. The Chapelle de la Passion, to the left on entering, contains 
 a *Holy Sepulchre, in the style of the Renaissance, with 8 statues 
 and groups of the Resurrection and the Holy Women. The Stained- 
 glass Windows also date from 1545, with the exception of those ad- 
 joining the tomb, which are modern. Opposite the pulpit is a De- 
 scent from the Cross, by Jouvenet, and the choir contains some rather 
 heavy wood-carvings of the Renaissance. 
 
 The road to the left, at the end of the square, leads to the 
 Promenade, at the end of which is a mound commanding a fine 
 view. — The Church of Notre- Dame, in the lower part of the town, 
 dating from the 16th cent., contains the tomb of St. Gautier (Wal- 
 ter), a curious monument of 1146, with a statue of the saint. — 
 Ahove the railway is a Stoiie Bridge, commanding a good view of 
 the town and connecting it with St. Ouen-l'Aumone (see below). 
 Between the two bridges is a large Hospital. 
 
 From Pontoise to Dieppe . via Gism^s, comp. p. 393 and see Baedeier^s 
 Northern France. 
 
 n. From Pontoise to Beaumont. 
 
 12 M. Eailwat in 30-35 min. (fares 2 fr. 25, 1 fr, 50 c, 1 fr.). 
 
 The train recrosses the Oise and enters (1/2 M.) St. Ouen-VAumone. 
 Farther on, to the right, is the Chateau de Maubuisso7i, on the site 
 of the notorious Cistercian abbey of that name. It includes a huge 
 barn and a tower of the 13th or 14th cent, (at one corner of the 
 park). — 11/4 M. Epluches. We again cross the Oise. — 21/2 M- 
 Chaponval. — 4 M. Auvers, a prettily situated village with an inter- 
 esting church of the 12-13th cent, (interior restored). About 1 M. 
 to the right, on the other bank of the river, lies Mery (p. 3r)2). — 
 51/2 M. Valmondois, the junction of a line to Paris via Ermont 
 (see p. 352). — Meriel and the Abbaye du Val, see p. 352. 
 
 A branch-line runs hence through the valley of the Sausseron to (4 M.) 
 Nesles, with an interesting church of the 12th cent., and to (13 M.) Marines 
 (1527 inhah.), a village witli an old chateau, about 3 M. from the station 
 of Us- Marines, on the line from Pontoise (7 M.) to Dieppe. 
 
 71/2 M. L'Isle-Adam (Ecit de France, near the bridge), a pleas- 
 ant little town of 3470inhab., on the left bank of the Oise, which
 
 350 19. L'ISLE-ADAM. 
 
 here forms two islands. The station is at Parmain^ on the right 
 bank, connected with the town by two stone bridges. L'Isle-Adam 
 owes its name to the larger of the islets, on which stood a chateau 
 belonging latterly to the Prince de Conti [see below). The fine 
 avenue to the left, beyond the church and the Hotel de Ville, 
 ascends to a wood of the same name. 
 
 The Chukch, in a straight line with the station, is a Renaissance 
 edifice, with a handsome portal of 1537, lately restored and flanked 
 with a tower of the same date. The *Pulpit^ executed by a German 
 artist in 1560, is richly adorned with statuettes and inlaid work. 
 The choir, the aisles, and the new Lady Chapel (to the right) 
 contain some good modern stained glass. The stalls, dating from 
 the 16th cent, have curious reliefs on their misericords. In a chapel 
 to the left is an altar-piece in carved wood, representing the Passion 
 (15th cent.). An adjoining chapel, opposite the Lady Chapel, con- 
 tains the remains of the monument of Prince de Conti (1717-76), 
 destroyed, like his chateau, at the Revolution. The beautiful figure 
 of a weeping woman is a plaster reproduction of one by Moitte. — 
 The Hotel de Ville, alongside of the church, and the Clergy House, 
 at the back of it, are handsome modern buildings in a similar style. 
 The small Chateau, which has replaced that of the Prince of Conti, 
 contains some interesting paintings, including what is said to be the 
 original of the small Holy Family by Raphael, that in the Louvre 
 (p. 113; No. 1499) being thus a copy. 
 
 A fountain with a bust by Marqueste has been placed as a monument 
 to Jules Dupri (1812-1889), the landscape-painter, in front of^the^house for- 
 merly occupied by him. 
 
 The Wood of flsle-Adam, covering a chain of hills with a maximum 
 height of 620 ft., affords numerous pleasant walks. The railway from 
 Beaumont to Ecouen (see p. 351) skirts its other side, the nearest stations 
 being Presles (4 M.) and Montsoult (6 M.). 
 
 The valley now expands and ceases to be picturesque. — 8Y2 M. 
 Jouy-le-Comte. — The church of (91/2 M.) Champagne has a fine 
 spire of the 13th century. 
 
 12 M. Beaumont {Hotel des Quatre-Fils-Aymon, facing the 
 bridge), a small town with 3100inhab. , picturesquely situated, 
 1/2 M. from the railway, on a height on the left bank of the Oise. 
 The *Church, reached by a lofty flight of steps, is an interesting 
 building of the 13th cent., with double aisles surmounted by gal- 
 leries. The pillars are round, like those of Notre-Dame at Paris, and 
 have fine foliage d capitals. The choir is much smaller than the 
 nave. The lateral tower terminates in the Renaissance style. 
 
 Passing the church-tower, following the streets to the right, 
 and turning again to the right at the Hotel de Ville, we reach the 
 Place du Chateau or Promenade, adjoining which is part of the old 
 wall of the chateau, with round towers at the corners. The Prome- 
 nade affords an extensive view of the valley of the Oise. 
 
 From Beaumont to Creil, see p. 375; to Hermes, see Baedeker''t Northern 
 France,
 
 19. ECOUEN. 351 
 
 III. From Beaumont to Paris. 
 1. Vid Montsoult. 
 
 23 M. Railway in 3/4-IV4 hr. (fares 4 fr. 15, 2 fr. 80, 1 fr. 80 c). 
 
 This is part of the direct line from Paris to Beauvais aud Amiens. 
 The train crosses the Oise and ascends the picturesque valley of one 
 of its affluents. — 2 M. Nointel. 
 
 To the left is the Forest of Carnelle, affording numeroua pleasant walks. 
 The Poteau de Carnelle (690 ft.), its highest point, is about l'/4 M. from 
 Nointel and I3/4 M. from Presles (see below). There is a 'Tour d'Obser- 
 vation'', commanding an extensive view. The 5th avenue to the rijzht in 
 coming from Nointel (the third from Presles) leads to the S.E. to (3/4 M.) 
 the Poteau de St. Martin (about 2/4 M. from the village of that name; see 
 below). About 1 M. to the S.W. is the Pierre Turquaise or Turquoise., a 
 kind of leafy arbour, 38 ft. long and 10 ft. wide (to the left; sign-post). 
 About 1/2 M. lower down is a wide alley leading to the right to (2/4 il.) 
 the station of Presles. To reach the (I1/2 M.) Chateau de Franconville (see 
 below) from the Pierre Turquaise, we retrace our steps to (7 min.) a 
 footpath leading to the right to (7 min.; sign-post) the plain of St. Martin. 
 
 3*/4 M. Presles. To the left is seen the magnificent * Chateau of 
 Franconville, recently rebuilt by the Due de Massa. The nearest 
 station to it is (1 M.) Belloy, on the Luzarches line (see below). To 
 the right is the wood of LTsle-Adam (p. 350). — 71/2 M. Mont- 
 soult., the station for the two villages of Montsoult and Maffliers, 
 situated about 2/3 M. to the W. and to the N.W. , at the beginning of 
 the wood of L'Isle-Adam. There is also an interesting chateau at 
 Montsoult, commanding a fine view. 
 
 From Montsoult to Luzarches, T M., railway in 25-40 min. (fares 
 1 fr. 35 , 90 , 60 c). — 2V2 M. Belloy-St-Martin. Belloy , to the right, 
 contains an interesting church dating from the 15th century. St. Martin-du- 
 Tertre , to the left , is picturesquely situated on an eminence on the S.E. 
 border of the forest of Carnelle (see above). To the left is the Chdteau de 
 Franconville., mentioned above. — The train now enters a cutting, beyond 
 which we have a fine *View to the left of the valley of the Oise. — About 
 IV2 M. to the N. of (41/2 M.) Viarmes (Cheval Blanc) are the remains of the 
 Abbet/ of Royaumont, dating from the 13th cent., now occupied as a conven, 
 and not open to visitors. — 7 M. Luzarches (Hotel St. Damieii)., a small 
 town in a pleasant situation. A little to the N.E. is the forest of Coye 
 which extends to the forest of Chantilly (p. 374). The road passing the 
 statitm leads through the (own and then ascends to the S. through a wood, 
 immediately beyond which is the (i'^/i M.) Chdteau of Champldtreux., built 
 in the 17th and 18th centuries. 
 
 9^2 M. Bouffemont. — 10 M. Domont, on the N. slope of the 
 forest of Montmorency, is commanded by a fort. 
 
 12 M. Ecouen-Ezanville. The Chdteau of Ecouen, to the left, is 
 a handsome edifice of the 16th cent., built by Jean Bullant for the 
 Constable Anne de Montmorency, like the oldest part of the chateau 
 at Chantilly (p. 372). It is now used as a school for daughters of 
 members of the Legion of Honour of lower rank than are provided for 
 at St. Denis (p. 343). Visitors are not admitted. The park and a fort 
 occupy the top of the hill on which the town is situated. The road on 
 the other side, commanding a fine view in the direction of Paris, de- 
 scends to Villiers-le-Bel (3930ft. ; p. 3711 and (2 M.) Sarcelles. 
 
 I3V2 M. Sarcell'-s-St-Brice. — 14 M. Groslay. — ib^o ^^-
 
 352 19. ST. LEU. 
 
 Deuil-Montmagny. — At (17 M.) Epinay, we join the Pontoise 
 line to St. Denis and Paris (see p. 344). 
 
 2. Vid Valmondois and Ermont. 
 
 25 M. Railway in IV4-IV2 lir. (same fares). 
 
 From Paris to [6 M.) Valmondois, see p. 349. Beyond Valmondois 
 the train quits the Pontoise line and crosses the Oise. To the left 
 a view of the park of the chateau oi Stars. — 71/2 M. Meriel. 
 
 The mined Abbaye du Val, 1 M. to the E., presents various features 
 of interest to archaeologists and others. It is reached by the road which 
 ascends the Oise, traversing the village, and then skirting the small railway 
 used to transpiirt the st:»nes from the quarries higher up to the left. We 
 then turn to the left, and V^ ^- farther on follow the road leading to the 
 left across the fields. At the lowest point we turn to the right, through an 
 arched gate, and reach the abbey just beyond a small house, where per- 
 mission to view the interior of the ruin is obtained. The abbey, like manj' 
 others, was suppressed in 1791, and was afterwards converted into a manu 
 factory. The chief remains consist of au imposing edillce of the 12th cent., 
 successfully restored, containing the refectory and chapter-hoi-.se on the 
 groundfloor and the dormitory above, the last a large vaulted apartment, 
 divided into two by a row of fine columns. At one side is an octagonal 
 turret, in front of which is one of the walks of the old cloisters. On the 
 elevated ground opposite are the remains of two vaulted structures, the 
 larger by the side of the road. Beyond the fields and hills (now stripped 
 bare) of the abbey extends the wood of L'lsle-Adam (p. 340j. 
 
 91/2 ^^- M^ry, with a splendid view; the village lies 1/2 ^- ^^' 
 low the station. — 10 M. SognoUes; IO1/2 ^- Frepillon; 11 M. 
 Bessancourt. — 12 M. Taverny, to the left, at the foot and on the 
 slope of a hill joining the forest of Montmorency and commanding 
 a fine view. The Church, halfway up the hill, dates from the 13th 
 and 15th cent, and is one of the handsomest in the environs of Paris. 
 Above the S. portal is a fine rose-window in the Flamboyant style. 
 The interior contains a handsome stone altar in the style of the Re- 
 naissance and wood-carvings of the same period (by the S. door), 
 representing the martyrdom of St. Bartholomew. — 13 M. Vaucelles. 
 
 131/2 ^I- St. Leu. The chateau of St. Leu, once belonging to Louis 
 Bonaparte, King of Holland, and afterwards occupied by the last 
 Prince of Conde (d. 1830), has disappeared; its site is marked by 
 a simple monument to the prince. The modern Church, much im- 
 proved by Napoleon III., contains the tombs of Carlo Bonaparte 
 (d. 1783), father of Napoleon I., Louis Bonaparte (d. 1846), and 
 two sons of the last. The monument of Louis is in the apse, be- 
 hind a railing. 
 
 14 M. Gros-Noyer. — 15 M. Ermont-Halte. — 16 M. Ermont. 
 From Ermont to Paris, see pp. 346-338.
 
 353 
 
 20. Sceaux, Chevreuse, Montlhery, etc. 
 
 The following excursiong are recommended in favourable weather to 
 all lovers of nature, especially to those who are good walkers. At least an 
 afternoon should be devoted to a visit to Sceaux and Eobinson (see below). 
 
 I. From Paris to Sceaux. 
 
 a. By Tramway. 
 
 The tramway-cars start from the Place St. Oermain-des-Prds (p. 253), 
 which is easily reached with 'coirespondance' from any part of Paris (comp. 
 the Appx.). The terminus is &i Fontenay-aux-Roses (see below). The distance 
 is 572 M., traversed in 1 hr. 5 min.; fares 60 or 35 c. On Sun. and holi- 
 days the cars are often overcrowded. From the terminus we have fully 
 1 M. to walk to Sceaux by a pleasant road. 
 
 Starting from the Place St. Gennain-des-Pres (PL R 19, IV ; see 
 p. 253), the tramway follows the wide Rue de Rennes to the Gate 
 Montparnasse (p. 290^. It then turns to the left into the Boul. Mont- 
 parnasse and immediately afterwards to the right into the Boul. 
 Raspail, which skirts the Cemetery of Montparnasse. Beyond the 
 Place Denfert-Rochereau (p. 291), we traverse the Avenue d'Orle'ans 
 to the church of St. Pierre -de-Montrouge (p. 29'2), and then the 
 Avenue de Chatillon, hy which we quit Paris. — Outside the gate 
 lies Malakoff, a village with 9144 inhabitants. 
 
 Chdtillon (2426inhab.) lies at the foot of a plateau, which com- 
 mands a good view of Paris. A little to the W. is Clamart (p. 298). 
 
 About 3/4 M. to the E. of Chatillon lies Bagneux (1580 inhab.), with 
 numerous villas and an interesting church, dating in part from the 13th 
 century. Chatillon and Bagneux were both included in the German lines in 
 1870-71. On 13th Oct., 1870, the French made a vigorous attack on the 
 German troops posted here, and after a sharp contest succeeded in taking 
 possession of Bagneux, which, however, they evacuated on the same evening. 
 Monuments in memory of those who fell on this occasion have been erected 
 both at Bagneux and at Chatillon. — Steam-tramway, see p. 359. 
 
 Fontenay-aux-Roses (2652 inhab.), 1 M. to the S.E. of Chatil- 
 lon, has a station on the new railway to Sceaux, and is the terminus 
 of the tramway-line. It is surrounded with fields of strawberries 
 and violets, in both of which it carries on a brisk trade. A fine view 
 of Paris is enjoyed from the N. side of the large PlaceMe la Mairie 
 where the car stops. 
 
 To reach the railway-station (see below) we descend the Rue 
 Boucicaut farther on. To the right, as we descend the street, is the 
 former Maison Boucicaut^ a handsome modern structure ; to the left 
 is Ste. Barbe-des-Champs, a small dependency of the college of that 
 name in Paris. Farther on, beyond a Normal School for female 
 teachers, the road forks. The right branch leads to (1 M.) Sceaux 
 (p. 355) via the (1/2 M.) station Jof Foutenay (p. 353); the left to 
 (IV2 M.) Bourg-la-Reine (p. 355). 
 
 The direct route to (I74 M.) Robinson (p. 355) diverges to the 
 right from the road from Chatillon, before the Place in which the 
 tramway-office is situated. [Or we' may follow the narrow street 
 descending opposite the tramway-office, and turn to the right at the 
 end.] At the first fork we may either take the Rue de Chatenay to 
 
 Baeukkeb. Paris. i2thEdit. 23
 
 354 20. AliCUEIL. 
 
 the left, wlii(;h joins tlie road near the station of Sceaux-Robiusou 
 (see below), or the Rue du Plessis-Piquet to the right, whence 
 another road diverges to the left leading direct to Robinson. 
 
 The little village of Le. Plessis-Piquet, prettily situated (m the side of 
 a hill not far from the ahove-mentioned fork, is separated from the Bois 
 de Meudon by the small plain through which runs the road to Chatillon. 
 
 b. By Railway. 
 
 71/2 M. Ligne de Sceaux et Limours. The station is near the Luxem- 
 bourg, Boulevard St. Michel 69, at the corner of the Rue Gay-Lussac 
 (PI. R, 19; V). Luggage, however, is not registered here but must he 
 taken to the old station in the Place Denfert-Rochereau. Trains leave 
 Paris every 1/2 hr. Fares 1 fr. 35, 90, 60 c. ; return-tickets 2 fr., 1 fr. 45, 95 c. 
 
 The line, which will eventually begin nearer the quays, is 
 carried by a tunnel under the Boul. St. Michel to the station of Port- 
 Royal, situated at the Carrefour de I'Observatoire (p. 287) but named 
 after the adjoining boulevard. Thence another tunnel takes it 
 beneath the Avenue de I'Observatoire and the Rue and Place Den- 
 fert-Rochereau (p. 291) to the station of Paris-Den fert, the former 
 Gare de Sceaux (PI. G, 20). The railway then crosses several via- 
 ducts and traverses the park of Montsouris (p. 292). 1^/4 M. Seeaux- 
 Ceinture, the junction for the Chemin de Fer de Ceinture (see Appx.). 
 To the left, outside the fortifications, are Fort Bicetre and the large 
 lunatic asylum and hospice of that name. Numerous quarries and 
 market-gardens on both sides. The small pyramidal wooden struc- 
 tures cover the mouths of deserted quarries, in which mushrooms 
 are now cultivated. — 21/2 M. Gentilly, an old village to the left 
 (pop. 15,000) ; 3 M. Laplace. To the left is the Aqueduct of Areueil, 
 beneath the W. end of which our line passes. 
 
 31/2 ^- Areueil, a village (6088 inhab.) in the valley of the 
 Bievre, with a church of the 13-15th centuries. The Ecole Albert-le- 
 Grand, in the Grande-Rue, an ecclesiastical establishment, was 
 managed in 1870-71 by Dominican monks, several of whom were 
 massacred by the Communards. It contains a mortuary chapel, with 
 a statue of Pere Captier, by Bonnassieux. — Steam-tramway from 
 Paris to Arpajon, see p. 359. 
 
 To the left, visible both on reaching and quitting the station, is the 
 large *Aqueduct of Areueil, consisting in fact of two aqueducts, one above 
 the other, with a total height of 135 ft. The name of the village is derived 
 from an ancient aqueduct ( Arculi) constructed here by the Romans, on the 
 site of which Jacques Debrosse (1613-24) built another aqueduct, 440 yds. 
 long, for the purpose of conveying water from the village oi Rungis to the 
 garden of the Luxembourg. In 1S68-72 a second aqueduct was placed on 
 the top of this, and. though the masonry is not so good as that of Debrosse, 
 it is still a notable piece of engineering, — A road to the left of the Aque- 
 duct ascends to Villejuif (p. 361). 
 
 Beyond Areueil the fortified heights of Villejuif (p. 361 ; Redoute 
 des Hautes-Bruyeres) come into sight. Farther on Bagneux (p. 353), 
 Fontenay-aux-Roses (p. 353), and the fort of Chatillon (p. 353) 
 are seen to the right. To the left are L'Hay and Chevilly, also scenes 
 of contests during the siege of Paris.
 
 20. SCEAUX. 355 
 
 51/2 M. Bourg-la-Eeine {Restaurant-Cafe Perdereaux , in the 
 Place), a modern village with 3000 iuhah., is a favourite summer- 
 residence. In the Place Condorcet, about 3 min. from the station, 
 is a marble bust, by Trupheme, of Condorcet, who died here in 1794. 
 
 The Sceaux line here diverges to the right from the line to 
 Limours (p. 307). To the left is the Lyc^e Lakanal, to the right 
 Fontenay-aux-Roses and the heights of Chatillon, while behind, to 
 the right, appear the Aqueduct of Arcueil and the heights ofVillejuif. 
 
 61/4 M. Seeaux (see below). The railway now describes a curve 
 to the N., passing (68/4 M.) Fonten,ay-aux- Roses (p. 353). — 71/2 M. 
 Sceaux-Rohmson^ a station between the town of Seeaux and Robin- 
 son (see below), 
 
 Seeaux {Hotel de VEtoile-du-Nord; Restaurant du Pare, near 
 the church), a small town with 3567 inhab., pleasantly situated 
 upon a hill amid charming scenery. The Chateau of Seeaux, built 
 by Colbert , afterwards became the property of the Due du Maine, 
 son of Louis XIY. and Mme. de Montespau. During the first half 
 of the 18th cent, it was celebrated for the brilliant fetes given here 
 by the Duchesse du Maine to the little court of wits and 'grands seig- 
 neurs' she assembled around her. The chateau was destroyed at the 
 Revolution. A small piece of the Park has been preserved and is 
 open to the public. It is reached from the station of Seeaux by the 
 road to the right and the Rue Penthievre, the first turning to the 
 left; from the station of Sceaux-Robinson, at the W. end of the 
 town, we turn to the left and pass through the town. The Church, near 
 the park, contains a Baptism of Christ, by Tuby. Beside it are busts 
 of Florian (1755-1794), the poet and fabulist, who is buried in the 
 cemetery of Seeaux, and of the Provencal poet Aubanel (1828-1886). 
 About 74^^' farther on is the Lycee Lakanal, a handsome building in 
 a pretty part of the park, not far from Bourg-la-Reine (see above), 
 
 Robinson {Cafes-Restaurants in the chestnut-grove and at the 
 station, d^j. 21/2, D. 3 fr.), about 1/4 M. to the W. (right) of the 
 station of Sceaux-Robinson, charmingly situated at the foot of a 
 wooded hill, is one of the pleasantest spots near Seeaux, It possesses 
 numerous garden-cafes, with platforms placed amid the branches of 
 the large chestnut-trees, and in fine weather it is thronged with 
 pleasure-seekers. Horses and asses may be hired at'Robinson (horses 
 2-3 fr. per hr,, asses 1-1 V2 f^.). 
 
 A house with a tower on a height a little' beyond Robinson com- 
 mands an admirable view of the valley of the Bievre. 
 
 From Robinson to the B013 de Verri^ires is a favourite excursion. 
 Riders usually make it by the road passing the above-mentioned house 
 with the tower. The first part of the route is, however, monotonous and 
 devoid of shade, and the route by the lower road is preferable for pedes- 
 trians. The lower road leads from Robinson towards the S. and passes 
 0/2 M) Aulmiy, where Chateaubriand had a country-house, and (I1/2 M.) 
 Chdtenay (1339 inhab.), which some authorities name as the birthplace of 
 Voltaire. Just beyond the latter village we reach the highroad from 
 Versailles to Choisy-le-Roi , which descends to the left to the railway- 
 
 23*
 
 356 20. BifiVRES. 
 
 station of (IV4 M.) Berny (see below) and ascends to the ri'j,ht to the Bois de 
 Verrieres. The Bois de Verrieres covers a small plateau which commands 
 the valley of the Bievre on the E. and S. and has consequently been 
 fortified with six redoubts. Its main axis, from Chafenay to Bievre, is 
 not above 21/2 M. long. Various points in it afford charming views of the 
 valley. Equestrians generally proceed to Malctbry (inn), about I1/4 M. from 
 Chatenay, and thence to the so-called '■Obelisk", a circular clearing in the 
 wood, where the chief forest-paths converge. Walkers reach this point 
 directly by ascending from Chatenay along the road to Igny and then turning 
 to the left. Proceeding in the same direction beyond the clearing, we reach 
 the margin of the plateau, where it overlooks the most attractive part of 
 the valley. On the other side we obtain a view of a pretty little side- 
 valley, with the ruins of the old Abbai/e aux Bois. To the right of the 
 above-mentioned road to Igny lies the village of Bi^vres, where we descend 
 into the valley (see below). 
 
 n. From Paris to the Valley of Chevreuse. 
 
 Valley of the Bievre. Limours. 
 
 Railway from Paris to St. Remy-res-CMvreuse., 2OV2 M., in 50-75 min. 
 (fares 3 fr. 70, 2 fr. 50, 1 fr. 65 c; return- tickets 5 fr., 4 fr., 2 fr. 60 c). — 
 Chevretise is about IV2 M. from the station, and 2V2 M. farther on is Bam- 
 pierre, to both of which places public conveyances ply (see below). Les 
 Vaux-de-Cernay lies about 3 M. from Dampierre. — Steam-tramway from 
 Paris to Antony, see p. 359. 
 
 Those who do not wish to walk and who do not object to public 
 conveyances may make this excursion as follows : leave Paris about mid- 
 day, and on arriving at St. Remy take the omnibus to Chevreuse; after 
 visiting the ruined chateau, take the omnibus, which starts at 4 p.m. for 
 the station of Laverriere on the line from Paris to Chartres (Chemin de Fer 
 de rOuest), quit the vehicle at Dampierre, walk thence to (3 M.) Les Vaux- 
 de-Cernay, and return in time to catch the omnibus starting from Dampierre 
 at 9 p.m. for St. Remy, in connection with the last train to Paris. Om- 
 nibus-fare to Chevreuse 30, to Dampierre 70 c. — Special permission is 
 required to visit either the chateau at Dampierre or the ruins at Les 
 Vaux-de-Cernay (see p. 343). 
 
 From Paris to (61/2 M.) Bourg-la-Reine, see pp. 354, 355. Short 
 tunnel. — 7 M. Berny; 772^. Antony (1967 inhab.), prettily 
 situated. To the right we obtain a view of the Bois de Verrieres. — 
 91/2 M. Massy is situated on a hill facing the upper part of the valley 
 of the Bievre, of which it commands a fine view. — At — 
 
 101/2 M. Massy- Palaiseau our line joins the Ligne de Grande- 
 Ceinture. 
 
 FfiOM Massy-Palaisead to Versailles, 91/2 M., in 30-35 min. (fares 
 1 fr. 70, 1 fr. 15, 75 c). — This section of the Ligne de Grande-Ceinture 
 traverses the prettiest part of the Valley of the BiAvee, with its verdant 
 meadows and luxuriant woods. The valley is attractive to pedestrians 
 except on the side next the Bois de Verrieres (to the right), where the 
 roads are frequently flanked by high walls. — 1^/4 M. Igny, to the left, with 
 the large Ecole St. Charles, managed by monks. — 3 M. Bihvres (Chariot d'Or), 
 to the right, is beautifully situated on the slope of a plateau to the N.W. 
 of the plateau of Verrieres. A road between these plateaux ascends to 
 (I3/4 M.) Le Petit- Bicetre, on the road from Versailles to Choisy, not far from 
 the Bois de Meudon^(p. 301). Among the fortified hills to "the left of the 
 valley lie the Eiang de Saclay, the Etang du Trou-SaU, and other ponds 
 which furnish the water for the fountains at Versailles. — 41/2 M. Vau- 
 hoyen; 5V2 M. Jouy-en-Josas. Farther on the train turns to the right and 
 ascends by a lofty viaduct. To the left is the Aqwduct of Buc, 580 yds. 
 long and 70 ft. high, built in 1686 to convey water to Versailles from the
 
 20. CHEVREUSE. 357 
 
 ponds between the valleys of the Bievre and the Yvette. Soon after our 
 line joins the Ligne de Bretagne. — 9V2 M. Versailles, Gare des Chantiers 
 (p. 310). 
 
 From Masst-Palaiseau to Valenton, IIV2 M. This somewhat unin- 
 teresting section of the Ligne de Grande-Ceinture has stations at Wistout 
 (p. 359), Rungis (p. 354), Orly, and Villeneuve-le-Roi, beyoad which it crosses 
 the Ligne d'Orleans, the Seine, and the Ligne de Lyon. Valenton is a junction 
 near the last-named line, at which this section of the Ligne de Grande- 
 Ceinture joins that from Champigny (p. 303) and Sucy-Bonneuil (p. 309 ; 
 2V2 M.) to Villeneuve-St-Georges, which is situated 2 M. to the S. (see p. 3G2). 
 
 From Massy-Palaiseau to Juvisr, 9 M., railway in 1/3- '/•/ br. (fares 1 fr. 
 70, 1 fr. 15, 75 c). — 2 M. Champlan. — 3 M. Longjumeau (p. 359). — 3Vv M. 
 Chilly- Mazarin (p. 359); 5 M. Qravigny ; 6 M. Petit- Vaux. — 7V2 M. Savigny- 
 suv-Orge (p. 362). — 9 M. Juvisy (p. 362) is also a station on the Ligne de 
 Grande-Ceinture, which runs hence to (4 M.) Villeneuve-St-Georges (p. 362). 
 
 11 M. Falaiseau {Ecu de France, Grand' Rue 148), an ancient 
 place which owes its name to a royal palace ('palatiolum'), now 
 destroyed. In the Place de la Mairie is a bronze statue of Joseph 
 Bara^ a boy-volunteer killed by the Vendeens in 1793. The Church, 
 behind the Mairie, dates from the 12-13th centuries. 
 
 The train now enters the pretty Valley of the Yvette^ which is 
 flanked by wooded hills. — 13 M. Lozere. — 15 M. Orsay, a large 
 village to the left. — 15V2 M. Bures. — I71/2 M. Oif. — Then to 
 the right, before the next station, the ruins of Chevreuse become 
 visible. — 20^2 M. St. Remy-les-Chevreuse, the station for Chev- 
 reuse, Dampierre, and Vaux-de-Cernay. 
 
 The railway, turning to the S., now quits the valley of the Yvette and 
 ascends another picturesque vale to (3 M.) BouUay-les- Troux. The terminus 
 is reached at (2V2 M. farther on) Limours, a place of little importance. — 
 Forges-les-Bains, 3 M. to the S.E., has mineral springs and a hospital for 
 scrofulous children. 
 
 The road, passing through the village of St. Remy, crosses the 
 Yvette and turns to the left. A shorter and pleasanter footpath 
 leads along the railway-line to the left, passes the Chateau de Cour- 
 betin, and soon comes in sight of the ruins. 
 
 Chevreuse {Hotel du Grand- Courrier, Rue de la Mairie 23), a 
 small and poorly-built place, is the capital of a barony, afterwards 
 a duchy, various holders of which have distinguished themselves as 
 soldiers, courtiers, or scholars. 
 
 The Ruined Chateau is quite unimportant in itself, but it lends 
 picturesqueness to the distant views of the town and valley, while 
 its terrace commands a line survey in the direction of Dampierre. 
 The ruins occupy the extremity of a small plateau, 260 ft. above 
 the town, whence they are reached by a fatiguing, sandy path. They 
 consist mainly of a massive donjon of unhewn limestone and two 
 towers of hewn stone, now covered with ivy. The smaller tower is 
 not seen from the foot of the hill or from the terrace. The interior 
 is uninteresting. 
 
 The Church, built, like many of the edifices of the district, of 
 rough limestone , has a tasteful interior, with some fair mural 
 paintings by M. de Courbetin. Opposite the S. portal is an ogival
 
 358 20. DAMPIERRE. 
 
 Romanesque doorway and a few other remains of a Priory, now 
 used as a storehouse. 
 
 The road from Chevreuse to Dampierre, though picturesque, is 
 almost entirely destitute of shade. On the right rise wooded hills, 
 and on the heights to the left is the handsome modern Chateau de 
 Bevillera. The Chateau de Mauviere, near the left side of the road 
 farther on, dates from the 18th century. We now turn to the right, 
 skirt the long wall concealing the chateau of Becquencourt, and, 
 beyond a mill on the Yvette, reach the village of Dampierre. 
 
 Dampierre [Hotel de V Yvette; omnibus, see p. 356) is noted for 
 its magnificent * Chateau, belonging to the ducal family of Luynes, 
 which has obtained an honourable distinction from the rich ar- 
 chaeological collection now in the Bibliotheque Nationale at Paris 
 (p. 195). The chateau, built for the most part in the 17th cent, by 
 J. H. Mansart and restored in 1840 by Duban, is a huge structure of 
 brick and stone, rising between a fine 'cour d'honneur' and an ex- 
 tensive park in a small valley, the confining hills of which limit the 
 view in every direction. Admission to the chateau and park may 
 be obtained on Fridays, from 1 to 5 o'clock, on written application 
 to the Duchesse de Luynes, who usually spends the summer at the 
 chateau (address before July, 51 Cite de Yarenne, Paris). Among 
 the art-treasures retained in the chateau are an ivory, gold, and sil- 
 ver statue of Athene by Simart (a quarter-size reproduction of the 
 colossal chryselephantine statue of Athene in the Parthenon), the 
 celebrated Sleeping Penelope by Cavelier, and a silver statue of 
 Louis XIII. by Rude. — The neighbouring Church contains the 
 burial vault of the Dues de Luynes. 
 
 The route to Les Vaux-de-Cernay, leaving the chateau in the 
 direction of the church, ascends the valley of the streamlet of the 
 same name to the S. In less than IY4 M. we diverge from the road, 
 and continuing in a straight direction, pass the hamlet of Games. At 
 the Moulin des Rochers we reach another carriage-road, which leads 
 first to the left, then to the right, not far from Cernay-la-Yille 
 (p. 359), and follows the other side of the valley. Walkers, how- 
 ever, find a shorter and pleasanter path leading along the bank 
 of the stream from the Moulin des Rochers, and passing two other 
 miUs. We next skirt the long Etang de Cernay and in about 74 ^^^ 
 more reach the picturesquely -situated hamlet of Les Vaux-de- 
 Cernay, noted for its ancient abbey. 
 
 The Abbaye des Vaux-de-Cernay, situated near the pond, was 
 founded in 1128. The ruined church, in the Romanesque style, 
 with its portal and S. aisle, the vaulting of which is still entire, is 
 the most interesting part extant. The remains now belong to Baron 
 Nathaniel de Rothschild, who has converted some of the better- 
 preserved buildings to his own use. Yisitors are admitted by special 
 permission only, for which application may be made to 33 Rue du 
 Faubourg-St-Honore, in Paris. Adjacent are two parks.
 
 20. BOURG-LA-REINE. 359 
 
 The village of Cernay-la-Ville (Ildtel Margai)^ reached on the E. or 
 opposite side from Les Vaux, by the carriage-road which is joined by that 
 from Dampierre (p. 35S), is frequented, like Barbison and Marlotte. by 
 artists, who have left their mark in a curiously decorated room in the 
 hotel. The return via Cernay-la-Ville to Dampierre is a detour of 2 M. 
 
 III. From Paris to Montlh^ry. Arpajon. 
 a. By the Tramway d' Arpajon. 
 
 19 M. Tramway in 1 hr. 50 min.; fares 1 fr. 90, 1 fr. 25 c. This 
 tramway starts at Rue de Medicis 13, near the Luxembourg, every 40 min. 
 in summer, and every IV4 hr. in winter for Antony, and every 2 hrs. 
 and 2i'2 hrs. for the whole distance. Correspondance with the omnibuses 
 and tramways .4bis, //, y, z^ AF^ TO^ and TQ (comp. Appx.). 
 
 The route within Paris is the same as that of the tramway to 
 Moiitrouge, via the Boul. St. Michel, the Carrefour and Avenue de 
 I'Observatoire (p. 287), the Rue and Place Denfert-Rochereau (p. 291), 
 and the Avenue cV Orleans (church of Montrouge, p. 292). — The 
 Tramway d' Arpajon proper begins outside the city, at the Porte 
 d'Orleans (PI. G, 18), where the horses are replaced by a steam- 
 engine. The tramway follows the Orleans road, via Le Grand-Mont- 
 rouge, an uninteresting manufacturing village (three stations), Arcueil 
 (Vache Noire), and La Croix-d' Arcueil, to the W., near the extrem- 
 ity of the village (p. 354). Fine view, to the right, of Bagneux 
 and Fontenay-aux-Roses ; to the left, the double aqueduct of Ar- 
 cueil. — Grange d'Ory. — 1^2 M. Bagneux; the village (p. 353) 
 lies about 3/^ M. to the W. To the right are Sceaux, and, beyond 
 the Ligne de Sceaux, the Lycee Lakanal. The line descends rapidly 
 to La Fa'iencerie, a station just outside Bourg-la-Reine. 
 
 3 M. Bourg-la-Reine (p. 356), station in the Place Condorcet. — 
 In the upper part of the town, not far from the Lycee Lakanal (^to 
 the right) is the station of Petit- Chamh or d (Sceaux ; p. 355). — 
 31/2 M. La Croix-de-Bemy , a group of houses at the point where 
 the tramway intersects the road from Versailles to Choisy-le-Roi. 
 Farther on is Antony (p. 356), where the tramway has a stopping- 
 place before reaching the (5 M.) principal station. Some of the cars 
 go on hence, crossing the Bievre, to the station of Pont-d' Antony. 
 
 The tramway continues to ascend the Orleans road, crossing the 
 Ligne de Grande-Ceinture, to Le Petit-Massy, a station II/4 M. to 
 the left of Massy (p. 35 u). Fine view of the valley of the Bievre. 
 We here turn to the left and cross a plain. — 6^/4 M. Wissous has a 
 church part of which dates from the 12th century. Beyond Morangis, 
 with its large modern chateau, the line descends towards the valley 
 of the Yvette. Near the station of Chilly- Mazarin (p. 357) formerly 
 stood a chateau of the Due de Mazarin, nephew of the famous car- 
 dinal. Station of Chilly- Grande-Ceinture. 
 
 101 2 M. Longjumeau {^Hotel St. Pierre, Grande Rue; Du Cadran, 
 near the tramway-station), an old town with 2550 inhab., noted for 
 the peace concluded in 1568 between the Homan Catholics and the 
 Protestants (the 'Paix Boiteuse'). The Church (13-i4th cent.) is
 
 360 20. montlh]6ry. 
 
 near the S, end of the Grande Rue (Orleans road), while the station 
 of the Ligne de Grand e-Ceinture is at the N. end. 
 
 12 M. Saulx-les-Chartreux lies to the E. of the wooded hills 
 beyond which is Palaisean (about l^ '4 M. ; p. 357). At the station of 
 BallainvilUers the tramway returns to^the Orleans road. — I41/4 M. 
 La Grange- aux-Cercles; 15 M. La VUle-du-Bois. To the left 
 appears the tower^of Montlhery. The [station of Longpont is nearly 
 11/4 M. to the W. of the village of Longpont, the old priory-church 
 of which is an interesting Romanesque building, largely restored in 
 the original style. 
 
 151/2 M. Montlhery [Hotel du Chapeau-Bouge, Rue de la Cha- 
 pelle; Soleil d'Or, Rue des Juifs; Cheval Blanc, at the station; Cafe's, 
 near the ruins), an ancient and picturesque town of 2222 inhab., is 
 situated on the slope of a hill crowned by a massive tower. Mont- 
 lhery possessed a celebrated mediaeval fortress, which afterwards be- 
 came a stronghold of robbers, who successfully defied the kings of 
 France until the 13th cent., while the castle itself was not destroyed 
 until the religious wars. 
 
 The Rue Luisant, leaving the Orleans road a little beyond the 
 station, ascends to the town , passing the Place du Marche. Farther 
 on is the Rue des Juifs, with the Rue de'^la Chapelle to the left and 
 the Grande Rue to the right. The Church, to the right, is largely 
 Romanesque. Farther on is the Porte Baudry, dating from the 11th 
 and i6th cent., but otherwise uninteresting. 
 
 The Ruined Castle, to which we ascend to the right of the church, 
 consists mainly of the Keep, 100 ft. high (13th cent.), three other 
 smaller towers, and a few shattered walls. Visitors are permitted 
 to ascend the keep (10 c.) to enjoy the view, which, however, is 
 nearly as good from the foot. 
 
 The railway-station of St. Michel- sur- Org e (p. 362) lies to the E. of 
 Montlhery, the side farthest from the tramway-route. 
 
 A branch-tramway runs hence to the W. to (l^/i M.) Marcomsis, a 
 large village with a chateau and limestone-quarries. — The main Tramway 
 goes on via Linas (which adjoins Blontlhery and possesses an interesting 
 church), LeuviUe, and St. Oermain-la-Norville , to (31/2 M.) Arpajon {Lion 
 d'Argent, Fontaine, Grande Eue 97 and 95), a town of 3000 inhab. on the 
 Orge. The narrow Eue de Clos leads straight from the tramway terminus 
 to the middle of the single long street (Orle'ans road), of which Arpajon 
 mainly consists. The boulevards to the left of the terminus lead to the 
 (3/4 M.) railway-station on the line from Paris to Dourdan (p. 362). On 
 an island in the Orge stands a tasteful modern H6tel de Ville. To the 
 right in the main street is the Church (12th and 15th cent.), of which the 
 belfry and the choir should be noticed. In the other part of the town, 
 to the left as we return by the Grande Rue, are some ancient timber- 
 constructions. 
 
 b. Via Choisy-le-E.oi and St. Michel-sur-Orge. 
 Tbamwat, Railway, and Omnibus. — Tramway from the Chatelet 
 (Square St. Jacques) to Choisy, 1^2 M., in 1 hr. 20 min. (fares 65, 40 c). 
 This tramway, starting every 40 min., has 'correspondance' with the city 
 tramways and omnibuses. Railway from the Gare d'Orleans to Choisy, 
 6V4 M., in 15-20 min. (fares 1 fr. 10, 65, 50 c, return-tickets 1 fr. 70, 1 fr. 5,
 
 20. CHOISY-LE-ROI. 361 
 
 80 c); to St. Hichel, 18 M., in 3/4.I hr. (fares 3 fr. 25, 2 fr. 20, 1 fr. 45 c, 
 return-tickets 4 fr. 85, 3 fr. 50, 2 fr. 30 c). — Omnibus from St. Michel to 
 MontlMry, I'/a M., in 20 min. (fare 30 c.). 
 
 Steamboats ply from the Pont cVAnsterliiz to Ahlon (p. 362) every 1/2 hr. 
 on Mon., Thnrs., Sun., and holidays (comp. p. 23), touching at the Font 
 National (lelt bank), Les Carrieres (r.), Vitry (1.), Alf or tvilk- Barrage (r. ; 
 change steamers), Choisy-le-Roi (1.), Velodrome de Choisy (r.), and Villeneuve- 
 St-Georges (r.). Fares 30, on Sun. and holidays 40 c.; from Choisy-le-Roi 
 15 or 25 c. 
 
 I. By Tramway, to Choisy. The line runs via the Hotel de Ville, 
 Notre-Dame., the Rue Monge, the Gobelins (p. 269), and the liace 
 d'ltalie (p. 271), where the line to Bi(ietre and Villejuif diverges to 
 the right and the line to Ivry-sur-Seine (see below) to the left. Our 
 line quits the city by the Avenue and the Porte, de Choisy (PI. B, 27) 
 and passes between Bioetre and Ivry. To the right is the Cemetery 
 of Ivry; on the hill is the Hospice de Bicetre for aged and insane 
 men; farther on, the Fort de Bicetre. To the left appears iwy'(see 
 below). To the right, farther on, on a hill, lies Villejuif, a village 
 of 4300 inhab., commanding a fine view, to which a road ascends 
 in about 1/4 ^^- from Yitry, via the Moulin Saquet, which played an 
 important part in the siege of Paris in 1870-71. — The tramway 
 next reaches Vitry, an old village with 7100 inhab., and an interest- 
 ing Church (13-14th cent.). Railway-station, see below. — Thence 
 we follow the Avenue de Paris to Choisy-le-Roi (see below). 
 
 b. By Railway. — Gare d'' Orleans, see pp. 24, 269. Beyond 
 (I3/4 M.) Orlenns-Ceinture, where we pass beneath the Ligne de 
 Petite-Ceinture, we quit Paris. To the right is /ury, a manufactur- 
 ing suburb with 22,350 inhab., a modern Mairie, a large Hospital 
 for Incurables (2029 beds), and a fort. — 51/2 M. Vitry; the station 
 is 1/2 M. from the centre of the village (see above). The railway 
 now approaches the Seine. 
 
 6V4 M. Choisy-le-Roi {Hotel des Voyageurs, at the end of the 
 Rue du Pont; Restaurant Pompadour, on the right bank, near the 
 bridge), a pleasant village with 8450 inhab., and the scanty remains 
 of a chateau built by Louis XV. as a shelter for his debaucheries. 
 
 Near the bridge, before the station, on the left bank, is a bronze 
 Statue of a Fighting Sailor, by Hercule, commemorating the combats 
 at the 'Gare aux Boeufs' in 1870. — The Rue du Pont passes a little 
 to the left of the former Buildings of the Chateau, now occupied by 
 a porcelain manufactory, as is also the portion of the chateau at the 
 end of the Avenue de Paris. The Mairie and the Church, on the 
 right of the street farther on, date from the same period as the chateau. 
 At the point where the street ends in the handsome Avenue de Paris 
 is a bronze statue, by L. Steiner, of Rouget de Li»le, author of the 
 'Marseillaise', who died at Choisy in 1836. The Avenue (traversed 
 by the tramway from Paris, see above) ends a little farther on beside 
 the railing of the old chateau. — Steamboat, see above. 
 
 From the Avenue to Sceaux (p. 355), 51/4 M.; to La Croix-de-Berny (p. ^9), 
 5 M. From the bridge to Crcteil (p. 304), 3 M.; to Bonncvil (p. 309), 3V* M.
 
 362 20. JUVISY. 
 
 Beyond Choisy the railway passes under the Ligne de Grande- 
 Ceinture. — 91/2 M. Ablon, a village about IV4 M. to the S.W. of 
 Villeneuve-St-Georges (p. 363) by the left bank of the Seine. Steam- 
 boats to Paris, see p. 361. — The Seine is seen on the left. — 
 101/2 M. Athis-Mons. To the right are wooded hills dotted with 
 tasteful villas; to the left is the railway from Paris to Montargis via 
 Corbeil (see Baedeker's Northern France). 
 
 121/2 ^I- Juvisy (Hotel Belle-Fontaine)^ a town with 2095 inhab., 
 and a station used by both railways. The park of the old Chateau 
 was laid out by Le Notre. — Our line now ascends the pretty valley 
 of the Orge, which is crossed by the Pont des Belles- Fontaines, con- 
 sisting of two bridges one above the other, built in the 18th century. 
 
 131/2 M. Savigny-sur-Orge has a fine 15th cent. Chateau (to the 
 left). A little farther on is a branch of the Ligne de Grande-Cein- 
 ture, running towards Palaiseau (p. 357). — "We cross a viaduct 
 both before and after the (15 M.) picturesquely situated Epinay-sur- 
 Orge. In the distance, to the right, is the tower of Montlhery (p. 360). 
 
 16 M. Perray-Vaucluse is the station for the extensive lunatic 
 asylum of Vaucluse, belonging to the city of Paris. The buildings 
 rise in tiers on a hill to the right. — 18 M. St. Mirhel-sur-Orge. 
 
 The railway goes on to Br^iigny, where it forks, the left branch running 
 to Etampes, Orleans, Tows, etc., the right branch to Arpajon (p. 360; 
 23 M. from Paris), Dourdan, Tours, etc. See Baedeker'^s Northern France. 
 
 The road from St. Michel to Montlhery passes, on the right, the 
 handsome Chateau de Lormoy. Farther on, nearly 1 M. from the 
 station, a road diverges to the right to (1/2 M.) Longpont (p. 360), 
 which is united with Montlhery by a cross-road. We may reach the 
 ruined castle of Montlhery without entering the town, by a path to 
 the left at the first houses, in continuation of the route from Long- 
 pont. — Montlhery^ see p. 360. 
 
 21. From Paris to Fontainebleau. 
 
 37 M. Chemin de Feb de Lyon. The journey occupies 1-P/i hr. (fares 
 6 fr. 60, 4 fr. 45 , 2 fr. 90 c. ; return-tickets 9 fr. 90, 7 fr. 15, 4 fr. 65 c). — 
 The station (PI. R, G, 25, 28; p. 24) is in the Boulevard Diderot. 
 
 Those who visit Fontainebleau should devote a whole day to the ex- 
 cursion , leaving Paris by an early train (views on the left side). One 
 hour will probably suffice for a visit to the palace and garden, after which 
 a drive or walk to the Gorges de Franchard will occupy 2-3 hrs., and a 
 visit to the Fort de TEmpereur 1 hr. more. Time will then be left to dine 
 at Fontainebleau before returning to Paris. 
 
 At (I1/4M.) Bercy-Ceinture, a station within Paris, we cross the 
 Ligne de Ceinture. — Beyond (33/4 M.) Charenton (p. 304), we 
 cross the Marne, near its confluence with the Seine. To the left is 
 the Hospice de Charenton-St-Maurice [p. 304). On the left bank 
 of the Marne lies Alfortville (p 304). To the left rises the fort of 
 Charenton, commanding the Seine and the Marne. 41/2 M. Maisons- 
 Alfortj a village with 7853 inhab., some distance beyond which we 
 cross the Ligne de Grande- Ceinture (pp. 25, 862).
 
 21. MELUN. 363 
 
 972 M. Villeneuve -St- Georges ^ a place of some importance, 
 with 5193 inhab., and a suspension-bridge over the Seine, is 
 picturesquely situated on the slope of a wooded hill to the left. 
 Above the village is a new fort. Villeneuve is the junction for Mon- 
 targis (see Baedekers Nortliem France^ and it is also a station on the 
 Ligne de Grande-Ceinture (p. 357). — The beautiful green dale 
 of the Yhres, a small but deep river, bordered with rows of willows 
 and poplars, is now traversed. — Between (11 M.) Montgeron and 
 (13 M.) Brunoy, the train crosses the Teres. The chain of hills and 
 the plain are studded with innumerable dwellings. The train now 
 crosses a viaduct 413 yds. long and 100 ft. in height, commanding 
 a beautiful view, and then enters the plain of the Brie. — I674 M. 
 Combs-la- Ville. — I9Y2M. Lieusaint. — 24 M. Cesson. Near Melun 
 the Seine is again reached and crossed. To the right is a new line 
 from Paris via Corbeil. 
 
 28 M. Melnn (^Grand Monarque, Rue du Miroir, du Commerce, 
 Rue Caruot, both near St. Aspais), the capital of the Departement de 
 Seine et Marne, is an ancient town with 12,790 inhab., picturesquely 
 situated on an eminence above the Seine, about 1/2 ^- from ^^^ 
 station. 
 
 Melun is the Melodunum mentioned by Ceesar as having been captured 
 by his lieutenant Labienus. The Normans also laid it waste live times in 
 tlie 4th cent,; and after it had become a royal residence it was again 
 several times captured: by Charles the Bad of Navarre in 1353; by Du Gues- 
 clin in 1359; by the English in 1420, after an obstinate resistance by the 
 inhabitants, who succeeded in expelling the invaders ten years later; and 
 by Henri IV in 159U. 
 
 The Rue de la Grare, to the left, and the handsome Avenue Thiers, 
 to the right, lead from the station to the old town, partly built on 
 an island, on which, to the right, rises the Church of Notre-Dame, 
 built in the ll-12th cent, but afterwards remodelled and recently 
 restored. The transepts are surmounted by two Romanesque towers. 
 The interior, the most interesting portion of which is the ohoir, con- 
 tains some excellent old paintings : in the right aisle. Descent 
 from the Cross, by Jordaens, after Rubens ; Infant Moses, by Prima- 
 ticcio ; Ecce Homo, by Seb. Franck ; in the choir, an early copy of 
 Raphael's large Holy Family. In the right aisle there is also a good 
 funeral monument (15th cent.). 
 
 The principal street on the other side of the island skirts the 
 back of the Church of St. Aspais (16th cent.), on the apse of which 
 is a modern medallion of Joan of Arc, by Chapu, erected to com- 
 memorate the expulsion of the English in 1430. The exterior is 
 richly decorated, while the interior deviates from the usual form in 
 having double aisles terminating in apses. The choir has some line 
 old stained glass and six handsome marble medallions of apostles 
 and church- fathers, dating from the 17th century. The right aisle 
 contains two ancient paintings, a Last Supper and the Hebrew 
 Children in the Fiery Furnace ; in the left aisle is a large modern 
 painting of Christ, by II. Schopin. Fine organ-case.
 
 364 21. MELUN. 
 
 In front of St. Aspais is a tasteful new Savings Bank. The Rue 
 du Miroir ascends thence to the upper part of the town, in which 
 are situated the Belfry of St. Barthelemy, erected in the 18th cent., 
 and the modern Prefecture, in the style of Louis XIII. 
 
 A few yards to the W. of St. Aspais is the Rue du Marche-au- 
 Ble, through which and the following street we reach the Hotel de 
 Ville, a handsome Renaissance edifice, part of which is ancient. In 
 the interior are a small museum and a library. The court is embel- 
 lished with a Statue of Amyot (1513-93), a native of Melun, bishop 
 of Auxerre and translator of Plutarch. Behind the Hotel de Ville 
 lies a tasteful public garden. By the Rue de I'Hotel-de -Ville we 
 reach the Place St. Jean, with its ornamental modern fountain. 
 
 Fartlier on, on an eminence above the right bank of the Seine, lies the 
 park of the Chateau de Vaux-le-Ptnil (18th cent.), which affords pleasant walks. 
 
 The Chateau de Vaux-Praslin or Vaui-le- Vicomte, a gorgeous structure 
 of the 17th cent., lying about 4 M. from Melun, in the same direction, is 
 reached by the road ascending to the right from the Place St. Jean. The 
 chateau, which is surrounded by an immense park, was erected at a cost 
 of 720,000?. by Nicolas Fouquet, 'surintendant des finances' under Louis XIV. 
 The owner was in the habit of entertaining the king here at costly fetes, 
 which eventually led to his ruin, as the enormous expenses could only be 
 met by a dishonest use of the public funds. The interior, which contains 
 paintings by Lebrun and Mignard, may be inspected on application to the 
 proprietor. 
 
 A diligence plies several times daily from Melnn to Barbison (p. 370) 
 in li/i hr. (fare 1 fr.). 
 
 Beyond Melun we see the Chateau de Vaux-le-Pe'nil (see above) 
 on the left. Then, after affording several picturesque glimpses of 
 the valley of the Seine on the same side, the train enters the forest 
 of Fontainebleau. — 31 1,2 M. Bois-le-Roi (Hot. de la Vallee-de-la- 
 Solle, near the station) lies to the N.E. of the forest (comp. the 
 Map). In the new cemetery is the monument of the composer Olivier 
 Me'tra (d. 1889), with a bust by Lud. Durand. 
 
 37 M. Fontainebleau. — The station is about I1/2 M. from the palace 
 lomnibus 30 or 50 c). Visitor who arrive before lunch-time should proceed 
 direct from the station to the Tour Denecourt (p. 869). 
 
 Hotels. De France et d'Angleteeee , de l'Aigle Koir, and de 
 t'EuROPE (H. 4-6 fr.), all near the palace (arrange prices on ordering); 
 DE LA Ville de Lyon et de Loxdres, Rue Royale 21, in the same style; 
 Lion d'Or, Rue des Bons-Enfants 25, R., L., & A. 4, B. 1, dej. 31/2, D- 4, 
 pens. 10-12 fr. ; Chancellerie. Rue Grande 2, near the palace, with re- 
 staurant a la carte; Cadran-Bled, Rue Grande 9, R., L., & A. 2V2-8, B. 1, 
 dej. 3. D. 3V2, pens. 10 fr. ; Hotel-Pension Launot, Boul. de Magenta 37, 
 near the palace, well spoken of, R. 3-5, L. 1/2, B. 1^4, de'j. 31/2, D. 41/2, 
 pens. 10-13 fr. ; du Xord et de la Poste, Rue de Ferrare 5. 
 
 Kestaurants. Cafi-Eestmirant du Cercle. Rue des Bons-Enfants 23, dej. 3, 
 din. 4 fr. : Nigrin, Kue Grande 112, dej. 2-2V2, I>. 21/2-3 fr.; Rettaurant- 
 Fdtitterie, Rue de la Paroisse 5, opposite the church, d^j. I3/4, D. 2 fr. 
 — Cafes. Naudin. Rue des Bons-Enfants 33; Cadran Bleu, see above; 
 de VHdtel-de- Ville, Rue Grande 23; Henri II, Rue Grande 65; etc. 
 
 Cabs. Per drive in the town, 1 fr. ; to the station, 2 fr. (I/2 fr. extra 
 'demandee a domicile"); from the station to any address in the town, 2 fr. 
 Ptr hour : in the town 3 fr. ; in the forest , according to arrangement. 
 Luggage 30 c. per 66 lbs. (30 kil.). 
 
 Post and Telegraph Office, Place Denecourt and Rue de la Chancellerie
 
 ^ 
 
 F » I T 
 
 FONTAINEBLEAU 
 
 m:^ 
 
 J^ '!•' . Jv'^'^ j^ rONTAINEBLE 
 
 r
 
 21. FONTAINEBLEAU. 305 
 
 FontainebleaUf which, like Versailles, owes its origin chiefly to the 
 palace, is a quiet place with broad, clean streets, and 14,222 inhabit- 
 ants. Except the palace, the only building of any importance is the 
 Hotel de Ville in the Rue Grande. A little farther on is a monument 
 to President Carnot (1837-1894), with a bronze bust and a statue of 
 France, by Peynot. In the Place Centrale, at the back of the church, 
 is a bronze statue, by Godin, of General Dameame^ a native of 
 Fontainebleau, who was killed at Paris in June, 1848. 
 
 *Palace. The chateau or palace of Fontainebleau, situated on 
 the S.W. side of the town, is said to occupy the site of a for- 
 tified chateau founded by Louis YII. in 1162. It was Francis I. 
 (d. 1547), however, who converted the mediaeval fortress into a 
 palace of almost unparalleled extent and magnificence. The exterior 
 is less imposing than that of some other contemporaneous edifices, 
 as the building , with the exception of several pavilions , is only 
 two stories in height; but the Interior, which was decorated by 
 French and Italian artists (Fontainebleau school, see p. 88) in the 
 style of Giulio Romano, is deservedly much admired. Henri IV 
 (d. 1610) made considerable additions, but since that period it has 
 undergone little alteration. It was a favourite residence of Napo- 
 leon I., but after the Restoration it was much neglected. Louis 
 Philippe and Napoleon III. spent large sums of money in restoring it. 
 
 Several historical associations attach to the Palace besides those 
 relating to Napoleon, Pius VII., and Queen Christina which are men- 
 tioned afterwards. Francis I. received Charles V. at Fontainebleau in 1539. 
 Louis XIII. was born here in 1601. On 4th June. 1602, Henri IV caused 
 his companion in arms Marshal Biron to be arrested here on a charge of 
 high treason, to be beheaded in the Bastille a month later. Here, in 1685, 
 Louis XIV. signed the Revocation of the Edict of Nantes , by which 
 Henri IV had granted toleration to the Protestants in 1598. The Grand 
 Conde died here in 1686, and it was in this palace that the sentence of 
 divorce was pronounced against the Empress Josephine in 1809. 
 
 The palace is shown daily from 10 to 5 o'clock in summer and 
 from 11 to 4 in winter, gratis. The custodian who shows the apart- 
 ments is to be found at the entrance, or in the principal court, or in 
 the offices to the left of the railing. 
 
 This extensive pile of buildings contains five different courts — 
 the Cour du Cheval Blanc or des Adieux, the Cour de la Fontaine, 
 the Cour Ovale or du Donjon, the Cour des Princes, and the Cour 
 de Henri IV or des Offices. 
 
 The Cour du Cheval Blanc, by which we enter, the largest of 
 these, derives its name from a statue it formerly contained. It is 
 sometimes called the Cour des Adieux from having been the scene 
 of Napoleon's parting from the grenadiers of his Old Guard on 20th 
 April, 1814, after his abdication. Here, too, on 20th March, 1815, 
 on his return from Elba, the emperor reviewed the same troops 
 before marching with them to Paris. 
 
 The wing to the right of the Cour du Cheval Blanc is occupied 
 in summer by M. Felix Faure, president of the republic.
 
 366 21. FONTAINEBLEAU. 
 
 Tlie central part of the palace is approached by the massive 
 Escalier du Fer~^- Cheval, so named from its horseshoe form. Vis- 
 itors generally enter here, on the left side, and we shall briefly 
 describe the route usually followed by the custodians. 
 
 The Chapelle de la Trinite, on the groundfloor to the left, has 
 a fine ceiling, painted by Freminet, an imitator of Michael Angelo. 
 The altar-piece (Descent from the Cross) is by J. Dubois, the statues 
 by O. Pilon. In this chapel Louis XV. was married in 1725, and 
 the Due d'Orleans (p. 155) in 1837, -and Napoleon III. was baptised 
 here in 1810. 
 
 A broad staircase ascending thence leads to the first floor, where 
 we begin with the Apartments of Napoleon I., or the GaUery of 
 Francis I. (p. 367), or sometimes the Galerie des Assiettes (p. 368) 
 and the other apartments on the front, which are reached through 
 the Vestibule du Fer-a-Cheval. 
 
 The Appartements de Napoleon I. , on the side of the garden next 
 to the Orangery, consist of an antechamber, with paintings above 
 the doors hy Boucher^ Scipio, by Vien, Roman women offering their 
 jewels for the public service, by Brenet^ etc. ; secretary's room, with 
 other paintings ; *Bath Room, with mirrors adorned with paintings 
 by Barthelemy, brought from the apartments of Marie Antoinette at 
 the Petit-Trianon ; room in which Napoleon signed his abdication on 
 4th April, 1814, on the small round table in the centre ; study, with 
 a ceiling by Regnault, representing Law and Justice ; bedroom with 
 a chimney-piece of the time of Louis XVI., Napoleon's bed, a clock 
 adorned with antique cameos (given to Napoleon by Pius VII.), the 
 cradle of the King of Rome, fine furniture and bronzes, etc. 
 
 To the left is the *Salle du Conseil, of the period of Louis XV., 
 decorated by Boucher, and containing furniture covered with 
 tapestry-work from Beauvais. Large table, the top of which is a 
 single piece. — Then the *Salle du Trone, with a handsome ceiling, 
 containing a chandelier in rock crystal and wainscoting executed in 
 the reigns of Louis XIII. and Louis XIV. — We next enter the 
 Appartements de Marie Antoinette : her boudoir, with two fine ivory 
 vases ; her *Bedroom, adorned with hangings presented by the city 
 of Lyons; rooms containing vases and a table from Sevres and a 
 jewel-case of Marie Louise ; the music-room, with a small round 
 table in porcelain ; saloon of the ladies-in-waiting. 
 
 "We now reach the Galerie de Diane, or de la Bibliotheque, a hall 
 88 yds. in length, constructed under Henri IV and restored by 
 Napoleon I. and Louis XVIII. It is adorned with paintings repre- 
 senting mythological scenes, by Blondel (d. 1853) and A. de Pujol 
 (d. 1861), a portrait of Henri IV by Mauzaisse, etc. It contains 
 the library (30,000 vols.) and a number of curiosities, including 
 Monaldeschi's sword and coat-of-mail. 
 
 Under the Galerie de Diane is the old Galerie des Cerfs, which is 
 now converted into a 'garde-meuble' and is not shown to visitors. It 
 was in this room in 1657 that Queen Christina of Sweden, while a guest
 
 21. FONTAINEBLEAU. 367 
 
 at the French court after her abdication (1654), caused her unfortunate 
 equerry and favourite Count Monaldeschi to be put to death after a pre- 
 tended trial for treason. Louis XIV. expressed his strong disapprobation 
 of this proceeding, but took no farther steps in the matter, and Christina 
 continued to reside at Fontainebleau for two years longer. Monaldeschi 
 is interred in the small church of Avon, a village on the E. side of the 
 park, about 1 M. from the palace. 
 
 We are next conducted to the Salons de Reception, adjoining the 
 Cour Ovale (p. 368). The antechamber is embellished with Gobe- 
 lins tapestry, and the following apartment with tapestry from Flan- 
 ders (myth of Psyche). The chamber of Francis I., which contains 
 a handsome chimney-piece of the 16th century and some ebony 
 chests of the 16th and 17th cent., is also adorned with Flemish 
 tapestry. — The Salon Louis XIII., in which that king was born, is 
 adorned with paintings by Ambroise Dubois (d. 1615) from the story 
 of Theagenes and Charicles, and contains two carved ebony cabinets 
 of the time of Louis XIII. The Salle St. Louis contains fifteen pic- 
 tures relating to the life of Henri IV, a marble relief, by Jacquet, 
 of Henri IV on horseback, etc. — In the Salon des Jeux is a clock 
 of Louis XIV., with Apollo's chariot (from the Bassin d'Apollon at 
 Versailles; p. 326). — The Salle des Gardes, the last of this series, 
 contains a handsome chimney-piece, partly by G. Pilon, adorned 
 with a bust of Henri IV, statues of Power and Peace, an ancient ceil- 
 ing, and a fine modern flooring. A passage to the left leads to the — 
 
 Escalier du Roi, or grand staircase, adorned with paintings by 
 Nic. delV Abbate and Primaticcio and restored by A. de Pujol. The 
 subjects are from the life of Alexander. The Cour Ovale (p. 368) 
 is well seen from the landing. 
 
 The Appartements de Mme. de Maintenon, which we next enter 
 are less interesting. In the salon is some tapestry worked by the 
 ladies of St. Cyr, a cabinet by BouUe, and chairs covered in tapestry. 
 — Thence a passage leads to the — 
 
 *Galerie d'Henri II, or Salle des Fetes, constructed by Francis I., 
 richly decorated by Henri II, and successfully restored by Louis 
 Philippe. The mythological frescoes by Primaticcio and his pupil 
 Nic. delV Abbate have been restored by Alaux, and have thus lost 
 much of their originality. At the end of the hall is a handsome 
 chimney-piece. The windows afford a pleasant survey of the gardens. 
 
 Retracing our steps to the Salon St. Louis, we turn to the left 
 into theGalerie de Francois ler^ which runs parallel with the apart- 
 ments of Napoleon I. on the side next the Cour de la Fontaine 
 (p. 368). To the left of the entrance is a jewel-casket in Sevres, of 
 the time of Louis Philippe. The gallery is embellished with fourteen 
 large compositions by Rosso Rossi , representing allegorical and 
 mythological scenes relating to the history and adventures of Francis I. 
 The paintings are separated from each other by bas-reliefs, caryat- 
 ides, trophies, and medallions. The winged salamander, being the 
 king's heraldic emblem, and his initial F frequently recur. 
 
 The Vestibule d'Honneur, between the Escalier du Fer-k-Cheval
 
 368 21. FONTAINEBLEAU. 
 
 and the Galerie Francois ler, possesses two handsome oaken doors 
 of the time of Louis XIII., and four modern doors in the same style, 
 — To the left are the Appartements des Reines Meres and of Pius VII. 
 They were once occupied by Catherine de Medicis (p. 85); hy Anne 
 of Austria (d. 1666), mother of Louis XIV.; and afterwards by 
 Pius VII., who was a prisoner here from June, 1812, to Jan., 1814. 
 
 We pass through an antechamber with chairs and hangings in 
 Cordovan leather and a magnificent Louis XIII. chest, a second 
 antechamber with tapestry (Story of Esther), and a room with Go- 
 belins tapestry and furniture covered with stuffs from Beauvais, to 
 the bedroom of Anne of Austria, which is also hung with Gobelins 
 tapestry. Beyond this are two small rooms (portrait of Pius VII. 
 after David, in the first), the pope's bedroom, and two apartments 
 with Gobelins tapestry. We then enter an antechamber, with Sevres 
 porcelain, and the 'Galerie des Fastes', so called from a project of 
 decorating it with paintings of the history of Fontainebleau. It con- 
 tains a few ancient pictures of secondary importance. 
 
 Lastly we reach the Galerie des Assiettes, which is sometimes 
 shown to visitors first. It derives its name from the quaint style in 
 which it was decorated by order of Louis Philippe with plates of 
 porcelain bearing views of royal residences. It is also called Oalerie 
 desFresques from the frescoes by A. Dubois which have been trans- 
 ferred hither from the Galerie de Diane. 
 
 On the groundfloor, to the right, in the main building is a 
 *Chinese Museum, open at the same hours as the palace. The en- 
 trance is in the Coux de la Fontaine (see below), reached by a large 
 door to the right of the Fer-a-Cheval staircase. The collection, which 
 is valuable, was begun after the French expedition to China in 1860. 
 
 Room I. Perfume-censers; jardinieres in cloisonn^ enamel; lustre: 
 copper dragons and pagoda; bas-reliefs in jasper; lacquer panels; ele- 
 phants' tusks ; etc. In the glass-cases : crown of the king of Siam ; hand- 
 some ewer; etc. — Room II. Wooden pagoda; valuable jewels, including 
 a belt presented to Louis XV. by the Siamese ambassadors; jewel of the 
 order of the elephant: mandarin's collar in jade, etc. This room also 
 contains statues by Schoenewerk and Cordier, and portraits by C. Vanloo 
 of Louis XV. and Maria Lesczinska. — Room III. Palanquin ; gongs : weapons 
 and armour; flags; etc. 
 
 Gardens. The principal entrance is by the Cour de la Fontaine, 
 to the right of which there is a Pond with a pavilion. The carp in this 
 pond are still a source of interest and amusement to visitors. 
 
 On the right lies the Jardin Anglais, planted under Napoleon I. 
 
 On the left, beyond the pond, rises the Porte Doree, dating from 
 the reign of Francis I., as the salamander in the armorial bearings 
 indicates. It is adorned with old frescoes, now restored. This forms 
 one of the entrances to the Cour Ovale, or du Donjon, a court 80 yds. 
 long and 34 yds. in width, the oldest in the palace. This court has 
 undergone various alterations and has lost its original form, but 
 is still interesting on account of its fine colonnades of the early 
 French Kenaissance ; the capitals of the pillars are especially fine.
 
 21. FONTAINEBLEAU. 369 
 
 It is not open to the public. To the E. is a curious gate, covered 
 with a dome, called the Porte Dauphine, or the Baptistere, from the 
 fact that Louis XIII. was baptised here. It may be entered from 
 the Parterre, farther on, to the left. 
 
 Beyond the pond is the Parterre, a second public garden, de- 
 signed by Le Notre in the reign of Louis XIV., containing a square 
 pond and a round one. Farther on is the Canal (1320 yds. long"), 
 formed by order oi: Henry IV, with bronze and marble statues and 
 groups in front of it. To the left is the Park, with a Labyrinth and 
 the famous Vinery of the palace. — The buildings on the right of the 
 canal, the former Venerie, are now occupied by the Ecole d' Applica- 
 tion de VArtillerie et du Genie, removed hither from Metz. 
 
 The *Forest of Fontainebleau, which is about 50 M. in circum- 
 ference and covers an area of 42,500 acres, is justly regarded as the 
 most beautiful in France. On the N.E. side it is bounded by the 
 sinuosities of the Seine. The ground here is of a very varied 
 character, the rock formation consisting chiefly of sandstone, which 
 yields most of the paviug-stones of Paris. The magnificent timber 
 and picturesque gorges of the forest afford numerous pleasant walks, 
 and there are good paths in every direction. The forest is a favourite 
 resort of artists, their chief colonies being at Barbison (p. 370), to 
 the N.W., and Marlotte fp- 371), to the S. 
 
 The best plan of the forest is the admirable Carte topographique de la 
 foret et cles environs de Fontainebleau (I'/s fr.) by Denecourt (d. 1874), a local 
 celebrity, who spent a considerable part of his life and of his patrimony in 
 exploring and studying the forest, and in rendering its finest puints ac- 
 cessible by footpaths. The map in the Handbook is a reduced copy of 
 Denocourt's. All points where paths cross each other are provided with 
 finger-posts. It should be observed that the blue marks, which M. Dene- 
 court caused to be placed on trees and rocks, indicate the way to the 
 most picturesque points. The red marks are connected with the forest- 
 admin. Jtration, and point in the direction of the town. — Those who stray 
 from the beaten paths should be provided with 'alcali volatir for use in 
 the case of adder-bites. 
 
 The finest point of view near Fontainebleau is the *Tour Dene- 
 court (Fort I'Empereur), reached in V2^^- from the railway-station. 
 We ascend the road to the left at the station, cross the railway, 
 follow it to the right, soon turning to the left at a laboratory of 
 vegetable biology, and follow the broad, sandy path, leading to the 
 height on which the tower is situated. This 'fort' is a belvedere, built 
 in the form of a miniature fortress, which commands a picturesque 
 vie w for nearly 40 miles round. The Eiffel Tower in Paris is seen. 
 From Fontainebleau we reach the 'Fort' in about 3/^ hr., via the Rue 
 Grande, the Melun road, and the (i^/4 M.) Chemin de Fontaine-le- 
 Port, to the right, where a post indicates the way to the Tour Dene- 
 court (comp. the Map). — Nearer the town, to the right of the Melun 
 road, is the Croix du Calvaire, commanding a view of Fontainebleau, 
 which is not visible from the Tour Denecourt. — Between that road 
 and the road from Paris (p. 370) are the Nid de I'Aigle and the 
 
 Baedeker. Paris. 12th Edit. 24
 
 370 ^1. FONTATNEBLEAU. 
 
 Gros Fouteau, two of the finest groups of trees in the forest (IY4M. 
 from the town). 
 
 Visitors seldom extend their excursion beyond the Rockers et 
 Gorges de Franchard, 21/2 M. from the town (carr., p. 364). At the 
 N.W. angle of the town, at] the end of the Rue de France, we 
 follow the broad road diverging to the left' from the highroad to Paris 
 (which leads to the Gros Fouteau and the Nid de I'Aigle, see above). 
 Carriages turn to the left at the Route Ronde. Pedestrians quit the 
 road after 35 min. by a path to the left (Route de la Fosse-Rateau), 
 from which after 5 min. another footpath diverges to the right, lead- 
 ing through the forest in 5 min. more to the Restaurant de Franchard 
 (d^j. 3, D. 31/2 fr-; bargain advisable), the most frequented spot and 
 the only restaurant in the Forest. 
 
 The celebrated Rochers et Gorges de Franchard, a rocky basin 
 overgrown with trees and bushes, about 21/2 M. in circumference, 
 begin about 5 minutes' walk to the W., at the Rocher des Ermites 
 and the ^ Roche qui pleure', a little beyond the ruins of an ancient 
 monastery (now a forester's house). The water which trickles from 
 this 'weeping rock' is popularly believed to be a remedy for diseases 
 of the eye; but its appearance is not inviting. The top of the rock 
 commands a good survey of the gorge, which, however, has lost 
 some of its picturesqueness since the recent planting of young 
 pines. Hurried visitors may engage one of the guides to be found 
 here, taking care to make a distinct bargain (usually IV2 fr.). The 
 visitor returns to the town by the same route. 
 
 An excursion to the Gorges d'Apremont and the fine timber of 
 the neighbouring Bas-Breau is not less interesting than the above 
 (comp. the Map). It requires 4-5 hrs. from Fontainebleau and about 
 1 hr. less from the Gorges de Franchard, Between the Rochers 
 d'Apremont and the Monts Girard, another chain of hills, extends 
 the Dormoir, a plain partly wooded, and partly covered with rocks 
 and heath, one of the most beautiful parts of the forest, and a fa- 
 vourite sporting- rendezvous. In the upper part of the Gorges 
 d'Apremont is situated the Caverne des Brigands^ said once to have 
 been the haunt of bandits. The man who lives in a rustic hut here 
 sells refreshments at high prices , and also souvenirs of the forest. 
 Farther to the N. is the highroad to Paris, already mentioned, which 
 leads, in the direction of Fontainebleau , past the Hauteurs de la 
 Solle to the Gros Fouteau (^see above), etc. — The Bas-Breau is nearer 
 the station of Bois-le-Roi (p. 364; IV4 hr.) than the station of Fon- 
 tainebleau. — Barhison (Hotel de la Foret; Hot. des Artistes, with 
 a dining-room containing wall-paintings by various artists; Siron), 
 about 3/4 M. to the W,, was a favourite resort of Th. Rousseau and 
 Millet, bronze relief-busts of whom, by Chapu, have been let into 
 a rock in the vicinity. It stiU contains a colony of^artists. Diligence 
 to Melun (see p. 364). 
 
 Among the interesting points in the S. part of the forest may be
 
 22. MORTEFONTAINE. 371 
 
 mentioned the Rocher d'Avon, near the palace-park, between the 
 road to Moret and that to Marlotte, and the Gorge aux Loups and the 
 Long-Rocher, near the verge of the forest. — The village of Mar- 
 lotte (Hotel Mallet), 3/^ M. farther on and 51/2 M. from Fontaine- 
 bleau, is, like Barbison, a favourite resort of artists. The nearest 
 station is Montigny, on the line to Montargis, '"^^ M. to the E., 
 whence we may return to Fontaineblean via Moret. — About ^/^ M. 
 to the W. of Marlotte, and also near the forest, is Bourron (Hot. de 
 la Paix, pens. 6 fr.), suitable for a stay of some time, with a station 
 at tlie junction of the lines from Montargis and Malesherbes. — 
 For Moret, see Baedeker s Northern France. 
 
 22. Chantilly and its Environs. 
 
 I. From Paris to Chantilly. 
 
 25V2M. Chemin de Fee du Kord (station, PI. B, 24 5 see p. 23), in 40-70 
 min. (fares 4 fr. 60, 3 fr. 10 c. , 2 fr. ; return- tickets 6 fr. 90, 4 fr. 95, 
 3 fr. 25 c). 
 
 As the park at Chantilly is open only on Sun. and Thurs. afternoon, 
 those who wish to comhine with this excursion visits to points in the valley 
 of the Oise (R. 19) must begin with the latter. Including the return via 
 Senlis and a visit to Ermenonville, two days are required. 
 
 From Paris to (41/2 M.) St. Denis, see p. 338. Branch-line to 
 Enghien (Montmorency, St. Leu, etc.), see p. 344. Beyond the canal 
 of St. Denis (p. 204) rise the Fort du Nord and the Fort de la Briche. 
 
 — 7 M. Pierrefitte-Stains . Beyond Pierrefltte, to the left, is the 
 fortified Butte PinQon, occupied by the Germans in 1870-71. To 
 the right, farther on, is the fort of Stains or Garges. 
 
 91/2 M. Villiers-le-Bel-Gonesse. Villiers-le-Bel, 2 M. from the 
 station, with which it is connected by a steam-tramway (30 c), 
 lies at the foot of the hill of Ecouen (p. 351) and IV4 M. from 
 Sarcelles-St-Brice (p. 351). An omnibus (30 c.) also runs hence to 
 (11/2 M.) Gonesse, which has a fine church of the 12-13th centuries. 
 
 — 121/2 M. Goussainville. — 15 M. Louvres. — 19 M. Survilliers. 
 A diligence (i fr.) plies hence to Mortefontaine (H6(. de la Providence), 
 
 a village 41/- ^^- to ^^^ ^-^ with a Chateau and fine Park (visitors admitted), 
 which belonged at one time to Joseph Bonaparte. Mortefontaine is 6 31. 
 from Ermenonville (p. 377), 8 M. from Senlia (p. 375), and 9V2 M. from 
 Chantilly (p. 372). 
 
 The train now enters the Forest of Coye. — 221/2 M. Orry-Coye, 
 11/4 M. from Orry -la- Ville (omnibus) to the S.E., and l^/^ M. from 
 Coye, to the N.W. From the station we may walk through the wood 
 to (15-20 min.) the Etang de la Reine-Blanche (p. 374; comp. tlie 
 Map), and thence to Chantilly. 
 
 The train crosses the valley of the Thhve by a handsome stone 
 Viaduct of 15 arches, 330 yds. long, and 130 ft. high, commanding 
 a fine view. To the right are the Etang and the Chateau de la Reine- 
 Blanche (p. 374). Beyond the viaduct the train enters the Forest of 
 Chantilly (p. 374). 
 
 24*
 
 372 22. CHANTILLY. 
 
 251/2 ^' Chantilly. — Hotel dd Cygne et dd Grand Ceef, to the 
 left of the church ; Hotel d'Angleterke, at the other end of the Grande 
 Rue; Hotel de la Gare. — Ca/i de Paris, Rue de Paris; others at the 
 beginning of the Grande Rue and at the station. — Post and Telegraph 
 Office at the Hotel de Ville. — No tariff for cabs ; arrange price beforehand. 
 
 English Church; chaplain, Rev. F. T. Mackmurdo, M. A. 
 
 Chantilly, a town with 4231 inhat*., was famons especially in 
 the 17th and 18th cent, as the residence of the Condes, and as the 
 scene of the magnificent fetes given hy the 'Grand Conde' to 
 Louis XIV., which Mme. de Sevigne mentions in describing the 
 death ofVatel. The town presents a thronged and busy scene during 
 the race-meetings, which are held thrice a year, in May, Septem- 
 ber, and October. It contains large establishments for the breeding 
 of raoe-horses. The silk lace to which the name of Chantilly is 
 given is now made chiefly in the department of Calvados. 
 
 Quitting the station, we cross the Paris and Amiens road, which 
 leads, to the left, to the Grande Rue. As the town, however, con- 
 tains nothing noteworthy, we may proceed at once to the (IV4 ^0 
 Chateau, either by a route skirting the forest or by the Route du 
 Bois-Bourillon, beyond the 'barriere' (comp. the Map). We traverse 
 the Pelouse, or race-course, about 125 acres in area. To the right, 
 near the forest, 8/4 M. from the station, are situated the Grand Stands. 
 
 The extensive Stables of the Condes (open on Thurs. and Sun., 
 2-4), on the left, a little farther on, date from 1719-1735, and have 
 accommodation for 260 horses. The entrance is on the other side, 
 to the left of the Hotel du Cygne. The Church, at the end of the 
 Grande Rue, behind the stables, was built in the 17th century. — 
 Our road ends a little farther on at an unfinished Gateway, leading 
 to the riding-school in connection with the stables. 
 
 The *Chatbau, separated from the race-course by some sheets 
 of water, consists of two main divisions. The chateau proper, to the 
 left, includes the Chdtelet or Petit Chateau, built in the 16th cent., 
 close to the border of the lake, and the Grand Chateau, behind. The 
 latter, replacing the building destroyed at the Revolution, was erected 
 in 1876-1880 by Daumet for the Due d'Aumale (b. 1822), the heir 
 of the Condes, to whom a decree of the National Assembly in 1872 
 gave back the ancestral property of which he had been deprived dur- 
 ing the second empire. The other portion of the chateau, separated 
 from the former by a broad slope leading to the park, is the Chateau 
 d'Enghien, a heavy-looking erection of the 18th century. 
 
 At the entrance of the chateau proper stands a statue, by P. Du- 
 bois, of th.Q Constable Anne de iHontmorency (1493-1567), who built 
 most of it, as well as the Chateau d'Ecouen (p. 351). Here also are 
 bronze dogs and stags, by Cain. 
 
 The chateau, with its magnificent collections and beautiful decorations, 
 was presented in 1836 to the Institut de France by the Due d'Aumale, under 
 reservation of the usufruct. It is intended also to contain various bene- 
 volent institutions for men of letters and artists. The chateau is not yet 
 open to the public.
 
 ^^j x.hyf^-KH* 
 
 ^'^''^i^ .> -x V (1 1 n 
 
 J 
 
 ' ? 
 
 / 
 
 
 CILiTEAUETP.VRC 
 CHANTILLY. 
 
 1 19 000 
 
 __^1D0 C0_ J^^jp^j ^ 
 
 S'TlMUlU '■*\ 
 
 Grave etimpriine p;ir 
 
 OiTv' laCiirpeEe eu'Sexval 
 
 ■^VagnfiriDebes.Leijz
 
 22. CHANTILLY. 373 
 
 Gkand Chateau. The principal apartments, etc., are as follows: 
 Grand Vestibule'^ Orand Escalier; Galerie des Cer/s, decorated with tapes- 
 tries after Van Orley (the 'Hunts of the Emp. Maximilian" ; pp. 140, l(j2), 
 paintings by Baudry (St. Hubert), etc.; Picture Oallery (see below); the 
 TribUTM and the Sanctuaire, two other rooms with paintings; Galerie de 
 Psychi, so named from the subjects of the forty-four stained-glaas "Win- 
 dows from Ecouen (i6th cent.); Tour du Trisor or gem-room; Rotonde; 
 Sept Suites; Tour de la Minerve; Galeries and Vestibule du Logis^ to the right 
 of the principal court, containing the Mus4e. — The picture gallery con- 
 tains a considerable number of Italian paintings, including several by 
 Raphael (Madonna of the Orle'ans family, Three Graces, etc.), and religious 
 compositions or portraits by Fra Angelico, Botticelli, Bronzino, Ann. Car- 
 racci, Giotto, Guercino, Guido Rent, Fit. Lippi, Luini. Mazzolino, Morone, 
 Parmigianino, Palma Vecchio, Perugino, Sahator Roffa, Sassoferrato, Ti<mn,j 
 Perino del Vaga, Dan. da Volterra, etc. The Dutch schools are not so wel 
 represented in this collection , which has, however, examples of Bouts, 
 P. de Champaigne, Van Dyck, Honthorst., Memling, Mierevelt, Pourbtin, Teniers, 
 and Ruysdael. Among the French paintings are numerous portraits, genre 
 scenes, hunting scenes , and views of Chantilly : works by Clcuef, Poussin 
 (Bacchanal, Theseus finding his fathers sword, etc.), etc., and paintings 
 by prominent artists of the 19th cent.: H. Bellang^, Rosa Bonheur, Decamp.'^, 
 Delacroix (The Foscari), Delaroche (Assassination of the Duke of Guise), 
 Frangais, Gdrard, Gericault, Gh-ome, /ngrrea (Stratonice, Francesca da Rimini I, 
 Meissonier, De Neuville, Prud'hon, Protais, Ary Schefer, etc. — There is 
 al?o a collection of about 500 Drawings and over 15(3 Miniatures, including 
 forty from a book of hours illustrated by Jean Foi/quet, purchased in 
 1S91 for 12,(jOOI. Among the Enamels and Antiquities is a bronze Athene, 
 attributed to Phidias. 
 
 The Chatelet contains various apartments decorated with paintings 
 of the 17-18th cent , the chief of which are the 3rd beyond the 'Grand 
 Vestibule'' mentioned above, with paintings by Huet; the 5th (Salon des 
 Singes), with satirical paintin.'S by Watteau; and the 'Galerie du Prince', 
 with paintings of the battles of the Grand Conde', etc. The Chatelet also 
 contains the valuable Library of the Due d'Aumale. 
 
 In the Chapel are an altar by Jean Goujon and some fine stained 
 glass and carvings of the 16th cent., all originally in the Chateau d'Ecouen. 
 The hearts of the princes of Conde' are preserved here in a sepulchral urn. 
 
 The *Park is open to the public on Sun. and Thurs. from 12 to 
 4 or 5, and is reached by a massive flight of steps descending from 
 the slope mentioned above. It was laid out by Le Notre, who after- 
 wards designed the gardens of Yersailles in the same style, and is 
 embellished with fine parterres and ornamental pieces of water. The 
 chief of the latter is the Canal de la Manche, formed by the Nonette, 
 which begins with a pretty cascade on the right and extends to the 
 left under the large viaduct on the railway to Creil (p. 374). The 
 chief statues (Le Notre and Moliere, by T. Noel ; Bossuet, by Guil- 
 laume ; Conde, by Coyzevox ; and La Bruyere, by Thomas) are placed 
 round the first basin. 
 
 The park beyond the canal is not open to the public. To the 
 left is an English Garden, and to the right a Hamlet, as at Versailles, 
 on an island reached by two bridges. In the part of the park not 
 accessible to the public are the little chateaux of La Nonette and 
 St. Firmin. The Pare de Silvie, between the Hamlet and the Chateau 
 d'Enghien, has most completely retained the 17th cent, aspect, with 
 an ornamental pond joining that of the Grand Chateau at the prin- 
 cipal gate, by which we leave the park.
 
 374 22. CREIL. 
 
 The road round the outside of the park is uninteresting. The top of 
 the Vertugadin, on the side next Vineuil (p. 375), commands a pretty view ; 
 thence we may descend to join the railway at Senlis. 
 
 In the valley near Chantilly is another large Viaduct, resembling that 
 in the forest (see below). 
 
 The FoKBST OP Chantilly, which covers an area of 6125 acres, 
 is well kept and provided with numerous guide-posts, hut it occupies 
 for the most part a flat site, and most of the roads and paths are 
 covered with a thick layer of sand that renders walking disagreeable 
 and fatiguing. The paths skirting the railway to (1 hr. from the 
 station) the Etang de Comelle (see below) are, however, better. The 
 paved Route de Louvre and another road to the right lead in about 
 1 hr. from the chateau to the Carrefour de la Table, an open space 
 where 12 roads meet, with a large stone table in the centre. The 
 Route du Conn^table, starting from the race-course near the chateau, 
 is very sandy, and is keptpurposely soft by the horse-trainers. The 
 entrance to the avenue is embellished with two lions. Pedestrians 
 will be able to find the more agreeable paths with the aid of the 
 annexed map. — The Etang de la Reine Blanche or de Comelle is a 
 long-shaped sheet of water, fed by the Theve, a small tributary of 
 the Oise, lying between the Forest of Chantilly and the Forest of 
 Coye. Near the lower end is the Chateau de la Reine Blanche, a 
 small modern Gothic hunting-lodge on the site of an ancient chateau 
 once occupied by Queen Blanche, mother of St. Louis. A little farther 
 on is the large railway-viaduct, mentioned at p. 371. The nearest 
 station to the pond is Orry-Coye (p. 371), at which, however, the 
 express trains hardly ever stop. 
 
 At (3 M. from Chantilly) St. Leu-cfEsserent we may join the railway 
 from Creil to Paris via Beaumont (see below). To reach it we follow 
 first the road from Paris to Amiens, afterwards diverging to the left (comp. 
 the Map). 
 
 n. From Chantilly to Paris vi& Creil and Beaumont. 
 
 At (6 M.) Oreil we change carriages, and join the railway descending 
 the valley of the Oise. From Creil to Beaumont, 19 JM.; thence to Paris 
 23 M. via Montsoult, 25 M. via Valmondois-Ennont, or 29 M. via Pontoise- 
 Ermont. From Ermont we may also take a ticket to the Gare St. Lazare. 
 
 Beyond Chantilly the train crosses the valley of the Nonette by 
 a second Viaduct, 484 yds. in length and 72 ft. in height, con- 
 sisting of 36 arches, and commanding a fine view. To the left, the 
 Chateau de Laversine, belonging to Baron Gr. de Rothschild. The 
 train then passes through a cutting, traversing the quarries of 
 St. Maximin, which yield excellent building-stone, and soon crosses 
 the Oise. To the right is a handsome modern chateau, also belonging 
 to a member of the Rothschild family. To the left is the line to 
 Beaumont (p. 375) ; and in the same direction are seen the church 
 of St. Leu-d'Esserent (p. 375), and the village and manufactories 
 of Montataire (5300 inhab.), commanded by a handsome church of 
 the 12th and 13th, and a chateau of the 15th century. 
 
 32 M. (from Paris) Creil (Buffet; Hotel du Chemin de Fer), a
 
 22. SENLIS. 375 
 
 town with 8183 inhab., is an important station on the Chemin de 
 Fer du Nord, being the junction of five different lines (see Bae- 
 deker s Northern France"). The town, prettily situated on the Oise, 
 is reached by a tubular bridge at the end of the street leading from 
 the station. Beyond the bridge, on an island to the right, are the 
 ruins of the Church of St. Evremont (12th cent.), and the scanty 
 remains of an ancient royal chateau, now incorporated in the mairie, 
 which is about to be rebuilt. On the other side of the island is a 
 porcelain factory. j^Farther on, to the left in the main street, is the 
 Church, an irregular building with double aisles, mainly in the 
 Flamboyant style. The stained-glass windows are good; and in a 
 Gothic recess on the left side is a high-relief of the Madonna with 
 St. Dominic and Catharine. 
 
 The line to Beaumont and Paris, identical for a short distance 
 with that from Chantilly, afterwards follows the right bank of the 
 Oise. — 10 M. St. Leu-d'Esserent, with a conspicuous church, 
 chiefly of the 12th cent. ; the largest of the three towers is Roman- 
 esque. — 12^2 M. Pricy; 15 M. Boran; 17 M. Bruyeres. 
 
 19 M. Persan-Beaumont. — Beaumont and thence to Paris, 
 see R. 19. 
 
 III. From Chantilly to Paris vifi, Senlis and Crepy-en-Valois. 
 
 To Senlis, 8 M. ; thence to Cr4py-en-Valois, 14 M., where carriages are 
 changed. From Crepy to Paris (Gare du Nord), 38 M. 
 
 This line diverges to the right of that to Creil beyond the viaduct 
 over the valley of the Nonette (p. 374). The train stops at St. Maxi- 
 min, to the S. of the village of that name (p. 374), and at Vineuil, 
 to the N. of the park of Chantilly (p. 374). — 41/2 M. St. Firmin, 
 to the N.E. of the village, which also lies near the park. The tower 
 of Senlis cathedral appears to the right. 
 
 8 M. Senlis {Hotels du Grand Cerf, du Nord, de France, Rue de 
 la Republique, Nos. 21, 28, 27), the Roman Civitas Sylvanectensium, 
 situated on the Nonette, is a pleasant little town with 7116 inhab., 
 which is frequently mentioned in mediaeval history. Until the Re- 
 volution it was the seat of a bishopric founded by St. Rieul or Regulus. 
 
 On quitting the station we cross a handsome boulevard to the 
 right and reach the Rue de la Re'publique, the principal street, 
 which forms part of the road from Paris to Lille (comp. the Map, 
 p. 872). To the right appear the belfry of the cathedral and the 
 remarkable tower of St. Pierre (see below and p. 376). 
 
 The second turning to the right leads us direct to the *Cathedral, 
 a handsome Gothic building of the 12-16th centuries, with a fine 
 facade and two square towers. The *Tower to the right (250 ft. in 
 height) is justly admired for its light and elegant form. The usual 
 turrets at the^base of the spire are here replaced by dormer-windows 
 with high pediments, recalling at a distance the style of some bel- 
 fries in the S.E. of France. The side-portals are in the Flamboyant
 
 376 22. CREPY-EN-VALOIS. 
 
 Gothic style. The interior, especially the vaulting, is worth inspec- 
 tion. In the chapel to the left of the nave is an antique marhle bas- 
 relief. The windows are modern. 
 
 Opposite the portal is a house in the grounds of which are some 
 remnants of the Roman Walls (towers) and of the Royal Palace of 
 the Merovingians. A partial view of these may also he obtained 
 from the side-street to the right. To the left of the house, farther 
 on, on the right, is an ancient Gothic portal, the former entrance to 
 the palace. 
 
 The former Bishop's Palace, with an ancient early-Gothic chapel, 
 lies to the right of the choir of the cathedral. 
 
 In the neighbourhood, to the right, is the former Church of 
 St. Frambourg, now a riding -school. The nave is a fine Gothic 
 edifice of the 12th century. The neighbouring Church of St. Pierre 
 (12-16th cent.) is now a market; one of its towers is surmounted 
 by a spire, the other by a dome. 
 
 The Rue de la Republique descends towards the Nonette. On 
 the left is the large Palais de Justice, behind which is a small Musee 
 Municipal, in a street to the left, which leads also to the theological 
 College de St. Vincent, which has superseded the abbey of that name. 
 The abbey-church (chiefly 12th cent.) has been preserved. 
 
 Traces of a Roman. Amphitheatre have recently been discovered near 
 the town, to the left of the road to Chantilly. 
 
 Ermenonville (p. 377) lies 8 M. to the S.E. of Senlia. 
 
 The train beyond Senlis passes seven stations, of which the chief 
 are (I2V2 M.) Barbery and (I6V2 M.) Auger -St -Vincent. 
 
 22 M, Crepy-en-Valois {Hotel des Trois Pigeons, unpretending), 
 a town with 4124 inhab., was the ancient capital of a district which 
 belonged from the 14th cent, to a younger branch of the royal family 
 of France. 
 
 Quitting the station we pass through one of the Town-Gates 
 (18th cent.), and proceed straight on to the small Place du Paon, 
 in which is an ancient Gothic house. The Rue Nationale, straight 
 In front, is the chief street of the town. 
 
 The street descending to the left (gateway) from the Place du 
 Paon affords a general view of the remains of the ancient Chateau 
 (11 -13th cent.), situated on a hill. — By following the Rue 
 St. Lazare (gateway) to the right from the Place, and then the Rue 
 de I'Hospice to the left , we reach the interesting old collegiate 
 church of St. Thomas (begun in 1183 and dedicated to Thomas a 
 Becket), of which the facade (13th cent.) and a tower and spire 
 (15th cent.) still remain. — The Rue St. Thomas, opposite, ends at 
 the Rue Jean- Jacques Rousseau, which leads to the left (gateway) 
 to the Rue Nationale. On the opposite side begins the Rue Jeanne- 
 d'Arc, leading to the Place de la Hante, in which (to the left) is a 
 handsome Portal of 1537. The street to the left, farther on, ends 
 at the foot of the chateau (see above). That to the right leads to a 
 little valley at the base of the hill on which the chateau stands.
 
 22. DAMMARTIN 377 
 
 The Rue du Lion, diverging to the right from this street, brings us 
 to the parish church o{ St. Denis, in the Romanesque and Gothic 
 styles, with a modern helfry. In the interior of this chnrch the choir 
 (15th cent.), the pulpi., and the other ancient wood-carvings should 
 be noticed. — In the Rue St. Denis, which leads hence back to the 
 centre of the town, are some quaint houses. 
 
 Railways to Soissons and to Compiigne via Verberie, see Baedeker's 
 tf or them France. 
 
 251/2 M. Ormoy; 30 M. Nanteuil-le-Haudouin. — 34 M. Le 
 Plessis-Belleville. 
 
 From Le Plessis-Belleville a diliiience (1 fr.) plies to Ermenonville 
 (Croi.i- d'Or), a village 3 M. to the N.W. , near the forest of the same 
 name. It is known as the spot where J. J. Rousseau died and was buried 
 in 1778, six weeks after his arrival to enjoy the retreat ofTered to him by 
 the Marquis de Girardin. The Chateau, now the property of Prince Radzi- 
 will, is at the E. end of the village, and is shown in the absence of the 
 proprietor. The Park, intersected by the road which continues the principal 
 street of the village, was one of the finest laid out in the 18th cent., and 
 is more in the English style than in that of Le Notre. The most interest- 
 ing part is the Grand Pare, to the left of the road and in front of the 
 chateau. The He des Peupliers, in a lake here, contains the empty tomb 
 of Rousseau, his remains having been removed to the Panthe'on (p. 244) 
 in 1794. — The road passing in front of the chateau leads to Senlis (p. 375), 
 8 M. to the N.W. Mortefontaine (p. 371) lies 6 M. to the W. of Ermenonville. 
 
 38 Y2 Bammartin ; the small town lies l^/^ M. to the N,W, on a 
 hill (omnibus 40c.). About IY4M. to the S. (omnibus 30c.) is the 
 College de Juilly, founded in the 17th cent, by the fathers of the 
 Oratory. Among its alumni have been many celebrated men. 
 
 We next pass the stations of (4:0^/2 M.') Thieux ~ Nantouillet, 
 (41 1/2 M.) Compans, (431/0 M.) Mitry-Claye, and (461/2 M.) Ville- 
 parisis, and skirt the Canal de VOurcq (p. 204). 48 M. Vert-Galant 
 Between (49 M.) Sevran-Livry and (51 M.) Aulnay-les-Bondy, the 
 Foret de Bondy appears on the left. 
 
 From Aulnay-les-Bondy a branch-line runs to (12 M.) Bondy, on the 
 line to Nancy; see Baedeker's Northern France. 
 
 54 M. Le Bourget-Drancy. Le Bourget, to the right, was the 
 scene of sanguinary struggles between the French and Germans on 
 Oct.28-30thand Dec. 24th, 1870, in which the former were repulsed, 
 A monument to the French soldiers has been erected. We here cross 
 the Ligne de Grande-Ceinture. — 56 M. Auhervilliers-la-Courneuve. 
 Aubervilliers, an uninteresting village to the right, is connected with 
 Paris by a tramway (see Appx.). — To the right of (661/2 M.) Auber- 
 villiers- Rue- St- Denis appears St. Denis (p. 338), — At"(57M.) Pont 
 de Soissons^ we join the main Ligne du Nord. — 58 Mt La Plaine- 
 st- Denis. Then the station of La Chapelle-Nord-Ceinture. 
 
 60 M. Paris (Gare du Nord, pp. 23, 203).
 
 KOUTES FEOM LONDON TO PARIS. 
 
 23. By Folkestone, Boulogne, and Amiens. 
 
 255 M. By Expeess Trains (see advertisements in 'Bradshaw"'), from 
 Charing Cross or Cannon Street, in 8-10 hrs., average sea-passage 21/4 hrs. ; 
 fares 2l. 12s., 11. 16s., and 11. 3s. 5d. (3rd cl. by night service only); return- 
 tickets valid for one month il. Qs. dd., Bl. 5s. 8d., and il. 18s. dd. Pas- 
 sengers with single tickets may break their journey at the principal stations, 
 and spend seven days on the route. Registered luggage is not examined 
 before arrival at Paris, 
 
 By Steamboat from London to Boulogne daily during the season (see ad- 
 vertisements in 'Bradshaw') and thence to Paris by railway, a journey of 
 14-17 hrs. exclusive of detention at Boulogne, where the trains do not 
 correspond with the steamers ; river-passage about 6 hrs., sea-passage 4-5 hrs.; 
 fares 26s. 6ci., 22s., 16s ; tickets available for three days. This is the cheapest 
 route, and is pleasant in favourable weather. 
 
 Boulogne - sur - Mer. — Hotels. Near the baths : Hotel dd Pavillon 
 & DEs Bains de Mee (PI. a; D, 1)^ des Armes de Z^i-ande & dd Vieox 
 Pavillon (PI. a; D, 1)^ de la Plage (PI. a; D, 1); de la Marine (PI. b; 
 D, 2), all in the Boul. Ste. Beuve; Hot. Folkestone (PI. c; D, 2), Hot. 
 de Paris (PI. d-, D, 2), Hot. Windsor (PI. e; D, 2). Quai Gambetta fN^os. 
 74, 66, & 62). In the towm : Hotel des Bains et de Bellevue (PI. f ; E, 3), 
 Quai Gambetta and Rue Victor-Hugo; Hot. Christol (PI. g; E, 3), Place 
 Frederic-Sauvage 14; Meurice et de l'Univees (PI. i, h ; E, 2, 3), Hot. 
 DD NoED & Continental (PI. k ; E, 3), Rue Victor-Hugo (Nos. 26, 35, 25) ; 
 Beitish Hotel (PI. 1; E, 3), Rue Faidherbe 27 ■, H. dd Louvee (PI. m; D, 3), 
 near the station, etc. In the upper town: Hot. de Bodrgogne, Rue de 
 Lille 11. R., L., & A. at these 27-2-71/2, dej, 2V2-4V2, D. 3-7, pens. 8-20 fr., 
 wine generally extra, — There are also numerous maisons meubUes., pen- 
 sions., and furnished apartments. 
 
 Restaurants. Casino (d^j. 4, D. 5 fr.) ; Restaurant Poirmeur, on the E. 
 jetty; EStel de Flandre, Quai Gambetta 52 (dej. 2, D. 2'/2fr.)', Hdtel du 
 Port, Quai Gambetta 34 (dej. 2^/2, D. 3 fr.); also at most of the above- 
 named hotels and at the railway-stations. 
 
 Cafes. Grand Cafi de Boulogne., Continental., Rue Adolphe-Thiers 63 and 
 53; others in the Rue Monsigny, etc. 
 
 Cabs. From 6 a.m. to midnight, per drive lV2fr., per hour 2 fr. ; from 
 midnight to 6 a.m. 2 fr. and 21/2 fr. ; outside the town, per hr, 272 fr. 
 
 Tramway to the Etablissement de Bains from the Place Dalton (PI. 
 F, 3), 15 c. ; from the Coin-Menteur (PI. E, 3), 10 c. 
 
 Baths. Sea Baths 1 fr., including machine and towels; subscription 
 for 12 baths 9 fr.; at the Ec'ole de Natation (enclosed basins) 50 c. and 
 5fr. 50 c.; Hot Baths 1 fr. 
 
 Post and Telegraph Offices, Rue du Pot-d'Etain 12 (PI. E, 3). 
 
 British Vice-Consul, H. F. Farmer., Esq. — American Consul, Patd 
 Moleux. — Bankers, Adam d: Co.., Rue Victor-Hugo 6 (also Lloyd's agents). 
 — Merridew^s Library., Rue Victor-Hugo 60. 
 
 Physicians. Dr. Carr., Rue Victor-Hugo 56; Dr. Philip, Rue Victor- 
 Hugo 33; Dr. Docker., homeopath. Rue Marignan 13. — Dentists. Mr. Hillman, 
 Rue Adolphe-Thiers 29; Mr. Manton., Grande Rue 14', Mr. J. McConaghey, 
 Rue Victor-Hugo 44. 
 
 English Churches. British Episcopal Church, Rue du Temple; chaplain, 
 
 t For farther details see Baedeker's Northern France.
 
 BOULOGNE-SUR-MER. 23. Route. 379 
 
 Rev. Archdeacon Maule, LL.D. ; services on Sun. at 11 and 5. — Holy Trinity, 
 Rue de la Lampe; Rev. James Wilson, M. A. — 8t. John's, Rue des Vieil- 
 lards; Rev. W.W. King Ormsby. The Sun. services at these two are at 
 11 and 7.30. — New Wetleyan Methodist Church, 70 Grande Rue; Rev. .T. 
 Gaskin; services at 11 and 7. 
 
 Boulogne-sur-Mer, so called to distinguish it from Boulogne-sur- 
 Seine near Paris, the Bononia (?) or Gessoriacum of the Romans, is 
 an important seaport and the largest town in the D^partement Pas- 
 de-Calais, situated at the mouth of the Liane, with a population of 
 45,200, of whom over 1000 are permanent English residents. The 
 town may be said to combine a certain degree of English comfort 
 with French taste. Its numerous schools enjoy a high reputation. 
 The town -is divided into the Haute -Ville, or old town, on the height 
 to the E., and the much larger Basse - Ville, including the harbour. 
 The part of the Basse -Ville on the left or W. bank of the Liane is 
 known as Capecure. 
 
 The Harbour , especially the E. part near the Douane (PI. D, 2), 
 presents a very busy scene. Boulogne stands next to Marseilles, 
 Havre, and Bordeaux among the seaports of France. Its commer- 
 cial importance is increasing, and in 1879 extensive operations 
 were begun with the view of enlarging the port, but their completion 
 has been deferred owing to lack of funds. Vessels are now able to 
 enter and clear at low water. The West Pier stretches into the sea 
 for a distance of 765 yds. 
 
 The Oare Maritime (PI. D, 2), on the quay of the Folkestone 
 steamers, is connected with the Grande Gare, or principal railway 
 station (PI. D, E, 4), by a short branch-line. On the right bank of 
 the Liane, reached by the Pont Marguet (PL E, 3), the Quai Gam- 
 betta runs to the N. from the Halle (see p. 380) to the Douane 
 (PL D, 2), in front of which is a statue of Jenner, the discoverer of 
 vaccination, by Eug. Paul. 
 
 The Etablissement de Bains, with its Garden and handsome 
 Casino (PL D, 1, 2), lies farther to the E. Adm. 1 fr. (for the 
 whole day 3 fr.), less to subscribers. The garden is always open to 
 visitors, but non-subscribers pay 20 c. for admission on concert-days. 
 — Between the shadeless beech and the cliffs runs the Boulevard 
 Sainte-Beuve (PL D, 1, 2), named in honour of the famous critic 
 (1819-55), who was a native of Boulogne. 
 
 The East Pier, or Jetee de VEst (PL B, C, 1, 2), which extends 
 650 yds. into the sea, is a favourite evening-promenade. — On the 
 cliff, to the right, is a poor statue of Napoleon I. , erected by an 
 Englishman on the site of a hut occupied by the emperor in 1804, 
 Not far off is the ruined Tour d'Ordre ('Turris Ardens'; PL D, 1). 
 a Roman beacon tower built under Caligula in 40 A. D. 
 
 We now return to visit the town. The Rue Victor-Hugo (PI. E, 
 3) and its continuation the Rue Nationale contain the principal 
 shops. The Rue Adolphe- Thiers, parallel to the Rue Victor-Hugo, 
 begins at the Place Dalton (PI. F, 3), in which rises the church of
 
 380 Route 23. BOULOGNE-SUR-MER. From London 
 
 St. Nicholas (17-18th cent.). The Grande Rue ascends from this 
 point to the Haute -Ville. 
 
 The Museum (PI. F, 3), in the Grande Rue, contains ethnograph- 
 ical and historical collections, some Egyptian antiquities, and a 
 picture gallery (open in summer daily, except Tues., 11-4; in 
 winter on Sun. and holidays, 10-4). The Public Library, on the 
 second floor, contains 55,000 vols, and some interesting MSS. (open 
 daily, except Frid., 10-4). 
 
 At the top of the Grande Rue, on the left, is the Esplanade, a 
 small Place, adorned with a colossal bust of Henri II, by David, 
 commemorating the restoration of the town to France by the English 
 in the reign of that monarch (1550). In the Boulevard Mariette, 
 farther on (PI. G, 2), stands a bronze statue of Mariette Bey^ the 
 eminent Egyptologist, who was a native of Boulogne (1821-81). A 
 little to the N. is a public park known as Les Tintelleries (PI. F, 2 ; 
 concerts in summer). There is a station here on the railway to Calais. 
 
 The Haute- Ville (PL F, G, 2, 3), enclosed by ramparts (13th 
 cent.), is entered by three gateways : the Porte des Dunes, the Porte 
 de Calais, and the picturesque Porte Gayole. The Hotel de Ville 
 (PI. G, 3) was erected in 1734 on the site of an ancient castle, where 
 the crusader Godfrey de Bouillon was born in 1065. 
 
 The church of Notre-Dame (PI. G, 2), a building in the degraded 
 Italian style, erected in 1827-66, occupies the site of a Gothic church 
 which was destroyed in 1793. Handsome high -altar in mosaic 
 work, and richly ornamented Lady Chapel. Curious crypt (adm. 
 1 fr.). The lantern which surmounts the dome is crowned with a 
 colossal statue of the Virgin , which forms the most conspicuous 
 point in the whole town. Extensive *View, comprising the 'dunes', 
 the plateau traversed by the railway to Calais , in the foreground 
 Napoleon's Column, and in the distance, in clear weather, the white 
 cliffs of the English coast. The entrance to the staircase is by a 
 door to the right, at the S. portal (adm. 1 fr.). 
 
 The Chateau (PL G, 2), in which Louis Napoleon was confined 
 after the attempted insurrection of 1840, is the ancient citadel of 
 Boulogne, and dates from the 13th century. It is now converted 
 into barracks (no admission). 
 
 The Cemetery of the Haute -Ville (beyond PL G, 2) contains the 
 graves of Sir Harris Nicolas, Basil Montague, and numerous other 
 Englishmen. 
 
 The Fish Market is held early in the morning in the Salle (PI. E, 3). 
 The fishermen and their families occupy a separate quarter. La Beurrikre, 
 on the W. side of the town, and form one-tenth of the population. They 
 partly adhere to the picturesque costume of their ancestors, and differ 
 somewhat in character and customs from the other inhabitants of the town. 
 
 Boulogne possesses about 250 tlshing-boats, which extend their voyages 
 during the herring-fishery as far as the Scottish coast and Iceland, and in 
 favourable seasons realise as much as 60,000r 
 
 In 1804 Napoleon I. assembled an army of 172,000 infantry and 9000 
 cavalry on the table-land to the N. of Boulogne , under the command of 
 Marshals Soult, Ney, Davoust and Victor, and collected in the harbour
 
 to Paris. ABBEVILLE. 23. Route. 381 
 
 a flotilla of 2413 craft of various dimensions, for the purpose of invad- 
 ing England and establishing a republic there. The troops were ad- 
 mirably drilled, and only awaited the arrival of the fleets from Antwerp, 
 Brest, Cadiz, and the harbours of the Mediterranean, which had been in 
 the course of formation for several years for this express purpose. Their 
 union was prevented by the British fleet under Sir Robert Calder ; and 
 the victory of Nelson at Trafalgar, on 22nd Oct., 1805, completed the 
 discomfitnre of the undertaking. 
 
 Napoleon's Column, or the Colonne de la Grande-Armie, a Doric column, 
 172 ft. in height, constructed by Marquise, situated 2 M. from Boulogne on 
 the road to Calais (comp. PI. G, 1), was founded in 1804 to commemorate 
 the expedition against England , the first stone being laid by Marshal 
 Soult in the presence of the whole army. The first empire left the 
 monument unfinished, and in 1821 Louis XVIII. caused the work to be 
 resumed, intending that the column should commemorate the restoration 
 of the Bourbons ; but it was not completed till 1841 , when its original 
 destination was revived. The summit is occupied by a statue ot the 
 emperor, one of Bosio''s finest works. The pedestal is adorned with 
 reliefs in bronze, representing emblems of war. The view from the top 
 resembles that commanded by the dome of Notre-Dame (custodian Vz fr.). 
 
 From Boulogne to Paris. 
 
 159 M. Chemin de Fer du Noed. Express in 3V4-33/4, other trains in 
 6-7V2 hrs. (fares 28 fr. 45, 19 fr. 20, 12 fr. 50 c). 
 
 Quitting the handsome station of Boulogne, the train traverses 
 the valley of the Liane. The country soon becomes flat and unin- 
 teresting. Several large cement-works are passed. 3 M. Pont-de- 
 Briques; b^l^ M. Hesdigneul. 
 
 9 M. Neufchdtel. Beyond (17'/2 M'.) Staples the train crossess 
 the Bate de la Canche by a viaduct. 2OV2 M. St. Josse; 32^/2 M- 
 Rang du Fliers- Verton, the station for the (4 M.) small sea-bathing 
 place ofBerck; 28 M. Conchil-le- Temple ; 34 M. Rue. 
 
 4OY2 M. Noyelles is situated in the midst of a dreary expanse 
 of sand. — In the vicinity the Somme was crossed by Edward III. 
 before the battle of Crecy in 1346. — Branch-line to the right to 
 (81/2 M.) Cat/eux, via(4M.) St. Valery-sur-Somme, whence William 
 the Conqueror set out for England in 1066. Another branch-line 
 runs to (5 M.) Le Crotoy. 
 
 49 M. Abbeville (Hotel de France; de la Tete-de-Boeuf; *H6t. 
 de la Gare) is a cloth-manufacturing town, with 19,850 inhab., on 
 the Somme, and connected with the sea by means of a canal. The 
 principal building is the Gothic Church of St. Wolfram, founded in 
 the 15th century. The Flamboyant portal of the Church of St. Gilles 
 is also interesting. The Musee Boucher-de- Perthes contains pre- 
 historic antiquities, old furniture, china, and a few pictures, while 
 the Musee d^ Abbeville et du Ponthieu has objects of natural history, 
 paintings, and antiquities. In the Place St. Pierre is a bronze statue 
 of Lesueur, the composer (d. 1837). by Rochet; and the Place 
 Conrbet is embellished with a flue statue, by Falguiere and Mercie, 
 of Admiral Courbet (d. 1885), who was born at Abbeville. 
 
 From Abbeville a branch-line runs to (,5S'/j M.) Bcthunc, via St. Riquier; 
 and another to (19 M.) Dompierre-sur-Aulhie ; see Baedeker's A'^orthem France. 
 
 i
 
 382 Route 23. AMIENS. From London 
 
 The scenery becomes more picturesque as the train ascends the 
 fertile valley of the Somme. — 54^/2 M. Pont-Remy. — From 
 (591/2 M.) Longpre branch-lines diverge to Le Treport and Canaples. 
 — 64 M. Hangest; 681/2 M. Picquigny, with the ruins of a strong- 
 hold of the 16th cent.; 71 1/2 M. Ailly-sur- Somme ; 721/2 M. Dreuilj 
 751/2 ^- ^^- Roch. — The train now threads tvfo short tunnels. 
 
 76I/2 M. Amiens. — Hotels. Hotel Continental (PI. a; F, 4), Rue 
 des Trois-Cailloux 62, E. from 3 fr.; du Rhin (PI. b; G, 4), de l'Univers 
 (PI. d; G, 4), botli in the Rue Noyon, tbe street opposite the station, E.. 
 3-7 fr. ; Ego de France (PI. f 5 G, 4), in the same street, less pretending, 
 E., L., & A. from 2V2 fr. ; de France et d'Angleterre (PL c; E, F, 4), 
 Eue de la Republique 9, nearer the centre of the town, well spoken of; 
 BoissT (PI. g; E, 3), Rue Ste. Marguerite; dd Commerce (PI. e; F, 4), Rue 
 des Jacobins; de la Paix (PI. h; E, 4), Rue Dumeril; de la Croix 
 Blanche, Rue de Beauvais 44 (PI. E, 4); de Paris, at the Gare du Nord. 
 
 Restaurants. At the II6tel Continental and the Ecu de France ; Restaurant 
 de VEst, opposite the station. — Cafes. Taverne Lorraine, Cercle des 
 Voyageurs, both in the Rue des Trois-Cailloux. 
 
 Cabs. For 1-2 pers. , per drive 75 c, per hr. II/2 fr. ; 3-4 pers. 1 fr. 
 and 2 fr. ; each 1/4 hr. extra 50 c. 
 
 Tramways traverse the principal streets (fares 10-25 c). 
 
 Amiens , the ancient capital of Picardy, now that of the Depart- 
 ment of the Somme, with 83,650 inhab., and one of the principal 
 manufacturing towns in France , is situated on the Somme and its 
 affluents the Arve and the Selle. These streams form numerous 
 canals , which are invaluable for the industrial purposes of the 
 town. The principal manufactures are linen, woollen stuffs , silk 
 thread, cashmeres, and velvet. The lower part of the town, with 
 its canals and narrow streets, is the manufacturing quarter, while 
 the central part contains the best shops ; the new town is separated 
 from both these quarters by handsome boulevards. In 1802 the 
 Peace of Amiens between France and England was concluded here. 
 On 20th Nov. , 1870, the Prussians defeated the French near Amiens, 
 and entered the town on the following day. 
 
 The exit from the station is in the boulevards, opposite the Rue 
 de Noyon, which we follow to the Place St. Denis (PI. F, G, 4), em- 
 bellished with 'a bronze statue of Ducange, the eminent philologist 
 (bom at Amiens in 1610 ; d. 1688). The Rue Victor-Hugo leads 
 hence to the right, passing the modern Palais de Justice, to the — 
 
 *Cathedral(P1. F, 3), one of the most imposing Gothic churches 
 in Europe, erected in 1220-1288 by the architects Robert de Lu- 
 zarches, Thomas de Cormont, and his son Renault. Length 470 ft., 
 length of transept 213 ft., width of nave 144 ft. The heaviness 
 of the building is insufficiently relieved by the lofty spire over the 
 transept, 392 ft. in height, or 145 ft. above the roof, re-erected in 
 1529. The two uncompleted towers of the W. facade belong to the 
 13th and 15th cent., the former being 181 ft., the latter 210 ft. in 
 height, but like the central spire they are too small for the edifice. 
 The principal W. Portal, one of the finest parts of the building, was 
 completed towards the end of the 14th century.
 
 > 
 
 
 — <- 
 
 C) iMss
 
 to Paris. AMIENS. 32. Route. 383 
 
 The -Facade contains three lofty recessed porches, richly adorned 
 with reliefs and statues. Le beau Dieu cT Amiens'' is an admirable figure 
 of the Saviour which separates the doors of the central portal. Above 
 the portals are a handsome gallerj-, niches containing twenty - two col- 
 ossal statues of kings of Judah, a magnificent rosu-window 38 ft. in dia- 
 meter, and still higher a gallery connecting the towers. 
 
 The 'Tnterior consists of nave, transept, aisles, ;ind choir, all flanked 
 with chapels. The nave rises to the very unusual height of 147 ft., being 
 sarpassert in this respect by the cathedral of Beauvais alone. The 
 vaulting is borne by 126 remarkably bold columns, tapering towards the 
 top. The stained glass in the rose- windows , triforium, and choir is 
 ancient. The organ-loft dates from 1425, but has been modernised. The 
 bronze monuments of the two bishops who founded the church, one on 
 each side of the nave, are fine works of the 13th century. Ihe wall of 
 the choir is adorned with *Ileliefs representing, on the N. side the history of 
 John the Baptist, on the S. side the life of St. Firmin, sculptured in 1489 
 and 1530. Behind the high-altar is the ''enfant pleureur\ a much admired, 
 but overrated weeping angel, by Blasset. At the entrance to the choir 
 are large marble statues of St. Vincent de Paul and S. Carlo Borromeo. 
 The transept contains some interesting reliefs, painted and gilded, of the 
 beginning of the 16th century. 
 
 The ''Choir Stalls, 110 in number, are fine specimens of carving exe- 
 cuted in 1508-22. There are no fewer than 3650 figures. The subjects 
 are Scriptural, and also represent different worldly cccupations. 
 
 The traveller should not neglect to visit the Triforium, which com- 
 mands a good survey of the interior of the church, and ascend thence to 
 the external galleries and the tower. 
 
 At the back of the church rises a statue in bronze of Peter the Her- 
 mit (Pl.F, 3), or Pierre of Amiens, the promoter of the first crasade. 
 
 To the N. of the cathedral is the church of St. Leu (PI. F, 2), 
 and nearer the centre of the town is St. Oermain (PI. E, 3), two 
 Gothic churches of the 15th cent., with elegant towers. The street 
 passing in front of the latter leads to a square in which rise the 
 Belfry (PL E, 3), an eccentric edifice of 1748 (restored in 1865), 
 and the Hotel de Ville (PI. E, 3), lately enlarged and almost entire- 
 ly rebuilt. 
 
 The *Musee de Picardie (PI. E, 4), in the Rue de la Republique, 
 is open on Sun., Tues., & Thurs., 12 to 4 or 5 (at other times for a 
 fee). The collections on the groundfloor Include mediaeval carvings; 
 Roman antiquities (tomb-reliefs, leaden coffins, bronzes, glass); a 
 fine mosaic found at Amiens in 1857, with interesting arrangement 
 of colours; faience from Nevers and Beauvais; a few Greek antiqui- 
 ties (statue of Diana; mosaic of Apollo); and a collection of modern 
 sculptures. In the Grande Salle Centrale and on the first floor are 
 about 250 French paintings, chiefly of the beginning of the present 
 century (David, Ge'rome, etc.). The staircase is adorned with mural 
 paintings by Puvis de Chavannes. — In the same street is the Bihlio- 
 theque Communale (PI. E, 4). 
 
 In a street running parallel with the Boul. du Mail, to the N., 
 is a monument called the Illustrations Picardes (PI. F, 4), consisting 
 of a figure of Picardy, surrounded with statues and busts of eminent 
 natives of that province. — On the W. side of the town is the 
 pleasant Promenade de la Hotoie (PI. A-C, 2, 3). 
 
 A branch-line connects Amiens with Rouen (in 2-3''/4 hrs.).
 
 384 Route 24. CALAIS. From London 
 
 Beyond Amiens we cross the Arve. 791/2 M- Longueau (Buffet), 
 jnnction of a line to Arras (Lille). Near (82 Y2 M.) Boves is a ruin- 
 ed chateau in which Henri lY often resided with the beautiful Ga- 
 hrielle d'Estrees. Fine view of the valley of the Noye. — 89 M. 
 Ailly-sur-Noye. — 93 Vo M, La Faloise. At the village of Folleville, 
 13/4 M. to the S.E., are the ruins of a chateau, and a late-Gothic 
 church containing a monument by Ant. della Porta. — From 
 (99^2 ^I-) Breteuil-Gare a branch-line leads to the (41/2 M.) small 
 town of Breteuil (3100 inhab.). 
 
 104 M. St. Just-en- Chaussee, the centre of a hosiery-manufac- 
 turing district, and the junction of lines to Beauvals and Douai. 
 
 1171/2 M. Clermont de I'Oise (Hotel St. Andre), a town with 
 5617 inhab., pleasantly situated on a hill, is commanded by an an- 
 cient castle now used as a prison for women. Above the town rises 
 the church of St. Samson, of the 14th and 16th centuries. The Hotel 
 de Ville, built in 1320 and restored in 1887, is said to be the oldest 
 in the N. of France. The country here is well-peopled and pictur- 
 esque. Branch-lines to Compiegne and to Beauvais. 
 
 1221/2 M. Liancourt- sous -Clermont, with 4033 inhab., is a 
 manufacturing town. Part of an old chateau of the dukes of Roche- 
 foucauld-Liancourt is still standing here. It was rebuilt by Jeanne 
 de Schomberg in 1640 , and has a beautiful park. The church 
 contains two good marble monuments. By the desire of Henri IV, 
 Gabrielle d'Estrees was married to a certain Seigneur de Liancourt, 
 a man of deformed person and deficient intellect, on condition that 
 he should never see her again after the ceremony. 
 
 127 M. Creil , beyond which the train skirts the Oise. Large 
 porcelain-factory on an island in the river. 
 
 From Creil to (159 M.) Paris, see R. 22. 
 
 24. By Dover, Calais, and Amiens. 
 
 283 M. By Expkess (see 'Bradshaw'), starting from Charing Cross, Can- 
 non Street, Victoria, Holborn Viaduct, and St. Paul's stations, in TVz-lO hrs. ; 
 sea-passage 1^4-13 '4 hr. ; fare Ql. 16s. lie/., il. 19«. Sd., and U. 6«. 8d. (3rd 
 cl. by night service only) ; tickets available for seven days, with option of 
 halting at Dover, Calais, and Amiens; return-tickets, valid for one month, 
 4^ 145. 9d., 3l. 9s. iOd., and 21. 2s. — Luggage should be registered before 
 leaving England, to avoid examination at Calais. 
 
 Calais. — Hotels. Grand-Hotel, Place Eichelieu (PI. B, 4); Meurice, 
 Rue de Guise 7 (PI. B, 8, 4); Tekminds, at the Gare Maritime (PI. C, 2); 
 Buffet-Hotel, at the Central Station (PI. B, 5)-, Dessin, Rue Amiral- 
 Courbet 5 (PI. C, 3); Sauvage: Hotel dd Commerce; de Londkes, Rue 
 de la Cloche. — Restaurants. At the Maritime and Central Stations. — 
 Cafes: Bellevue, de France, du Globe, Place d'Armes; Ch'and Cafi, corner 
 of the Boul. Jacquand and the Rue Lafayette. — Sea-Bathing: to the N. of 
 the Bassin de Retenue. 
 
 Cabs. For 1-2 pers., per drive 90 c, per hr. IV2 fr. ; 3 pers. 1 fr. 20 c, 
 2 fr. ; 4 pers. 1 fr. 60 c, 2 fr. 50 c. ; double fare after 11 p.m. 
 
 British Consul, W. Keene, Esq. ; Vice-consul, W. Thomsett, Esq. (also 
 Lloyd's agent). — United States Consul, C. W. Shepard, Esq.
 
 to Paris. CALAIS. 24. Route. 385 
 
 English Church (Holy Trinity ), Rue du Moulin-Brule; minister, Rev. 
 M. H. Umbers, B. A. — Wetleyan Chapel^ Rue du Temple. Services in both 
 at 11 a.m. and 6.30 p.m. 
 
 Calais., a town with 56,867 inhab. , including 8t. Pierre-lis- 
 Calais, with which it was united in 1885, and a fortress of the first 
 class, derives its chief importance from its harbour and its traffic 
 with England, to which it is the nearest port on the French coast. 
 Dover is 18 M. distant. About 260,000 travellers pass through the 
 town annually. Calais contains about loOO English residents, chiefly 
 engaged in its extensive tulle-manufactories. 
 
 The Harbour, which is accessible at all states of the tide, has 
 been doubled in size by extensive new works, recently completed 
 at a cost of over l,500,000i. The Old Harbour, with the former 
 railway-station, lies nearest to the Place d'Armes ; the imposing 
 *New Harbour farther to the E. The new Gare Maritime (PI. C, 2), 
 where passengers from England find the train for Paris waiting, is 
 situated on the N.E. side of the Avant-Port (PL B, C, 2), and is 
 connected by a short branch-line, skirting the new harbour, with 
 the Oare Centrale (see below). 
 
 The old Hotel de Ville (PL B, C, 3), in the Place d'Armes, the 
 handsomest edifice in the town, was erected in 1740 on the site of an 
 earlier building of which the tower still remains (15th cent.). It is 
 adorned with busts of the Due de Guise, 'lib^rateur de Calais en 
 1558', and Richelieu, the founder of the citadel in 1634. — The 
 church of Notre-Dame , on the E. side of the town, dating from the 
 12th and (chiefly) 14th cent., has been modernised. The handsome 
 marble altar, an Assumption by Zeghers (1628), and a Descent from 
 the Cross by Rubens (?) may be inspected. 
 
 At the end of the Rue de Guise, leading S. from the Place d'Armes, 
 is the Hotel de Guise (PLB, C,4), in the English Tudor style, orig- 
 inally founded by Edward III. as a guildhouse for the wool-staplers. 
 
 The Gare Centrale (PL B, 5) lies between Calais proper and 
 St. Pierre. Near it, on the St. Pierre side, are a pretty Park and the 
 Place Centrale (PL C, 5), with the new Hotel de Ville. 
 
 St. Pierre-les-Calais is the industrial and commercial part of 
 Calais. Its prosperity is due chiefly to its extensive manufacture 
 of tulle , an industry which was introduced from Nottingham in 
 1818. The Church of St. Pierre (PL D, 7), built in 1862-70, and 
 the Hotel de Ville are both situated in the Place Crevecceur. 
 
 From Calais to Boulogne. — 13/^ M. Calais -Ville (central 
 station, see above) ; 8 M. Fontinettes, still within the new fortifica- 
 tions of Calais. 5 M. Frethun; II3/4 M. Caffiers. — 17 M. Marquise, 
 a small town with marble quarries, is 7 M. from Cap Gris Nez, the 
 nearest point to the English coast, and the proposed starting-point 
 of the submarine tunnel between France and England. 
 
 26 M. Boulogne, and thence to Paris, see R. 23. 
 
 The express trains from Calais to Paris do not enter Boulogne itself, 
 but touch at the suburban station of (25 31.) Boulogne-Tinielkries (p. 3?0). 
 
 Baedekeb. Paris. 12th Edit. 25
 
 386 
 
 25. By Newhaven, Dieppe, and Rouen. 
 
 248 M. By Express from Victoria and London Bridge stations (see 
 'Bradshaw') in 9 (day-service) or 10 hrs. (night - service) ; single tickets, 
 available for seven days, 34s. 7d., 25s. 7d., 18s. Td. ; return- tickets, available 
 for one montb. 58s. 3d., 42s. 3d.. 33s. 3d., available for 2 months, 63«. 9d., 
 46*. Id., 36<. 3d.; sea-passage 31/2-41/2 hours. Luggage should be registered at 
 London or Newhaven in order to avoid examination at Dieppe; in returning, 
 luggage registered to London is examined at Newhaven. This route from 
 London to Paris . the shortest in actual mileage though not in time, is 
 also one of the cheapest and most interesting. 
 
 Dieppe. — Hotels. Hotel Royal (PI. a ; C, 1), Gkand Hotel Feancais 
 (PL b; B, 1), Ghand Hotel M£teopole et des Bains (PI. d; D, 1), du Rhin 
 ET de Newhaven (PI. e; C, 1), des Etkangees (PI. f ; D, 1), Geand Hotel 
 (PL g; E, 1), all in the Rue Aguado, facing the sea (R. from about 4, dej. 
 4-5, D. 5-6 fr.). — Grand Hotel dc Nord et Victobia (PL h; E, 2), Quai 
 Henri IV, opposite the steamboat-wharf; de la Paix (PL j : C, 2), Grande 
 Rue 212; Chariot d'Oe (PI. 1: C, 2), Rue de la Barre; de Paeis (PL m; 
 C, 1). Place de la Comedie; des Familles (PL 1; C, 2), Rue de IHotel- 
 de-Ville 29. — Hotel du Globe (PL 0; D, 2), Rue Duquesne 8, near the 
 beach; *dc Commerce (PL n; D, 2), Place Nationale; R. at these two 
 from 2, dej. 31/2. D. 4-41/2 fr. Travellers are recommended to ascertain the 
 prices beforehand. — Furnished Apartments are also easily found in the 
 Rue Aguado. 
 
 Restaurants. Cafi-Restaurant du Casino^ on the beach, see below (de'j, 
 4, D. 5 fr., wine extra); Au Faisan Dord, Grande Rue 74 (d^j. 2, D. 21/2 fr.) ; 
 Hdtel deg Arcades, Arcades de la Bourse, dej. 13,4, D. 2 fr. ; Buffet, at the 
 Gare Maritime. 
 
 Cafes. Caf^ <SMtsse, Grande Rue 1, and in the Arcades; Cafi de Rouen^ 
 Cafi des Tribunaux, both at the other end of the Grande Rue. 
 
 Cabs with seats for two pers. I1/4 fr. per drive (after midnight 21/2 fr.), 
 1^/4 or 31/2 fr. per hr. ; with four seats 1V2-3 and 2-4 fr. respectively. 
 
 Baths. Sea-Bath, including tent and foot-bath, 75 c. Hot Bath, fresh 
 water 1. with towels, etc., IV2 fr. ; salt water, IV2, with towels, etc., 21/4 fr. 
 
 Steamboats to Newhaven twice a day in summer, daily in winter. 
 
 British Vice-Consul, H. W. Lee-Jortin, Esq., Rue du Faubourg-de-la 
 Barre 2. — United States Consular Agent, M. R. Bourgeois, Quai de Lille 8. 
 — Lloyd's Agent, M. R. Delarue-Lebon. 
 
 English Churches. Christ Church, Rue Asseline; services on Sun. at 
 11 and 7 (in summer 7.30); chaplain. Rev. Dr. MerTc, M. A. — All Saints, 
 Rue de la Barre; services at 11 and 7,30; chaplain, Rev. F. J. Johnston 
 Smith, LL.D. 
 
 The Carved Ivory and Lace of Dieppe are specialties of the place. 
 
 Dieppe, with 22,770 inhab. , is situated in a valley formed by two 
 ranges of lofty white chalk - cliffs , at the mouth of the Arques, 
 which forms a harbour capable of containing vessels of consider- 
 able size. In spite of the vicinity of Havre, Dieppe still carries on 
 a considerable trade in coals with England and in timber with 
 Norway and Sweden. Fish is, however, the staple commodity of the 
 place. Dieppe is also a fashionable watering-place, being annually 
 visited by numerous English, as well as French families. 
 
 The Gare Maritime (PL E, 2) and the Steamboat Quays are on 
 the N. side of the AvantPort, or outer harbour. To the S.W., beyond 
 the Bassins Duquesne a.nd. Berigny, lies the Central Station(^l. C, 3) ; 
 and to the E., between the Bassin Duquesne, and the suburb of Le 
 Pallet [PI. E, 3), inhabited by sailors and fishermen said to be of 
 Venetian origin, are several new basins, opened in 1887.
 
 DIEPPE. 25. Route. 387 
 
 Along the N. side of the town, between the sea and the Rue 
 Aguado, in which are the principal hotels, stretches La Plage (PI. C, 
 D, E, 1), a handsome marine park or promenade, 2/3 M. long. At its 
 W. extremity is the Casino or Etabliasement de Bains (PI. C, 1), the 
 principal attraction for visitors, a handsome brick and glass structure 
 replete with every convenience and including a small theatre (adm. 
 in the forenoon 50 c., afternoon 1 fr., evening or whole day 3fr. ; less 
 for subscribers). In front of it are placed about 200 small tents, used 
 as dressing-rooms, from which the bathers descend into the water, 
 accompanied by a guide-haigneur, if necessary. In fine weather the 
 scene is very amusing, and novel withal to the English visitor. 
 
 On a precipitous white cliff at the W. extremity of the Plage rises 
 the handsome Castle (PI. B, 1, 2), with its massive walls, towers, 
 and bastions, erected in 1435 as a defence against the English. In 
 1694, however, it was unable to resist the cannonade of the English 
 fleet, then returning from an unsuccessful attack on Brest, and the 
 unequal contest resulted in the total destruction of the town. The 
 view from the castle is very extensive. 
 
 The church oi St. Remy (F\. 6; C, 2), not far from the castle, 
 in a mixed style of the 16th and 17th cent., contains huge round 
 columns and some good sculptures. — The church of St. Jac- 
 ques (PI. 4; C, D, 2), the patron-saint of fishermen, in the Place 
 Rationale , is an interesting florid Gothic edifice dating from the 
 12-16th centuries. It contains numerous rich sculptures and stained- 
 glass windows. Near the church is the Statue of Duquesne (PI. 15 ; 
 D, 2), erected in 1844, a celebrated admiral and native of Dieppe 
 (d. 1687). — To the E. of the entrance to the harbour is the modern 
 Gothic church of Notre-Dame-de-Bon-Secours(Vl. F, 2). The Musee 
 (PI. 11 ; C, 1) contains local antiquities, a natural history collection, 
 and a few pictures. 
 
 The most interesting point in the environs of Dieppe is the ruined castle 
 of Arques (Hdfel du Chdteau; Henri IV, nnpretending), situated 4 M. to 
 the S. E., and memorable as the scene of a victory gained by Henri IV 
 over the League in 1589. The excursion may be made by train or by omni- 
 bus (there and back 2 fr.). The *View from the castle embraces the val- 
 leys of the Arques, the Bithune, and the Eaulne. 
 
 Other excursions may be made to Varangeville, Puys, CU6 de Limes or 
 Camp de Cisar, and Berneval, all on the coast. 
 
 From Dieppe to Pabis. 
 
 125 M. Railway via Rouen in 3^/2-Qy* hrs. (fares 18 fr. 90, 12 fr. 80, 
 8 fr. 30 c). — Another line leads via Nevfchdtel., Oournay, Oisors, and 
 Pontoise (in 3V4-53/4 hrs. ; fares the same). 
 
 Soon after quitting Dieppe the train passes through a tunnel, 
 upwards of 1 M. in length, and then enters the valley of the Scie, 
 which it crosses 22 times. After passing several unimportant stations, 
 it reaches (32 M.) Malaunay (p. 396), where the Rouen-Havre and 
 Dieppe lines unite. From this point to Rouen the district traversed is 
 cheerful and picturesque, abounding in cotton and other factories. 
 
 26*
 
 388 Route 25. ROUEN. From London 
 
 38 M. Bonen. — Hotels. *Grand Hotel d'Anglbteeke (PI. aj C, D, 
 3, 4;, Cours Boieldieu 7-8 ; *H6t. du Koed (PI. c ; C, 3), Rue de la Grosse- 
 Horloge 91 ; de Pakis (PI, d ; D, 4), Quai de Paris 51 ; *Hot. de Fbance 
 (PI. e-, D, 2), Rue des Cannes 99; all these of the first class, R. 3-12 fr. 
 (enquiry should be made beforehand), L. ^4-1, A. 3,4-1, dej. a la carte, D. 
 31/2-5 fr. — Less pretending : Hotel d'Aleion fPl. b ; C, 4), Quai de la 
 Bourse 16; de la Poste (PL f; C. 2), Rue Jeanne-d'Arc 72, R., L., & A. from 
 3, D. 31/2 fr., well spoken of; Hotel du Dauphin et d'Espagne (PL i; 
 D, 3), Place de la R^publique; de la C6te-de-Baleine (PL g; D, 3), Rue 
 du Bac 18-20; Lisieux (PL h; D, 3), Rue de la Savonnerie 4; Victokia 
 (PL j ; C, 1), near the station on the right bank, unpretending. 
 
 Restaurants. * Moulin^ Rue Jacques -le-Lieur 10, behind the Hotel 
 d'Angleterre, high charges ; Pomet, Quai de Paris 34 ; Mdiel du Dauphin^ see 
 above, d^j. 21/2, D. 8 fr.; Guilmet, Rue des Charrettes 46, also behind the 
 Hotel d'Angleterre (dej. 11/2, D. i^/^ or 2 fr.); de Paris, Rue de la Grosse- 
 Horloge 95 (same charges). 
 
 Cafes. Thillard, Cours Boieldieu 5; Boieldieu, Victor, in the theatre; 
 Houdard, Quai de Paris 58; de VUnivers, Place IS^otre-Dame, etc. — Bras- 
 serie-Restaurant de rEpoque. Eue Guillaume-le-Conque'rant 11 (PL C, 2, 3), 
 with a small garden. 
 
 Tramways traverse some of the principal streets and also extend to 
 the suburbs : fares 10-50 c. 
 
 Cabs. ''Coupes'' or '' Citadines'' . with 3 seats, IV2 fr. per drive, 2 fr. per 
 hour; at night (12-6 a.m.) 21/2 or 3 fr. ; Fiacres, with 4 seats, 2 or 2V2, at 
 night 31/2 or 4 fr. — Each trunk 20 c. 
 
 Post and Telegraph Offices, Rue Jeanne d'Arc 45 (PL C, 2). 
 
 British Consul, Lieut. H. E. O'Neill, R. iV., 49 Rue Be-iuvoisine. — 
 American Consul, Dr. Bigelow, 36 Rue Jeanne-d'Arc. — Lloyd's Agent, 
 John Davis Wake. 
 
 English Church Service in All Saints" Church, lie Lacroix, by the stone 
 bridge; services on Sun. at 11 and 3.30. Chaplain, Rev. T. Campbell, M.A. — 
 Wesleyan Church at the corner of the Rue Grand Pont and the Rue Madeleine. 
 French services on Sun. at 1030 and 8; English at 6.30 p.m.; minister, 
 Rev. M. Gallienne, B. A. 
 
 Rouen, the Roman Rotomagus, formerly the capital of Normandy, 
 now that of the Department of the Seine-Inferleure , with 112,350 
 inhab., exclusive of the suburbs, is a very important cotton manu- 
 facturing place, sometimes not very aptly called the Manchester of 
 France. It is the richest of French cities in mediaeval architecture, 
 though within the last thirty years the construction of handsome 
 streets like those of Paris has swept most of the quaint old houses 
 that abounded in the former crooked and picturesque but not very 
 healthy streets. The old walls of the town, which bade defiance to 
 Henry Y. of England in 1415 and to Henri IV of France in 1592, 
 have been converted into boulevards planted with trees. 
 
 Quitting the Gare de la Rive Droite (PI. C, 1) we turn to the 
 left by the Rue Verte, cross the boulevards, and enter the handsome 
 Rue Jeanne-d^ Arc, which runs in a straight line to the Seine. To 
 the left is the Tour de Jeanne d'Arc (PI. C, 1), the donjon of a castle 
 which was the scene of the trial of Joan of Arc ; the tower in which 
 she was imprisoned was pulled down in 1809. — On the W. side 
 of the Jardin Solfirino (PI. C, 2), farther on, is the Muse'e (p. 390). 
 
 The *Palais de Justice (PL C, D, 2, 3), in the late florid 
 Gothic style, resembles the handsome town-halls of Belgium, al- 
 though consisting of a single story only. The central part of the
 
 JL 
 
 ROUEN f 
 
 
 
 GT-"'"^^ 
 
 
 • FliMl^S 
 
 
 r
 
 to Paris. ROUEN. 25. Route. 389 
 
 edifice and the projecting wings form an entrance-court, enclosed 
 by a railing. The left wing , the Salle des Procureurs or des Pas- 
 Perdus, erected in 1493, is a spacious hall with an open roof, once 
 used as an exchange. The central part was erected six years later, 
 for the Cour de I'Echiquier, the supreme tribunal of Normandy, which 
 under Francis I. was styled 'parlement'. The assizes are now held 
 here. The concierge lives in the right wing, a modern addition. — 
 The Rue St. L6, or the Rue aux Juifs, leads hence to the E. to the 
 Rue des Carmes, through which we descend to the right to the — 
 
 * Cathedral, or Notre - Dame (Fl. D , 3), the principal parts 
 of which date from 1207-80, one of the grandest Gothic edifices 
 in Normandy, although remarkably unsymmetrical in plan. The 
 central portal of the W. facade , towards the Place , was erected by 
 Cardinal d'Amboise , the favourite minister of Louis XII. , at the 
 beginning of the 16th cent. , and profusely decorated in the florid 
 style. The two unfinished towers of the facade are of unequal height. 
 The *Tour de Beurre, the loftier and more beautiful, 252 ft. in 
 height, derives its name from having been erected with the money 
 paid for indulgences to eat butter during Lent. The other, the Tour 
 St. Romain., is 245 ft. high ; with the exception of the highest story, 
 it dates from the 12th cent., and is thus the oldest part of the 
 whole building. The Central Tower., over the crossing, is surmounted 
 by an incongruous iron spire (since a fire in 1822), which reaches 
 the height of 465 ft. A spiral staircase ascends to the summit [1-4 
 pers. 2 fr.). The two side-portals, dating from the 15th cent., are 
 of great interest, especially that on the N., called the *Portail des 
 Libraires from the book-stalls that once occupied the court. 
 
 The Intekioe of the church (447 ft. in length; transept 177 ft. in 
 length ; nave and aisles 105 ft. in width ; 92 ft. in height) is in the early 
 pointed style, and possesses three fine rose -windows in the nave and 
 transepts. Part of the stained glass dates from the 13th century. The first 
 chapel on the right, in the Tour de Beurre, contains a large altar-piece, 
 representing the Crucifixion and the Martyrdom of St. Stephen, and also 
 several monuments of the 13th and 14th centuries. The last chapel on the 
 S. side of the nave contains the tomb of Rollo (d. 927), first Duke of Xor- 
 mandy, and the corresponding chapel on the N. side that of his son William, 
 Longue-Epie (d. 943). The Chapelle du Christ, adjoining the high -altar, 
 contains an ancient mutilated figure in limestone, 7 ft. in height, of Richard 
 Coeur-de-Lion (d. 1199), discovered in 1838; his heart is interred below. 
 Its original resting-place in the choir is indicated by a small marble tablet. 
 
 To the right in the beautiful -Chapelle de la Vierge is the magnificent 
 "Monument of Cardinal George d'Amboise and his nephew, who was also 
 a cardinal, by Roland Leroux, erected in 1525. To the left is the handsome 
 '^Monument of the Due de Br&zi (d. 1530), grand-seneschal of Normandy, 
 erected by his widow, the celebrated Diana of Poitiers (d. 1566), mistress 
 of Henri II, and attributed to Jean Cousin and Jean Qoujon (p. 102). — 
 The altar-piece, an Adoration of the Shepherds, is by Ph. de Champaigne. 
 
 *St. Maclon (PL E, 3), to the W. of the cathedral, beyond the 
 Rue de la Rdpublique, 'un diminutif de St. Ouen', as it has been 
 called, is a very rich example of the florid Gothic style of the 15th 
 century. The modern spire was completed in 1869. The exquisitely 
 carved reliefs on the wooden doors are ascribed to Jean Goujon.
 
 390 Route 25. ROUEN. From London 
 
 The Rue de la Republique descends to the Seine, which is here 
 upwards of 300 yds. in breadth and separates Rouen from the sub- 
 urb of St. Sever (PI. C, D, E, 4, 5). The Quays extend along the 
 bank for IV2 M. The Pont Corneille ox Pont de Pierre (PI. D, 4), con- 
 structed in 1829, passes over the lower end of the lie Lacroix, where 
 there is a statue of Corneille (see below), by David d' Angers. Farther 
 down the river is the Pont Bo'ieldieu (PI. D, 4), a handsome iron 
 bridge, erected in 1885-88, nearly opposite which is a statue of the 
 composer Bo'ieldieu (d. 1834). Adjacent are the Thedtre des Arts 
 (PI. 12; D, 3, 4) and the Bourse, which comprizes also the Tribunal 
 de Commerce. 
 
 The Rue Jeanne-d'Arc (p. 388) leads from the quay into the 
 town, passing the church of St. Vincent (PI. C, 3), a pretty Gothic 
 building of the 16th cent., with a 17th cent, tower and fine stained- 
 glass windows (16th cent.). Farther on is the handsome Tour 
 St. Andre (PI. C, 3), a relic of an old church of the 15-16th centuries. 
 
 The Rue des Ours leads to the W. from this point to the Place 
 de la Pucelle (PI. C, 3), the traditional scene of the burning of 
 Joan of Arc in 1431. About 24 years later she was declared innocent 
 of the crime of witchcraft by a papal bull, and the French, who it is 
 well known had been her betrayers, being now masters of Rouen, 
 erected a cross to her memory on the spot where she had suffered. 
 The place is now occupied by a paltry figure over a fountain. It is 
 believed, however, that the exact spot of the execution was a little 
 higher up, in the Place du Vieux-Marche (PI. C, 3), where the The- 
 dtre FranQais now stands. The house in which Corneille (1606-1684) 
 was born is No. 4, Rue de Corneille, beyond the Place (PI. B, 3). 
 
 The *H6tel du Bourgtli6rouIde (PI. C, 3), on the W. side of the 
 Place de la Pucelle, erected at the close of the 15th cent. , in the 
 style of the Palais de Justice, is adorned with a number of reliefs, 
 some of which represent the interview on the 'Field of the Cloth of 
 Gold' (1520). The graceful hexagonal tower is decorated with sculp- 
 tures from Scriptural subjects. The building is now occupied by the 
 Comptoir d'Escompte, and is open to the public on week-days (on 
 Sun. apply to the concierge). 
 
 We quit the Vieux Marche (see above) by the Rue de la Grosse- 
 Horloge, which crosses the Rue Jeanne-d'Arc and brings us to the 
 *Tour dela Orosse Horloge ox Beffroi (belfry; PI. C, 3), erected in 
 1389 and restored in 1892. — Following the Rue Jeanne-d'Arc to 
 the N., we reach the Jardin Solf^rino, in which stands the — 
 
 Musee-Bibliotlieque (PI. C, 2), opened in 1888, containing a 
 collection of Italian, Dutch, and modern French pictures, besides 
 sculptures and a ceramic collection. The Mus^e is open daily from 
 10 (on Mon. from 12) to 4 or 5. — The Municipal Library (open 
 daily 12-4), in the building at the back of the Musee, contains 
 130,000 printed vols., 3500 MSS., 2700 coins and medals, and 
 about 2000 portraits of eminent natives of Normandy.
 
 to Paris. ROUEN. 25. Route. 391 
 
 Adjacent is tlie church of St. Laurent [PI. D, 2), dating fiom 
 the 15-16th cent., with a line tower. The church of St. Oodard(Vl. 
 D,2), a little lower down, partly of the 16th cent., contains admir- 
 able modern stained-glass windows and mural paintings. 
 
 From the Mus^e the Rue Thiers leads to the E. to the Place de 
 V Hotel -de-Ville. Here stands — 
 
 **St. Ouen (PL D, E, 2), one of the most beautiful Gothic churches 
 in existence, surpassing the cathedral both in extent and in ex, 
 cell ence of style. Most of it was built in 1318-39, but the W. Portal 
 flanked by two towers 282 ft. in height, was erected during the 
 present century. The *Tower over the transept, 268 ft. in height, 
 is surmounted by an octagonal open-work lantern, terminating in a 
 gallery (*View). The N. facade has no lateral portal, but the S. 
 *^Portail des Marmousets\ so called from the figures of the animals 
 with which it is adorned, deserves minute inspection. The reliefs 
 over the door represent the Death and Assumption of the Virgin. 
 Above this portal is a magnificent rose- window, still higher is an 
 arcade with eleven statues, and the whole is crowned with a pedi- 
 ment bearing a statue of St. Ouen fd. 678"), Archbishop of Rouen. 
 
 The proportions of the interior (453 ft. in length, 84 ft. in width ; 
 transept 138 ft. in length; 106 ft. in height) are remarkably pleasing. 
 The walls appear to be almost entirely displaced by the numerous 
 windows, 135 in number, all filled with stained glass. The unusually 
 lofty triforium is exceedingly beautiful. In the nave and transepts are 
 three fine rose-windows, also filled with stained glass. 
 
 The verger (Ifr.) shows the choir-chapels, and points out several 
 spots which command fine views of the interior. The whole of the 
 interior is reflected in the benitier near the W. door. 
 
 At the back of the church and the adjoining Hotel de Ville is a 
 pleasant garden to which the public are admitted. The Chambre aux 
 Clercs, a Norman tower of the 11th cent., adjoins the church on 
 this side, and probably formed part of an earlier church. 
 
 The Hotel de Ville (PI. D, E, 2), on the N. side of the church, 
 a building in the Italian style, was formerly part of the monastery 
 of St. Ouen. In front of the edifice rises an Equestrian Statue of 
 Napoleon I., by Vital-Dubray. 
 
 We now ascend the Rue de la Republique to the N., at the top 
 of which is the large *Fontaine Ste. Marie (PI. D, 1), by Falguiere 
 and Deperthes. To the left is an old convent, now containing the 
 *Mu8eum of Antiquities and the Museum of Natural History. 
 
 The antiquarian collections (open daily, except Mon., Sat., and fes- 
 tivals, 10 to 4 or 5) consist chiefly of sculptures and wood-carvings of the 
 middle ages; stained-glass windows and other articles from churches and 
 suppressed monasteries; Roman mosaics and other antiquities; weapons; 
 fine iron-work; coins, medals, etc. 
 
 The Mutium d'Eistoire Naturelle^ the entrance to which is a little lower 
 down, is open daily, 10 to 4 or 5 (on Mon. from 12). The collection of 
 birds on the second floor is particularly worthy of notice. 
 
 The church of St. Patricia (PI. C, 2), a little to the W. of the 
 Jardin Solf^rino, contains magnificent stained-glass windows, some 
 dating from the 16-17th centuries. The allegorical window at the
 
 392 Route 25. ROUEN. From London 
 
 end of tlie N. aisle, attributed to Jean Cousin, is considered the 
 best. — St. Gervais (PL A, 1), about 3/^ M. farther to the W., is a 
 Romanesque church rebuilt in 1872-74, with a curious old crypt of 
 the 4th century. William the Conqueror died here in 1087. 
 
 An interesting excursion may be made, either by steamer to Eauplet 
 and thence by cable-railway, or direct from Rouen by omnibus (50 c.), to the 
 pilgrimage-church of Notve-Dame-de-Bon-Secours, or simply *Bon-Secours 
 as it is usually called, situated on the lofty bank of the river. 2 M. above 
 Rouen. The interior is lavishly adorned with painting, gilding, marble, and 
 stained glass. Beside the church is the Moncment of Joan of Aec (adm. 25 c. ; 
 closed r2-1.30), which consists mainly of three elegant little Renaissance 
 buildings by Lisch, connected by a platform. The *View from the plat- 
 form embraces the city, the course of the river for many miles above 
 and below Rouen, and in the distance the rich and verdant pastures of 
 Normandy. 
 
 A pleasant steamboat-excursion may be taken to La Bouille , a small 
 but busy town, 12V2 M. below Rouen. The Chateau de Robert le Liable, the 
 scanty ruins of which occupy the top of a neighbouring height, affords 
 a charming view of the wooded hills , the valley of the Seine with its 
 white chalk-hills, and in the distance Rouen with the cathedral. 
 
 From Rouen to Paris. Passing by means of three tunnels 
 under the Boulevards St. Hilaire and Beauvoisine, and the Cote 
 Ste. Catherine , the train crosses the Seine, affording a beautiful 
 view of Rouen to the right. To the left, on the hills which rise 
 from the river, stands the church of Bon-Secours. 39^4 M. Sotte- 
 ville. From (44 M.) Oissel a branch-line runs to Elbeuf (Grand- 
 Hotel ; Univers), 6 M. distant, a cloth-manufacturing town , with 
 21,400 inhabitants. Beyond Oissel the train crosses the Seine. — 
 481/2 M. Pont de VArche (*H6t. de Normandie), where the Seine is 
 again crossed, above the influx oftheEure, is the junction of a line 
 to Oisora ; it possesses a fine church of the 15-16th centuries. — 
 56 m. St. Pierre-du-Vauvray , whence a branch-line diverges to 
 Louviers (Hotel du Mouton), a town of 9979 inhab. with large cloth- 
 factories. 
 
 Another branch -line runs hence to (10 M.) Les Andelys (H6t. de 
 Paris; Chaine d Or ; Grand Cerf)., near which, on the right bank of the 
 Seine, are the ruins of the castle of Oaillard, erected by Richard Coeur- 
 de-Lion to command the navigation of the Seine and protect Normandy 
 against the French monarchs. It afterwards became a state-prison, and in 
 1314 was the scene of the murder of Margaret of Burgundy, wife of Louis X. 
 (see p. 247). It was destroyed by Henri IV in 1663, along with the castles 
 of several dangerous Norman barons. 
 
 The train now penetrates the chalk -hills by means of two tunnels. 
 
 The station of (64 M.) Gaillon (Hot. d'Evreux) lies opposite the 
 village of Courcelles. The chateau of Gaillon, erected in 1500, and 
 now used as a prison, was one of the finest in Normandy, and a fa- 
 vourite residence of Francis I. The lofty facade has been removed 
 to the court of the Ecole des Beaux- Arts at Paris (p. 250). 
 
 751/2 M. Vernon (H6tel d'Evreux), with 8288 inhab., once a 
 strongly-fortified town, possesses a conspicuous tower, erected in 
 1123 by Henry I. of England. The Church of Notre-Dame is an inter- 
 esting building of the 12-15th centuries. The chateau of Bizy in
 
 to Paris. POISSY. 25. Route. 393 
 
 the vicinity was once the property of Lonis Philippe. Branch-lines 
 to Gisors and to Pacy-sur-l'Eure diverge here. To the left are the 
 ruins of the castle of Chateauneuf, constructed by Philip Augustus. 
 
 The long tunnel between (82 M.) Bonni^res and RoUeboise cuts 
 off the wide circuit which the river describes here. 
 
 At the chateau of (84 M.) Rosny, Sully, the celebrated minister 
 of Henri IV, was born in 1559. It was afterwards the property of 
 the Duchesse de Berri, who resided in it from 1818 to 1830. 
 
 921/2 M. Mantes (Hotel du Grand Cerf), a picturesque town with 
 7000 inhab., is surnamed ^La Jolie\ The lofty towers of the Gothic 
 churcli of *Notre-Dame, dating from the end of the 12th cent. , are 
 conspicuous objects in the town. The portal is richly sculptured. 
 The old tower of St. Maclou, 14th cent., is also interesting. It 
 was at Mantes that William the Conqueror received by a fall from 
 his horse the injury of which he afterwards died at Rouen (1087J. 
 — Line to Paris via Argenteuil, see p. 346. 
 
 The line continues to skirt the banks of the Seine, and fre- 
 quently commands fine views. Several unimportant stations. 
 
 108 M. Poissy (Buffet; Hotel de Rouen), a town with 6430 in- 
 hab., was the birthplace of St. Louis (b. 1226), who frequently styled 
 himself 'Louis de Poissy'. Here in 1561 a conference was assembled 
 by order of the States General, with a view to adjust the differences 
 between the Roman Catholic and Protestant parties. Their deliber- 
 ations, however, led to no result, owing to the strong condemnation 
 of the Calvinists by the Sorbonne. — The principal church is a fine 
 building of the transition-style of the 12th century. Poissy is also 
 a station on the Ligne de Grande Ceinture (p. 337). 
 
 Ill M. Achhres, in the forest of St. Germain (p. 337), the junc- 
 tion of the direct line to Dieppe (via Pontoise, p. 348). At (114M.) 
 Maisons-Laffitte (p. 348) the Seine is again crossed. Near (120 M.) 
 Colombes the line recrosses the Seine. St. Germain with its palace 
 is a conspicuous object on the hill to the right. 
 
 The Seine is crossed for the last time at Asnieres (p. 293), where 
 the lines to Argenteuil and Versailles diverge. The train passes Clichy, 
 intersects the fortifications of Paris, and beyond a short tunnel under 
 the Place de I'Europe reaches the Gare St. Lazare at — 
 
 125 M. Paris. Conveyances, see p. 1. 
 
 26. By Southampton, Havre, and Rouen. 
 
 342. M. By Railway from Waterloo Bridge Station to Southampton in 
 21/4 lirs. ('boat-train'' at 9.45 p.m.; see advertisements in 'Bradshaw'); by 
 Steamboat to Havre every night (except Sun.) in 7-8 hrs. ; by Expkess from 
 Havre to Paris in S'/jhrs. (quick trains, 4V2hrs. -, ordinary trains, 6-7 hrs.). 
 Omnibua from the quay to the station at Havre included in the fare. Single 
 tickets, available for seven days, 335. lOd.and 24s. iOd. ; return-tickets, avail- 
 able for one month, 56s. Sd. and 40s. 8d. Luggage may be registered direct 
 to Paris. — This route is pleasant in fine weather.
 
 394 Route 26. LE HAVRE. 
 
 Le Havre. — Hotels. Grand Hotel Feascati (PL B, 4), on the 
 beach, far from the centre of the town, E,., L., & A. 4-25, d^j. 31/2, D. 4, 
 omnibus 1 fr. ; de Bordeaux (PI. d; C,3), Place Gambetta: de Xoemandie 
 (PI. e. ; C, 3), Rue de Paris 106 •, d'Angleterre (PI. f; C, 2), Rue de Paris 
 124 and 126, R. 2-5, d^j. 3, D. 31/2 fr., incl. wine; Continental (PI. b; 
 C, 4), opposite the Jetee; Richelied (PI. h; C, 3j, Place Richelieu, near 
 the office of the railway-omnibus; Aigle d'Or (PI. j; 0,4), Rue de Paris 
 32, R. 2-5, d^j. 2V2, D. 3 fr.; de Dieppe, Rue de Paris 76; des Indes, 
 Grand Quai 65; Toetoni (PI. g; C, 3). Place Gambetta; des Abmes de la 
 ViLLE (PI. k; C, 4), Rue d'Estimauville 29. 
 
 Restaurants. At the Hdt. de Bordeaux, see above ; Tortoni, in the Ar- 
 cades of the Place Gambetta, d^j. 3, D. 4 fr. ; Grand Cafi-Restaurant^ 
 Place de rH6tel-de-Ville4, de'j. 3, D. 3V2 fr., wine included; Plat d^Ai'ge7it, 
 Place Richelieu, 6.6j. ly^, D. 2^/4 fr., beer or cider included; de VEpoque, 
 Quai d'Orle'ans 5, dej. IV2 fr. incl. cider, 13 '4 fr. incl. wine, D. 2-21/4 fr. 
 
 Cafes. Tortoni, see above; Caf6 de VHdtel Frascati, see above; Inter- 
 national., Ouillaume Tell, Place de rH6tel-de-Ville; de Paris, Place Richelieu. 
 
 — Good beer at the Tavevne Alsacienne, Place de la Bourse. 
 
 Gabs. In the town, per drive 1 fr. 25 c, per hr. 2 fr. (after midnight 2 
 and 2V2fr.); between the centre of the town and the station, docks, Ma- 
 gasins Generaux, or the Atlantic steamers, 1 fr. per drive; on the heights 
 as far as the octroi-limits, per drive I3/4, per hr. 2^/4 fr. (after midnight 
 21/2 and 3 fr.). Trunks, 20, 30, or 50 c. 
 
 Tramways in the principal streets. — Cable Railways from the lower 
 station, Rue Gustave-Flaubert (PI. D. 1), to the upper station. Rue de 
 la Cote 44 (fare 10 c), and from the Rue de Normandie to the Cimetiere 
 Ste. Marie. — Electric Tramways (10 c. ; 15 c. with 'correspondance') : 
 from the Jetee to the Grands Bassins and the Boul. de Graville; to La 
 Heve; to Graville; from the Rond Point to Ste. Adresse; from the Hotel 
 de Ville to La Heve. 
 
 Post and Telegraph Office (PI. C, D, 2), Boul, de Strasbourg 108 and 110. 
 
 Steamboats, starting from the Grand Quai (PI. C, D, 4), to Honfleur, 
 Trouville, Caen, Southampton, London, New York, etc. 
 
 British Consul-General, Fred. Bemal, Esq., Boulevard Francois Pre- 
 mier 55; Vice-Consul, W. S. Rowell, Esq. (also Lloyd's agent). — American 
 Consul, Charles W. Chancellor, Esq. 
 
 English Church (Holy Trinity), Rue de Mexico ; services at 10.30 and 
 6 (4.30 p.m. in winter). (Chaplain, Rev. F. Millard, B. A., 29 Rue Vacquerie. 
 
 — Wetleyan Methodist Chapel, Place Gambena; ministers. Rev. A. S. Hocking 
 and P. Ellenberger. — Mission to Seamen, 89 Quai d' Orleans. 
 
 Le Havre, formerly called Havre-de- Grace, from a chapel of 
 Notre-Dame-de-Grace founded by Louis XII. in 1509, was fortified 
 by Francis I. in 1516. It is now the seaport for Paris, and next to 
 Marseilles the most important in France (116,370 inhab.). The 
 buildings and the commercial prosperity of the town are of very 
 recent origin. Its situation at the mouth of the Seine is extremely 
 advantageous. The industrial importance of the town is mainly 
 derived from its ship-building yards and sugar-refineries. 
 
 The Rue de Paris, beginning at the W, end of the Grand Quai 
 [PI. C, 4), where passengers from England disembark, and inter- 
 secting the town from S. to N., is the centre of traffic. The quay 
 is continued to the W. by the Chauss^e des Etats-Unis, terminating 
 in the *Jetee du Nord (PI. B, 5), or N. pier, near the Hotel Fras- 
 cati, which commands a fine view, and is a favourite promenade. 
 Numerous boats here afford the visitor an opportunity of enjoying an 
 excursion by water.
 
 
 
 
 
 ■i^i 
 
 II HA.VRE 
 
 
 T^ — t: 
 
 ^ ' 

 
 LE HAVRE. 26. Route. 395 
 
 At the S. end of the Rue de Paris rises the Musee-Bibliothhque 
 (PI. C, 4), built in 1845 (open on Sun., Tues., and Thurs., 10 to 
 4 or 5), containing a collection of paintings, sculptures, animals, 
 casts, coins, etc., and a library of 50,000 volumes. 
 
 Farther up the Rue de Paris, on the right, is the church oi Notre- 
 Dame (PI. C, 4), built in the 16th cent, in a transition style. 
 Farther on is the Place Gambetta (PI. C, 3), bounded on the W. by 
 the Grand Thedtre, and embellished with statues by David d' Angers 
 of Bernardin de St. Pierre (1737-1814), author of 'Paul and Virginia', 
 to which the reliefs refer, and Casimir Delavigne (1794-1843), the 
 dramatist, both natives of Havre. — At the W. end of the Rue de 
 Paris is a Jardin Public, beyond which is the handsome modern 
 Hotel de Ville (PI. C, 2). 
 
 The former Palais de Justice, in the Vieux March^ (PI. C, 4), to the 
 left of the Rue de Paris, now contains an important Museum of Natural 
 History (open on Sun. and Thurs., 10 to 4 or 5). 
 
 The BouLBVAKD DB Strasbourg (PI. F-A, 2), which passes in 
 front of the Hotel de Ville, stretches from the Railway Station (PI. 
 F, 2), on theE., to the sea, on the W., passing the Pa ia is de 
 Justice, the Sous-Prefecture , and the Bourse, a fine Renaissance 
 edifice on the S. side of the Place Camot (PL D, 2). 
 
 The extensive Harboue and Docks (PI. C-G, 2-5) deserve a 
 visit. The chief dock is the Bassin de I'Eure (PI. E, F, 3, 4, 5), 
 50 acres in area, constructed in 1846-1856, where the huge Trans- 
 atlantic steamers lie. T'ke. Bassin Bellot, recently constructed to theE,, 
 is almost as large. The Bassin du Roi (PI. C, D, 3, 4), excavated in 
 1669, is connected with the Bassin du Commerce, adjoining which 
 are the Bassin de la Barre and the Bassin Vauban (PI. F, G, 2, 3) 
 to the N.E. There is also a well-protected ^Avant PorV , or outer 
 harbour. The Canal de Tancarville, opened in 1887, was constructed 
 to connect the Seine directly with the harbour, and to enable ships 
 to escape the 'barre' or tidal wave in the estuary. 
 
 In 1796 Admiral Sir Sidney Smith, in an unsuccessful attempt 
 to capture a French vessel, close to the guns of the citadel, was 
 stranded on the shallows of the estuary of the Seine, and taken 
 prisoner by the French. 
 
 As Havre itself contains little to interest travellers , those 
 who have a few hours at their disposal may ascend the Cote d'ln- 
 gouville (cable-railway, p. 394), on the N. The *View is specially 
 fine at sunset and at night when the town and harbour are lit up. 
 — An electric tramway (p. 394), starting from the Rond-Point, runs 
 to Ste. Adresse (Hotel Marie- Christine ; Hotel des Phares), a favourite 
 little bathing-place 21/2 M. to the N.W. Visitors should alight at the 
 'Quatre Chemins' or the Rue des Bains, and proceed to the light- 
 house, Phare de la Heve, which commands a fine view. 
 
 Steamers ply three or four times daily from Havre in 8/4-I hr. (fares 3 fr., 
 1 fr. 60, 85 c.) to Trouville-sur-Mer (Hotels des Roches- Noires, de Paris, Belle- 
 vue, de la Plage, on the beach ; Tivoli, Bras d"Or, in the town), pleasantly
 
 396 Route 26. YVETOT. 
 
 situated at the moutli of the Touques and now the most fashionable water- 
 ing place on the coast of Normandy. Pop. 6300. The season lasts from June 
 to Oct., and is at its height in Aug. , when living here is extremely ex- 
 pensive. The Casino or Salon is a large and handsome structure, with 
 concert-rooms, ball-rooms, and a fine terrace on the shore. The beach is 
 excellent. A number of handsome villas have sprung up in the environs, 
 — Deauville (Hotel du Casino) and a number of less pretending watering- 
 places sprinkled along the coast also aflord good summer-quarters (see 
 Baedeler^t Northern France). 
 
 From Havre to Paris. 
 
 142V2 M. Railway in 31/2 -7 hrs. (fares 25 fr. 55, 17 fr. 25, 11 fr. 
 25 c). — Steamboat up the Seine to Rouen daily in 7-8 hrs. (fares 5 
 and 4 fr.), tedious, but scenery very pleasing at places. 
 
 The railway- station at Havre is near the Cours de la R^pnb- 
 Uqne. On quitting the station we observe Oraville, with its cnrions 
 church of the 11th cent., on the high ground to the left. 
 
 372^* Sarfleur^the first station, once an important seaport, has 
 long since yielded up its traffic to Havre. Its harbour has been filled 
 up by the deposits of the Lezarde , which falls into the Seine here. 
 In 1415 the town was taken by Henry Y. of England, to whom 
 the foundation of the fine Gothic church is attributed. From Har- 
 fieur a branch-line runs to (21/4 M.) Montivilliers , an industrial 
 town with an old abbey-church. — Beyond (I51/2 ^1-) Beuzeville- 
 Breaute, from which a branch-line runs to (8V2 ^l-} Lillebonne (Ho- 
 tel de France), the train crosses a lofty viaduct. 
 
 19y2M. Bolbec-Nointot is the station for Bolbec, a thriving manu- 
 facturing town with 12,000 inhab., 2 M. to the S. 
 
 31 M. Yvetot (Hotel des Victoires) is another manufacturing 
 place, with 7620 inhab., the ancient counts or soi-disants kings 
 of which are thus playfully described by Beranger : — 
 
 'n etait un roi d'Yvetot, Dormant fort bien sans gloire, 
 
 Peu connu dans Thistoire, Et couronne par Jeanneton 
 
 Be levant tard, se couchant tot, D'un simple bonnet de coton\ 
 
 36 M. Motteville is connected with the Dieppe railway by a 
 branch-line to Cleres (16 M.). Another branch runs to (20 M.) St. 
 Valiry-en-Caux, frequented as a bathing-place. — The pleasant vil- 
 lage of (4272 J^') Pavilly is commanded by the restored chateau of 
 Esneval. The train quits the undulating and fertile table -land of 
 the Pays de Caux, and descends to the viaduct oiBarentin, 570yds. 
 in length, and 100 ft. above the level of the valley. From (44 M.) 
 Barentin a branch-line runs to (18 M.) Caudebec. The train soon 
 enters a tunnel, nearly IV2 M. in length, beyond which it reaches 
 (49 m.) Malaunay, where the Dieppe line diverges. From this point 
 to (55 M.) Rouen, and to Paris (142 M. from Havre), see pp. 387-393.
 
 LIST 
 
 of the most important Artists mentioned in the Handbook, with 
 note of the schools to which they belong. 
 
 Abbreviations: A = architect; P. = painter; S. = sculptor; c, ca. 
 = circa, about; Fr. = French; Bol. = Bolognese; Flor. = Florentine; 
 Ferr. = Ferrarese ; Lomb. = Lombardic; Neap. = Neapolitan; Rom. = 
 Roman; Ven. = Venetian, etc. 
 
 The Arabic numerals enclosed within brackets refer to the art notices 
 throughout the Handbook, the Roman figures to the Introduction. 
 
 £J)hate, Nic. dell\ Lomb. P.; 1512-71. 
 Adam, Jean-Vict., Fr. P., Paris, pupil 
 
 of Meynier & Regnault; 1801-66. 
 Adam, Lamb.-Sigisb., Fr. S., Nancy; 
 
 1700-59. 
 Aizelin, Eug.^ Fr. S., Paris, pupil of 
 
 Ramey & Dumont; b. 1821. 
 Alaux, Jean^ Fr. P., Bordeaux, pupil 
 
 of Vincent; 1786-1864. 
 Albano, Franc, Bol. P., pupil of Car- 
 
 racci; 1578-1660. 
 Albertinelli, Mariotto, Flor. P., pupil 
 
 of Rosselli and Fra Bartolommeo ; 
 
 1474-1515. 
 Allegri.) see Correggio. 
 Amaury-Duval ^ Eug.-Emm., Fr. P., 
 
 Paris, pupil of Ingres ; 1808-85. — 
 
 (p. xliv). 
 Amerighi, see Caravaggio. 
 Androuet^ see Ducerceau. 
 Angelica (Fra), da Fiesole, Flor. P. : 
 
 1387-1455. 
 Ango, Roger, Fr. A. ; 15-16th cent. 
 Anguier, Francois, Fr. S., Eu; 1604- 
 
 1669. 
 — , Michel, Fr. S., brother of the last: 
 
 1612-86. 
 Antonello, see Messina. 
 Audran, Oirard . Fr. engraver, 
 
 Lyons ; 1640-1703. 
 — , Claude, Fr. P., brotherof the last; 
 
 17th cent. 
 Bakhuisen^Ludolf, Dutch P., Emden, 
 
 pupil of A. van Everdingen; 1631- 
 
 1708. 
 Ballu. Theodore, Fr. A., Paris ; 1817-85. 
 Baltard^Victor, Fr.A., Paris; 1805-74. 
 Baize, Jean- Et.- Paul. Fr. P., pupil of 
 
 Ingres; 1S15-18S4. 
 — , Jean- Ant.-Raymond,Fr. P., trother 
 
 of the last; b. 1818. 
 Barbarelli, see Giorgione. 
 BarbieH, see Guercino. 
 5a»'occio,f«derjVo,Rom.P.;1528-1612. 
 Barrias, FHix-Jos., Fr.P., Paris, pupil 
 
 of L. Cogniet; b. 1822. 
 
 Barrias, Louis-Ernest, Fr. S., Paris, 
 
 pup. of Cavelier & Jouffroy; b. 
 
 1841. — (p. xlvi). 
 Bartholdi,Frid.-Aug., Fr.S., Colmar ; 
 
 b. 1834. 
 Bartolommeo (Fra), Baccio delta Por- 
 ta, Flor. P. ; 1475-1517. 
 Barye, Ant.-Louis, Fr. S., pupil of Bo- 
 
 sio and Gros; 1796-1875. — (p. xlvi). 
 Bassano. Jacopo (da Ponte), Ven. P. ; 
 
 1510-92. 
 Bastien-Lepage , J., Fr. P., Damvil- 
 
 lers (Meuse); 1848-85. 
 Baudry, Paul-Jacq.-Aimi, Fr. P., La 
 
 Roche-sur-Yon , pupil of Sartoris 
 
 & Drolling; 1828-86. — (pp. xliii, 
 
 xliv). 
 Beham, Hans Sebald, Ger. P., Nurem- 
 berg; 1500-50?. 
 Bellangi, Jos.-Louis-ffipp., Fr. P., 
 
 pupil of Gros; 1800-66. 
 Bellini, Gentile, Ven. P.; 1421?-1507. 
 — , Giovanni, Ven. P., brother of the 
 
 last; 1426-1516. 
 Beltraffio or Boltraffio, Oiov.-Ant.. 
 
 Milanese P., pupil of L. da Vinci ; 
 
 1467-1516. 
 Benouville, Fran^.-Lion, Fr. P., Paris, 
 
 pup. of Picot; 1821-59. — (p. xliii). 
 Berchem or Berghem,Nic., Dutch P., 
 
 Haarlem; 1620-83. 
 Berrettini, see Cortona. 
 Blondel, Merry-Jos., Fr. P., Paris, 
 
 pupil of Regnault ; 1781-1853. 
 Boilly, Louis L^op., Fr. P. ; 17Lil-lS45. 
 Bol, Ferd., Dutch P., Dordrecht, 
 
 pupil of Rembrandt; 1611-81. 
 Bologna, Giov. da, also called Jean 
 
 (Boullogne) de Douai , S., Douai, 
 
 pupil of Michael Angelo ; 152i-160S. 
 Bonheur, Eosa, Fr. P., Bordeaux; 
 
 b. 1822. — (p. xlv). 
 Bonifazio or Bonifacio, three Ven. 
 
 painters; ca. 1540-1:580. 
 Bonnassieux, Jean-Marie, Fr. S., pupil 
 
 of Dumont; 1810-1892.
 
 398 
 
 LIST OF ARTISTS. 
 
 Bonnat^ L4on-Joseph-Florentin,'FT . P., 
 Bayonne, pupil of Cogniet; b. 1833. 
 — (pp. xliii, xliv). 
 Bordone, Paris. Ven. P.; 1500-70. 
 Borgrognone, Amhrogio da Fossano, 
 
 Lomb. P. ; d. 1523. 
 Bosio, Fr. Jos., S., Monaco, pupil of 
 
 Pajou: 1769-1&45. 
 Botticelli, Aless. or Sandra (Filipepi), 
 
 Flor. P.; 1446-1510. 
 Bouchardon, Edme, Fr. S., Cbaumont ; 
 
 1698-1762. 
 Boucher, Frang. , Fr. P., pupil of 
 
 Lemoine ; 1704-70. — (p. xxxvii). 
 Bouguereau, Ad.- Will., Fr. P., La 
 
 Rochelle, pup. of Picot ; b. 1S25. 
 Boulogne, Bon. or de Boullongne, Fr. 
 
 P., Paris; 1649-1717. 
 — , Louis, Fr. P., brother of the last; 
 
 1654-1733. 
 Boullongne, see Valentin. 
 Pourguignon, Le, see Courtois. 
 Prascassat, Jacques-Raymond, Fr. P., 
 
 Bordeaux; 1804-67. 
 Breton, Jules-Adolphe, Fr. P., pup. of 
 
 Drolling ; b. 1827. — (p. xliv). 
 — , Em.-Adilard, Fr. P., brother and 
 
 pupil of the last; b. 1831. 
 Breughel, see Brueghel. 
 Brian, Oustave, Fr. P., Alsace; 1824- 
 
 1877. — (p. xliv). 
 Briosco, Andr., sum. Riccio, Ital. S., 
 
 Padua; 1470-1532. 
 Brongniart, Alex.-Thdod., Fr. A., 
 
 Paris; 1739-1813. 
 Bromino, Angela di Casima, Flor. P., 
 
 pupil of Pontormo ; c. 1502-72. 
 Brouwer, Adr., Flem. P., Oudenaerde, 
 
 piipil of Fr. Hals ; c. 1605-38. 
 Bruant, Liberal, Fr. A. ; d. 1697. 
 Brueghel, Peeter, or Brueghel the Elder 
 ^Peasant BruegheV) , Flem. P., 
 Breda; c. 1520-69. 
 — , Jan, surn. ' Velvet BruegheV, Flem. 
 P., Brussels, son of the last; 1568- 
 1625. 
 Bullant, Jean, Fr. A., S. ; d. 1578. 
 Buonarroti, see Michael Angelo. 
 Cabanel, Alex., Fr. P., Montpellier, 
 pupil of Picot; 1823-89. — (p. 
 xliv). 
 Cabaf, Louis, Fr. P., Paris, pupil of 
 
 Flers ; 1812-93. — (p. xlv). 
 Cain., Aug., Fr. S., pupil of Eude ; 
 
 1822-94. 
 Calcar, Johann von, P. of the Ven. 
 
 School, pupil of Titian; 1510-46. 
 Caliari, see Veronese. 
 Canaletto, Ant. Canale, Ven. P.; 1697- 
 
 1768. 
 Canova, Ant., Ital. S. ; 1757-1822. 
 Caravaggio, Michelangelo Amerighi 
 da, Lomb. & Rom. P.; 1569-1609. 
 
 Carolus-Duran, Fr. P., Lille, pupil of 
 
 Souchon; b. 1837. — (p. xlv). 
 Carpaccio, Vittare, Ven.P.; 1470?-1519. 
 Carpeaux, Jean-Bapt., Fr. S., Valen- 
 ciennes, pupil of Rude & Duret; 
 1827-75. — (p. xlvi). 
 Carracci, Lodovica, Bol. P., pupil of 
 
 Tintoret ; 1555-1619. 
 — , Agostino, Bol. P.; 1558-1601. 
 — , Annibale, Bol. P., brother of Agosti- 
 no, pup. of Lodovico ; 1560-1609. 
 — , Ant., Bol. P., son of Agostino, 
 
 pup. of Ann. C. ; 1583-1618. 
 Carrier-Belleuse, Alb.-Ern., Fr. S., 
 
 pupil of Dav. d'Angers ; 1824-87. 
 Carrucci, see Pontormo. 
 Cartellier, Pierre, Fr. S., Paris ; 1757- 
 
 1831. 
 Cavelier, Pierre-Jules, Fr. S., Paris, 
 pupil of David d'Angers; 1814-94. 
 — (p. xlvi). 
 Cellini, Benvenuto, Flor. S. and gold- 
 smith; 1500-72. 
 Cesari, Jos., Rom. P.; c. 1560-1640. 
 Chalgrin, J.-Fr.-Thir., Fr. A., Paris, 
 
 pup. of Servandoni; 1739-1811. 
 Champaigne,Phil. de,Fr. P., Brussels; 
 
 1602-74. — (p. xxxvi). 
 Chapu,Eenri-Mich.-Ant.,FT.S.,pu-p.oi 
 Pradier & Duret ; 1833-91.— (p. xlvi). 
 Chardin, J.-B. Simian, Fr. P., Paris; 
 
 1699-1779. — (p. xxxvii). 
 Charlet, Nicolas, Fr. P., Paris ; 1792- 
 
 1845. — (p. xlv). 
 Chassiriau, Thiod., Fr. P., pupil of 
 
 Ingres; 1819-56. 
 Chaudet, Ant.-Denis, Fr. S., Paris; 
 
 1763-1810. — (p. 105). 
 Chenavard.Paul, Fr.P., Lyons ; 1808-80. 
 Chintreuil, Ant., Fr. P. ; 1816-1873. 
 CigoU, Luigi Cardi da, Flor. P.; 1559- 
 
 1613. 
 Cima, see Conegliano. 
 Cimabue, Oiov., Flor.P.; 1240(?)-1302(?). 
 Clisinger, J.-B.-Aug., Fr. S., Besan- 
 
 con; 1814-83. 
 Clouet or Claet, Frang., surn. Jehannet, 
 Fr. P., Tours ; 1500?-72?. — (p.xxxv). 
 Cogniet, Lian,FT.P., pupil of Guerin; 
 
 1794-1881. 
 Coignet, Jules-Lauis-Philippe, Fr. P., 
 Paris, pupil of Bertin ; 1798-1860. — 
 (p. xlii). 
 Colombe, Michel, Fr. S. ; 1430?-1512?. — 
 
 (p. 101). 
 Comie, Ch., Fr. P., Lyons; b. 1815, 
 Conegliano , Cima or Giav. Batt. da, 
 
 Ven. P.; d. 1517? 
 Constable, B.A. J., Engl. P. ; 1776-1836. 
 Cornu, Sib.-Melch., Fr. P., Lyons, 
 
 pupil of Ingres ; 1804-71. 
 Carat, J.-B. Camille, Fr. P., Paris; 
 I 1796-1875. — (p. xlv).
 
 LIST OF ARTISTS. 
 
 399 
 
 Correggio. Ant. Allegri da, Lomb. F.; 
 
 1494V-1534. 
 Cortona, Pietro Berrettini da, Flor. A. 
 
 and P. ; 1596-1669. 
 Cortot, Jean-Pierre, Fr. S., Paris 5 
 
 1787-1843. 
 Costa, Lor., Ferr. P.; 1460-1535. 
 Couder, Louis- Ch.- Aug., Fr. P., Paris, 
 
 pupil of David&Regnault; 1789-1873. 
 Courbet, Gustave, Fr. P. ; 1819-77. — 
 
 (p. xliv). 
 Court, Jos.-Dis., Fr. P., Rouen, pupil 
 
 of Gros ; 1798-1865. 
 Courtois, Jacq., le Bourguignon, Fr. 
 
 P.; 1621-1676. 
 Cousin, Jean, Fr. P., S., A., & en- 
 graver; d, ca. 1589. 
 Cousiou. Nic, Fr. S., Lyons; pup. of 
 
 Coyzevox •, 1658-1733. — (p. 104). 
 — , Quill., Fr. S., Lyons, brother of 
 
 the last and pup. of Coyzevox ; 
 
 1678-1746. — (p. 104). 
 — , Gtiill., Fr. S,, Paris, son of the 
 
 last; 1716-77. 
 Couture, Thomas, Fr. P., Senlis, pupil 
 
 of Gros & P. Delaroche ; 1815-79. — 
 
 (p. xlii). 
 Coypel, Noil, Fr. P., Paris; 1628-1707. 
 — , Ant., Fr. P., son of the last ; 1661- 
 
 1722. 
 — , NoSl-Ant., Fr. P., son of Noel C; 
 
 1692-1734. 
 Coyzevox, Ant., Fr. S., Lyons ; 1640- 
 
 1720. - (p. 104). 
 Craesbeke, Joost van, or Craesbeeck, 
 
 Flem. P.; 1608-41. 
 Craeyer or Cvayer, Gasp.,de, P., Ant- 
 werp; 1582-1669. 
 Cranach, Lucas, the Elder, Ger. P.; 
 
 1472-1553. 
 Crauk, Gust.-Ad.-D4s., Fr. S., Valen- 
 ciennes, pup. of Pradier; b. 1827. 
 Credi, Lor. di, Flor. P.; 1459-1537. 
 Cuijp or Cuyp, Aalbert , Dutch P., 
 
 Dordrecht; 1605-91. 
 Citrzon, Paul-Alf.de, Fr.P., Poitiers, 
 
 pupil of Drolling &Cabat; b, 1820. 
 Haubigny, Ch.-Frang., Fr. P., Paris, 
 
 pupil of Delaroche; 1817-78. — 
 
 (p. xlv). 
 David,Jacques-Louis,FT.P., Paris, pup. 
 
 of Vien; 1748-1825. — (p. xxxviii). 
 David d^ Angers, Pierre- Jean David,¥r. 
 
 S., Angers; 1789-1856. — (p. xlv). 
 David de Bruges, ff6-ard,P.; 1450?-1523. 
 Delay, J.-B., Fr. S., pupil of Chaudey ; 
 
 1779-1863. 
 Debrosse, Jacques, Fr. A. ; d. 1621. 
 Decamps, Alex.-Gdbr., Fr.P., Paris; 
 
 1803-60. — (p. xlii). 
 Delacroix, Ferd.-Vict.-Evg., Fr. P., 
 
 Charenton, pupil of P. Guerin ; 
 
 1799-1863. — (p. xxxix). 
 
 Delaplanche, Bug., Fr. S., Paris, pupil 
 
 of Duret; 1836-91. 
 Delaroche, Paul, Fr. P., Paris, pupil 
 
 of Gros ; 1797-1856. — (p. xli). 
 Delaunay, Julet-Elie, Fr. P., Nantes, 
 
 pup. of Flandrin; 1828-91. 
 Delorme, Philibert, Fr. A., Lyons; 
 
 1518? -77?. 
 Denner, Balth., Ger. P., Hamburg; 
 
 1685-1747. 
 Deseine, Louis-Pierre, Fr. S., Paris; 
 
 1759-1822. 
 Desjardins, Martin (van den Bogaert), 
 
 S.; 1640-94. 
 Desportes, Francois, Fr. P.; 1661-1743. 
 — , Claude-Frang., Fr. P., son and 
 
 pupil of the last; 1695-1774. 
 Detaille, Edouard, Fr. P., Paris, pup. 
 
 of Meissonier; b. 1848. — (p. xlv). 
 Dev&ria, Eug., Fr. P., Paris, pup. of 
 
 Girodet; 1805-65. — (p. xlii). 
 Diaz de la Pena, Narcisse, Fr.P., Bor- 
 deaux; 1807-76. — (p. xlii). 
 Dieboldt, Georges, Fr. S., Dijon, pupil 
 
 of Ramey & Dumont; I8I6-6I. 
 Domenichino, Domenico Zampieri, Bol. 
 
 P., pup. of theCarracci; 1581-1641. 
 Donatello, Flor. S. ; 1383-1466. 
 Dor4, Gust.-Paul, Fr. P. & designer, 
 
 Strassburg; 1832-83. 
 Dosso, Giov. Lutero, also called Dosso 
 
 Dossi, Ferr. P.; c. 1479-1546. 
 Dou or Dow, Ger., Dutch P., Leyden; 
 
 1598-1675. 
 Douai, Jean de, see Bologna. 
 Drevet, Pierre, two engravers, father 
 
 and son, of Lyons; 1664-1739,1697- 
 
 1739. 
 Drolling, Martin, Fr. P., Alsace; 
 
 1752-1817. 
 — , Michel Martin, Fr. P., son of the 
 
 preceding and pupil of David : 1786- 
 
 1851. 
 Drouais, Fr.-Hub., Fr. P., Paris; 
 
 1727-75. 
 Duban, Fil.-Louis-Jacq., Fr. A., Paris; 
 
 1797-1870. 
 Dubois, Paul, Fr. S. , Nogent-sur- 
 
 Seine; 1829-1883. — (p. xlvi). 
 Dubu/e, Louis-Edouard, Fr. P., Paris, 
 
 pup. of Delaroche ; 1820-83. 
 Due, Jos.-Louis, Fr. A.; 1802-79. 
 Ducerceau or du Cerceau , Jacques 
 
 Androuet, Fr. A.; 1540-?. 
 Ducq or Due, Jean le, Dutch P., The 
 
 Hague; 1636-95. 
 Dujardin or du Jardin, Karel, Dutch 
 
 P., Amsterdam; 1622-78. 
 Dumont, Jacques-Edme, Fr. S., Paris, 
 
 pupil of Pajou; 1801-84. — (p. xlvi). 
 Dupri, Jules, Fr. P., Nantes ; 1812-89. 
 
 — (xlv). 
 Duran, see Carolus-Duran.
 
 400 
 
 LIST OF ARTISTS. 
 
 Diirer. Alb., Ger. P., Nuremberg : 1471- 
 
 1528. 
 Duret^ Fi'ancisque, Fr. S., Paris, pup. 
 
 of Bosio; 1804-65. — (p. xlv). 
 Duval-le- Camus, Jules-Alex.^ Fr. P., 
 
 Paris, pup. of Delaroche & Drol- 
 ling; 1817-77. 
 Dyck, Antonius van, P., Antwerp, 
 
 pupil of Rubens; 1599-1641. 
 "Etex, Ant., Fr. S., Paris, pupil of 
 
 Dupaty & Pradier; 1810-88. 
 Ei/ck, Jan van, early Flem. P. : 1390?- 
 
 1441. 
 Fabriano, Gentile, da, Umbr. P. : c. 
 
 1370-1450. 
 Falguitre, Jean- Alex. -Jos., Fr. S., P., 
 
 Toulouse, pup. of Jouflfroy ; b. 1831. 
 Fir on, Firmin-Eloi, Fr. P., Paris, 
 
 pupil of Gros; 1802-76. 
 Ferrari, Gaudenzio, Lomb. P. ; 1471- 
 
 1546. 
 Feti, Dom., Rom. P.; 1589-1624. 
 Feyen-Perrin, Aug., Fr. P., pupil of 
 
 L. Cogniet & Yvon; 1829-88. 
 Fictoor ovVictoor, Jan, DutcbP., pupil 
 
 of Rembrandt; ca. 1620-72. 
 Fiesole, Fra Angelica da, seeAngelico. 
 — , Mino da, Flor. S.; 1431-84. 
 Filipepi, see Botticelli. 
 Flameng, Franc, Fr. P., Paris, pupil of 
 
 Cabanel, J. P. Laurens, etc. ; b. 18'6. 
 Flandrin, Hippolyte. Fr. P., Lvons, 
 
 pup. of Ingres; 1809-64. — (p. xlii). 
 Flinch, Govaert, Dutch P., Cleve ; pu- 
 pil of Rembrandt; I6I0-6O. 
 Fontaine, Pierre-Frang.-L&on., Fr. A., 
 
 Pontoise; 1762-1853. 
 Fouquet or Foucquet. Jean, Fr. P., 
 
 Tours; c. 14 15-77? or 83. — (p. XXXV). 
 Foyatier, Denis, Fr. S. ; 1793-1863. 
 Fragonard, Jean- Hon., Fr, P., Grasse, 
 
 pupil of Boucher ; 1732-1806. — (p. 
 
 xxxvii). 
 — , Alex.-Evariste, Fr. P., son of the 
 
 last; 1783-1850. 
 Frangais,Frang. -Louis, Fr. P., Plom- 
 
 bieres , pupil of Corot & Gigoux ; 
 
 b. 1814. — (p. xlv). 
 Franceschi, J., Fr. S., Bar-sur-Aube, 
 
 pupil of Rude; 1825-93. 
 Francheville or Franqueville, Pierre, 
 
 Ft. S., Cambrai, pup. of Giov. da 
 
 Bologna; 1548-1618? 
 Francia, Franc. (Raibolini), Bol. P. ; 
 
 1450-1517. 
 Franciabigio, Fraiicesco Bigio, Flor. P.; 
 
 1482-1525. 
 Franck, Fr., the Elder, Flem. P.; 
 
 1544-1616. 
 — , Fr., the Younger, Flem. P., son 
 
 and pupU of the last; 1581-1642. 
 Frimiet, Emm., Fr. S., Paris, pupil of 
 
 Rude s h. 1824. 
 
 Friminet or Friminel, Martin, Fr. P.- 
 Paris; 1567-1619. 
 Fromentin, Eug., Fr. P., La Rochelle ; 
 
 1820-76. — (p. xliv). 
 Fyt, Jan, P., Antwerp; 1606-61. 
 Gabriel, Jacques- Ange , Fr. A.; 1710- 
 
 82. 
 Garofalo , Benv. Tisio , Ferr. P. ; 
 
 1481-1559. 
 Gamier, Jean-Louis-Charles, Fr. A., 
 
 Paris-, b. 1825. 
 Gellie (CI.), see Lorrain. 
 Gerard, Frang., Baron, Fr. P., pupil 
 
 of David; 1770-1837. — (p. xxxviii). 
 Giricault , Jean-Louis- Andrd-Thdod., 
 
 Fr. P., Rouen, pupil of Guerin ; 
 
 1791-1824. — (p. xxxix). 
 Girdme, Jean-Lion, Fr. P., Vesoul; 
 
 b. 1824, — (p. xliv). 
 Ghirlandajo or Grillandajo, Dom. del, 
 
 Flor. P.; 1449-94. 
 — , Ben., Flor. P., brother and pupil 
 
 of the last ; 1458-97. 
 — , Ridolfo, Flor. P., son of Dom. G. ; 
 
 1483-1561. 
 Gigoux, Jean-Frang., Fr. P., Besan- 
 
 con; 1809-94. 
 Giordano, Luca, sum. Fapresto, Nea- 
 
 pol. P., pup. of Ribera and Cor- 
 
 tona; c. 1632-1705. 
 Giorgione, Giorgio Barbarella, Ven. 
 
 P., pup. of Bellini; 1477?-1510. 
 Girardon, Frang., Fr. S., Troyes ; 
 
 1628-1715. 
 Giraud, Pierre-Frang.-Eug., Fr. P., 
 
 Paris.pupilof Hersent & Richomme ; 
 
 1806-81. 
 — , Sdb.-Ch., Fr. P.. Paris; 1819-92. 
 — , Victor, Fr. P., Paris, pup. of Pi- 
 cot & Pierre G. (his father) ; 1840-71. 
 Girodet-Trioson (Anne-Louis Gir. de 
 
 Roucy-Trioson), Fr. P., Montargis, 
 
 pup, of David; 1764-1824. — (p. 
 
 xxxviii). 
 Glaize, Aug.-Barth., Fr. P., Mont 
 
 pellier, pup. of Deveria; 1812-93. 
 — , P. P. Lion, Fr. P., son of the 
 
 preceding, pupil of his f;ither and 
 
 of Gerome; b. 18i2. 
 Gleyre, Charles- Gabriel, Fr. P., Che- 
 
 villy (Switzerland), pup. of Her- 
 sent; 1807-1874. — (p. xliii). 
 Gossaert, see Mabuse. 
 Goujon , Jean, Fr. S. <fe A. , Paris -. 
 
 15207-72? — (p. 102). 
 Goyen, Jan van, Dutch P., Ley den ; 
 
 1596-1656. 
 Gozzoli, Benazzo, Flor. P.; 1420-97. 
 Greuze, J.-B., Fr. P. ; Tournus ; 1725- 
 
 1805. — (p. xxxviii). 
 Gros, Ant.-Jean, Baron, Fr. P., Paris, 
 
 pupil of David; 1771-1835. — 
 
 (p. xxxviii).
 
 LIST OF ARTISTS. 
 
 401 
 
 Oudin. Thdod., Fr. P., Paris, pupil 
 
 of Girodet ; 1802-80. 
 Ouercino, II (Giov. Franc. Barbieri), 
 
 Bol. P. ; 1591-1666. 
 Guirin, Pien-e-Narc, Baron, Fr. P., 
 
 Paris, pupil of J.-B. Regnanlt; 
 
 1774-1833. — (p. xxxviii). 
 Ouido Reni, Ital. P.; 1574-164'2. 
 Gidllain, Simon, Fr. S. & engraver, 
 
 Paris-, 1581 or 92-1B79. 
 Guillaume, Claude-J.-B.-Eug., Fr. S., 
 
 Montbard , pupil of Pradier ; b. 
 
 1822. — (p. xlvi). 
 Guillaumet, Gust., Fr. P., Paris, pup. 
 
 of Picot and Barrias ; 1840-87. 
 Gumery, Ch.-Alph., Fr. S., Paris-, 
 
 1827-71. 
 B-als . Frans, Flem. P., Malines; 
 
 1584-1666. 
 Hainon, Jean-Louis, Fr. P., St. Loup 
 
 (Brittany), pup. of Delaroche & 
 
 Gleyre: 1821-74. — (p. xliv). 
 Harpignies, Henri, Fr. P., Valen- 
 ciennes pup. of Achard; 13. 1819. 
 Hibert. Em. -Ant. -Aug., Fr. P., Gre- 
 noble, pupil of Delaroche ; b. 1817. 
 
 — (p. xliii). 
 Ueem , Jan Davidz de, P., Utrecht ; 
 
 1606(V)-1683-84. 
 Heim, Frang.-Jos., Fr. P., Belfort, 
 
 pupil of Hersent; 1787-1865. 
 Heist , Buvth. van der, Dutch P., 
 
 Haarlem; 1611-70. 
 Henner, J.- J., Fr. P,, Alsace, pupil of 
 
 Drolling & Picot ; b. 1829. 
 Herrera. Franc, the Elder, Span. P.; 
 
 157(i-1656. 
 Hersent, Louis, Fr. P., Paris, pupil 
 
 of J.-B. Regnault; 1777-1800. 
 Hesse, Nic.-Aug.. Fr. P., Paris, pupil 
 
 of Gros ; 1795-1869. 
 — , Alex.-J.-B., Fr. P., Paris, pupil 
 
 of Gros ; 1806-79. 
 Heyden (Heijde). J. van der, Dutch 
 
 P., Gorkum; 1637-1712. 
 Hiolle, Ern.-Eug.. Fr. S., Valen- 
 ciennes, pup. of Jouffroy; 1834-80. 
 Hittorf. Jac.-Ign., A., Cologne, pupil of 
 
 Fr.-.Tos.BellangerinParis;1793-1867. 
 Hobbema, Meindert, Dutch P.: 1638- 
 
 1709. 
 Holbein, Hans, the Younger, Ger. P., 
 
 Augsburg; 1497-1543. 
 Hondecoeter, Melchior d\ Dutch P., 
 
 Utrecht; 1636-95. 
 Honthorst, Ger. van, Dutch P. ; 1590- 
 
 ia56. 
 Hooch or Hoogh, Pieter de, Dutch P.; 
 
 l(;30-77. 
 Houdon. Jean-Ant., Fr. S., Versailles; 
 
 1741-IS2S. — (p. 105). 
 Huet, Jean-Bapt., Fr. P., pupil of Le- 
 prince; 1745-1811. 
 Baedekeb. Paris. 12th Edit. 
 
 Huet, Paul, Fr. P., Paris, pupil of 
 
 Gudrin and Gros; 1804-69. 
 Ingres, J.-A.-Dom., Fr. P., Montau- 
 ban, pupil of David; 1780-1867. — 
 (p. xli). . 
 
 Isabey, Louis- Gab. -Eug., Fr. P., Pans, 
 pupil of his father, J.-B. Isabey, 
 the designer ; 1804-86. 
 lobbi - Duval , Arinand - Marie - Fdlix, 
 Fr. P., pup. of P. Delaroche; 1821 
 -1889. 
 Jordaens, /ac.,P., Antwerp ; 1593-1678. 
 Jouff'roy, Frang., Fr. S., Dijon, pupil 
 of Ramey the Younger ; 1806-82. — 
 (p. xlv). 
 Jouvenet. Jean, Fr. P., Rouen; 1644- 
 
 1717. — (p. xxxvi). 
 Juste de Tours, Jean,FT.S.;d.. ca. 1535. 
 Kaufmann, Angelica, Ger. P., Coire ; 
 
 1741-1807. 
 Keller, two brothers of Ziirich, sculp- 
 tors at the court of Louis XIV. 
 Labrouste, Pierre- FrariQ. -Henri, Fr. 
 
 A.; 1801-75. 
 Lafosse or La Fosse, Ch. de, Fr. P., 
 
 Paris; 1636-1716. 
 Largillih-e, Nic, Fr. P., Pans; 1656- 
 
 1746. — ip. xxxvii). 
 Lariviire, Phil.-Ch. de, Fr. P., Paris, 
 pupil of Guerin, Girodet, «fe Gros; 
 1798-1876. 
 Lassus, J.-B.-Ant., Fr. A., Paris; 
 
 1807-57. 
 Laurens, Jean-Paul, Fr. P.; b. 1838. 
 Le Brun or Lebrun, Ch., Fr. P., Pa- 
 ris, pupil of S. Vouet; 1619-90. — 
 (p. xxxvi). 
 — , Elise-Louise Vigie, Fr. P., Paris; 
 
 1755-1842. 
 Lefebvre, Jules-Jos., Fr. P.; b. 1836. 
 Le/uel, Hector Martin, Fr. A., Ver- 
 sailles; 1810-81. 
 Lehmann, Ch.-Ern.-Rod.-Henri , P., 
 
 Kiel, pupil of Ingres; 1814-82. 
 Lemaire, Phil.-Henri, Fr. S., Valen- 
 ciennes, pupil of Cartellier; 1798- 
 1880. 
 Lemercier, Jacques, Fr. A., Pontoise; 
 
 1590-1600. 
 Lenepveu. Jules-Eug., Fr. P., Angers, 
 
 pupil of Picot ; b. 1819. 
 LeNdtre OTLendtre,Andri, A. and land- 
 scape-gardener, Paris; 1013-1700. 
 Lepkre,J.-B.,¥r. A., Paris; 1762-Ifc44. 
 Leprince, A.-Xavier, Fr. P., Pans; 
 1799-1826. ,^,^^j 
 
 Lescot, Pierre, Fr. A., Pans; 1510-71. 
 Le Sueur, or Lesueur.Eustache, Fr. P., 
 pup. of Vouet; 1617-55. — (p. xxxvi). 
 L^vy, Em., Fr. P., Paris, pupil of A. 
 
 de Pujol and Picot; b. 1820. 
 Lethih'e, Guill.-Guillon, Fr. P., pupil 
 of Doyen ; 1760-1832. 
 OR
 
 402 
 
 LIST OF ARTISTS. 
 
 Levau, Louis, Fr. A.; 1612-70. 
 Libri. Oirolamo dai, Ven. P.: 1474- 
 
 1556. 
 Lieveng or Livens, Jan, Dutch P., 
 
 Leyden; 1607-72 (?). 
 Lippi, Fra Filippo, Flor. P. ; 1412-69. 
 Loison, Pierre, Fr. S., pupil of David 
 
 d'Angers; b. 1821. 
 Loo^ van, see Vanloo. 
 Loft'ain, Claude GelUe, sum. CI. le 
 
 L., Fr. P., studied in Italy 5 1600- 
 
 82. — (p. xxxvi). 
 Lotto, Lor., Ven. P.; 1480-1554 (?). 
 Luini,Bern., Mil. P.; 1470(?)-1530(?). 
 VLahuse, Jan van or Gossaeri, Flem. 
 
 P., Maubeuge; 1470-1541. 
 Maes, or Maas, Aert or Arnold van, 
 
 Flem. P., Gouda; 1620-64. 
 Maillet, Jacques-Lion., Fr. S., Paris, 
 
 pupil of Pradier ; 1823-94. 
 Mainardi, Bastiano, Flor. P. ; d. 1515? 
 Maindron, Et.-Hipp.. Fr. S., pup. of 
 
 David d'Angers ; 1801-84. — (p.xlvi). 
 Majano. Ben. da, Flor. A. & S. ; 
 
 1442-97. 
 Mansard or Mansart, Fran^., Fr. A., 
 
 Paris-, 1593-1666. 
 — , Jules-Hardouin , Fr. A., Paris, 
 
 nephew of the last ; 1645-1708. 
 Mantegna, Andrea, Ital. P., Padua: 
 
 1431-1506. 
 Marcellin, Jean-Esprit , Fr. S., Gap, 
 
 pup. of Rude ; 1821-1884. 
 Marchal, Ch.-Frang.. Fr. P., Paris, 
 
 pupil of Drolling; 1825-77. 
 Marilhat, Prosper, Fr. P., Auvergne, 
 
 pupil of Eoqueplan; 1811-1847. 
 Marochetti , Ch., S., Turin, pupil of 
 
 Bosio; 1805-67. 
 Marsy , Balth. Si Gasp., two Fr. 
 
 sculptors of Cambrai: 1624-74 & 
 
 1628-81. 
 Matout, Louis, Fr. P., CharleviUe; 
 
 1813-88. 
 Matsys or Massy s, Quinten or Quen- 
 
 tin, Antwerp P.; 1466-1531. 
 Mauzaisse, J. B., Fr. P., pupil of 
 
 Vincent: 1784-1844. 
 Meer.Jan van der, of Haarlem, Dutch 
 
 P. ; 1628-91. 
 — , J. van der, of Delft, Dutch P.; 
 
 1632-75. 
 Meissonier, Jean-Louis-Ern., Fr. P., 
 
 Lyons; 1815-91. — (p. xliii). 
 Memling, Hans, early Flem. P. ; ca. 
 
 1430-95. 
 Mercii, Antonin, Fr. S., Toulouse, 
 
 pupil of Jouflfroy & Falguiere; b. 
 
 1845. — (p. xlvi). 
 Messina, Antonello da, Neapol. P.; 
 
 d. 1493 (?). 
 Metsu, Gabriel, Dutch P., Leyden; 
 
 1630-67. 
 
 Meulen, Ant.-Fr. van der, Brussels, 
 
 P. of battle-scenes to Louis XIV. : 
 
 1634-90. 
 Meynier, Ch., Fr, P., Paris, pupil of 
 
 Vincent; 1768-1832. 
 Michael Angelo Buonarroti, A., S., <fe 
 
 P., Florence; 1475-1564. 
 Mieris, Frans van, the Elder, Dutch 
 
 P., Leyden; 1635-81. 
 — , Willem van, Dutch P., Leyden, 
 
 pupil of the last ; 1662-1747. 
 Mignard, Pierre, Fr. P., Troyes; 
 
 1610-95. — (p. xxxvii). 
 Millet, Jean-Frang., Fr. P., pup. of P. 
 
 Delaroche; 1815-75. — (p. xliv). 
 — , Aimi, Fr. S., Paris, pupil of Da- 
 vid d' Angers; 1816-1891. 
 Mino da Fiesole, see Fiesole. 
 Montagna, Bartolommeo, Ven. P. : d. 
 
 1523. 
 Montereau, Pierre de, Fr. A. ; d. 1266. 
 Mor, Moor, or Moro, Antonis de (Sir 
 
 A. More), Dutch P., Utrecht; 1512- 
 
 1576,8. 
 Moreau, Gustave, Fr. P., Paris; pup. 
 
 of Picot; b. 1826. — (p. xliv). 
 — , Louis- Gabriel, Fr. P., Paris ; 1740- 
 
 1806. 
 — , Mathurin, Fr.S., Dijon, pupil of Ra- 
 
 mey & Dumont ; b. 1822. — (p. xlvi), 
 Moreau-Vauthier, Aug., Fr. S., Paris; 
 
 1831-93. 
 Moretto da Brescia (Aless. Bonvicino), 
 
 P., Brescia; 1498-1555. 
 Mottez , Victor- Louis , Fr. P., Lille, 
 
 pupil of Picot; 1809-92. 
 Muller, Ch. Louis, Fr. P., Paris, pupil 
 
 of Coguiet and Gros ; 1815-1892, 
 Murillo, Bartolomi-Esteban, Span, P.; 
 
 1616-82. 
 "Santeuil ( Ch. - Frang. - Leboeuf), Fr. 
 
 S., Paris ; 1792-1865. 
 — , Robert , engraver , Reims ; 1630- 
 
 1698. 
 Natoire, Ch.-Jos., Fr.P., Nimes, pupil 
 
 of Lemoine ; 1700-77. 
 JVeer, Aart van der, Dutch P., Am- 
 sterdam (?); 1603-77, 
 Neuville, Alphonse de, Fr. P., St. 
 
 Omer, pup. of Picot; 1835-85. — 
 
 (p. xlv). 
 Oggiono, Marco da, Lomb. P., pup. 
 
 of Leon, da Vinci; 1470C?)-1530(?). 
 Ostade, Adr. van, Dutch P. ; 1610-85. 
 — , Izack van, Dutch P., brother and 
 
 pupil of the last; 1621-49. 
 Ottin, Aug.-Louis-Marie, Fr. S., Paris, 
 
 pup. of David d'Angers ; 1811-90. 
 Oudry, J. B., Fr, P., Paris ; 1686-1755. 
 'Bagnest. A.-L.-Claude, Fr. P.; 1790- 
 
 1819. ' 
 Pajou, Augustin, Fr. S., Paris, pupil 
 Lemoin 1730-1809.
 
 LIST OF ARTISTS. 
 
 403 
 
 Palitsp, Bern., potter; 1510?-89. — 
 
 - (p. 139). 
 Palma Vecchio , Jacopo . Ven. P.; 
 
 1480-1528. 
 Panini, Giov.-Paolo, Lomb. P. ; 1695- 
 
 1768. 
 Papety, Dom.-Louis-F6r6ol , Fr. P., 
 
 Marseilles; 1815-49. 
 Percier, Gh., Fr. A., Paris; 1764-1838. 
 Perraud, Jean-Jos., Fr. S., pupil of 
 
 Ramey & Dumont; 1821-76. 
 Perrault, Claude, Fr. A., Paris; 
 
 1613-88. 
 Perugino (Pietro Vannucci), Umbrian 
 
 P.; 1446-1524. 
 Philippoteaux, Henri-Emm.-Fdlix, Fr. 
 
 P., Paris; 1815-1884. 
 Picot, Frang.-Ed., Fr. P., Paris, pupil 
 
 of Vincent; 1786-1868. 
 Pigalle, J.-B., Fr. S., Paris ; 1714-85. 
 Pilon, Germain, Fr. S. ; 1515 ?-90? — 
 
 (p. 102). 
 Pils, Isid.-Adr.-Aug.. Fr. P., Paris, 
 
 pupU of Picot ; 1813-75. 
 Pinturicchio (Bernardino Betti), Um- 
 brian P.; 1454-1513. 
 Pionibo, Sebatt. del, Ven. P.; 1485- 
 
 1547. 
 Pippi, see Romano. 
 Pisano or Pisanello, Vittore, Veronese 
 
 P. ; ca. 1380-1451. 
 Ponce or Ponzio, Paolo, Flor. S. of 
 
 the 16th century. 
 Ponioi-mo, Jacopo Carrucci da, Flor. 
 
 P., pup. of A. del Sarto; 1494- 
 
 1557. 
 Potter, Paul, Dutch P. ; 1625-54. 
 Pourbus or Porbus, Frans, the Younger. 
 
 Antwerp P.; 1569-1622. 
 Poussin, Gaspard, properly G. Dughet, 
 
 Fr. P., Rome, nephew and pup. oi 
 
 the following ; 1613-75. — (p. xxxvi). 
 — , Nicolas. Fr. P., Les Andelys, Nor- 
 mandy ; 1594-1665. — (p. xxxvi). 
 Pradier, J.-J.. Fr. S., Geneva, pup. 
 
 of Lemot; 1786-1852. — (p. xlv). 
 Priault, Ant.-Augustin, Fr. S., Paris ; 
 
 1809-79. 
 Prieur, Barth., Fr. S. ; d. 1611. 
 Primaticdo, Franc, Bol. P. ; 1504-70. 
 Protais, Paul-Alex., Fr, P., Paris; 
 
 1826-90. 
 Prudhon, Pierre-Paul, Fr. P., Cluny; 
 
 1758-1823. - (p. xxxviii). 
 Puget, Pierre, Fr. S., Marseilles; 
 
 1622-94. — (p. 104). 
 Pujol, Alex.-Denis-Abel, Fr. P., Va- 
 lenciennes, pupil of David; 1785- 
 
 1861. 
 Puvis de Chavannet, Pierre, Fr. P., 
 
 Lyons, pupil of H. Scheflfer Si Cou- 
 ture; b. 1824. 
 "Raibolini^ see Francia. 
 
 Ramey, Claude, Fr. S., Dijon; 1754. 
 
 1838. 
 Raphael (Raffaello Santi da Urbino), 
 
 Ital. P. ; 1483-1520. 
 i?e<7naM«,/.-5.,Fr.P.,Pari3; 1754-1829. 
 — , Henri, Fr. P., Paris, pupil of Ca- 
 
 banel; 1843-71. — (p. xlv). 
 Rembrandt Harmemz van Ryn, Dutch 
 
 P., Leyden; 1606-69. 
 Reni, see Guido. 
 Ribera, Josi de, sarn. Spagnoletto, 
 
 Span. -Neap. P.; 1588-1656. 
 Ribot, Augustin-TModule, Fr. P., Bre- 
 
 teuil, pupil of Glaize ; 1823-1891. 
 Ricard, Louis- Gust., Fr. P. Marseil- 
 les ; 1824-73. — (p. xliii). 
 Riccio, see Brioscc. 
 Richier, Ligier, Fr. S., St. Mihiel, 
 
 pup. of Michael Angelo ; 16th cent. 
 Rigaud, Hyacinthe, Fr. P., Perpignan ; 
 
 1659-1743. — (p. xxxvii). 
 Robbia, Luca, Andr., & Giov. delta, 
 
 three Flor. sculptors of the 15-16th 
 
 centuries. 
 Robert, Hubert, Fr. P.; 1733-1808. 
 — , Louis -Liop., P., La Chaux-de- 
 
 Fonds, pupil of Gerard & David ; 
 
 1794-1835. 
 Robert- Fleury, Jos.-Nic, Fr. P., Pa- 
 ris , pup. of Girodet, Gros, & H. 
 
 Vernet ; 1797-1890. — (p. xlii). 
 — , Tony., Fr. P. , Paris , son of the last 
 
 & pupil of Delaroche; b. 1837. 
 Robusti, see Tintoretto. 
 Romano, Giulio (Pippi), Eom. P.; 
 
 1492-1546. 
 Rosa, Salvator, Neap. P.; 1615-73. 
 Rosso, Giovanbattista, Flor. P. ; 1496- 
 
 1541. 
 Rottenhammer, J., Ger. P., Munich; 
 
 1564-1623. 
 Rousseau, Thiodore . Fr. P., Paris; 
 
 1812-67. — (p. xlv). 
 Ruhens, Peter Paul, Antwerp P.; 
 
 1577-1640. 
 Rude, Franc, Fr. S., Dijon; 1784- 
 
 1855. — (pp. xlv, 105). 
 Ruysdael or Ruisdael , Jacob van, 
 
 Dutch P., Haarlem; c. 1628-82. 
 — , Izack van, Dutch P. ; d. 1677. 
 — , Salomon van , Dutch P., Haar- 
 lem; d. 1670. 
 Zaint-Jean , Simon, Fr. P., Lyons; 
 
 1808-60. 
 Sanierre, J. B., Fr. P., pupil of Bon 
 
 Boulogne; 1650-1717. 
 Santi, see Raphael. 
 Sarto, Andrea del (Andrea Vannucchi), 
 
 Flor. P. ; 1487-1531. 
 Sassoferrato . Giov.-Batt. Salvi da, 
 
 Rom. P.; 1605-85. 
 Scheffer, Ary, P., Dordrecht, pupil of 
 
 Gndrin ; 1795-1858. — (p. xl). 
 
 20*
 
 404 
 
 LIST OF ARTISTS. 
 
 Scheffer, Henri, P., brother of the 
 
 last and pupil of Guerin; 1798-1862. 
 Schnetz , Jean -Victor, Ft. P., Ver- 
 sailles, pupil of David, Regnault, 
 
 Gdrard, & Gros ; 1787-1870. 
 Setio, Get. da, P., Milan, pupil of 
 
 Leon, da Vinci; d. after 1524. 
 Seurre, Ch.-Marie-Em., Ft. S., Paris, 
 
 pupil of CartelUer; 1798-1858. 
 Sigalon, Xavier, Ft. P., Uzes, pupil 
 
 of P. Guerin ; 1790-1837. 
 Signol, Em., Ft. P., pupil of Gros: 
 
 1804-92. 
 SignorelU, Luca, Tuscan P, ; 1441-1523. 
 Simart, Pierre-Ch., Ft. S., Troyes, 
 
 pupil of Dupaty & Pradier; 1807- 
 
 1857. 
 Slingelandt, P. van, Dutch P., Ley- 
 den, pnpH of Dou; 1640-91. 
 Snyders,Frang, Antwerp P.; 1579-1657. 
 Solario, Andrea, Lomb. P.. pupil of 
 
 Leon, da Vinci; c. 1460-i515(v). 
 Soufflot, Jacques- Germain , Ft. A.: 
 
 1714-81. 
 Spada, Lionello, Bol. P.; 1656-1622. 
 Spagna, Giov. di Pietro , sum. lo 
 
 Spagna, Span.-TJmbr. P.; d. 1529? 
 Spagnoletto, see Eibera. 
 Steen,Jan, Dutch P.,Leyden ; 1626?-79. 
 Steuben, Ch., P., Mannheim; 1791- 
 
 1856. — (p. xlii). 
 Suhleyras, Pierre, Ft. P., Uzes ; 1699- 
 
 1749. 
 Sueur, Le, see Le Sueur. 
 Tenter i, David, the Elder, Antwerp 
 
 P., pupU of Rubens ; 1582-1649. 
 — , David, the Younger, Antwerp P., 
 
 son & pupil of the last; 1610-90. 
 Ter Borch or Terburg, Ger., Dutch 
 
 P., Zwolle; 1617-81. 
 Thulden, Th. van, Flem. P., pupil of 
 
 Rubens; 1607-1676. 
 Timbal, Louis- Ch., Ft. P., Paris, pupil 
 
 of Drolling & Signol ; 1822-80. 
 Tintoretto, Jacopo Robusti, Ven. P., 
 
 pupil of Titian; 1519-94. 
 Titian (liziano Vecellio da Cadore), 
 
 Ven. P. ; 1477-1576. 
 Tocqui, Louis, Ft. P., 1696-1772. 
 Triqueti, Henri, Baron de , Ft. S.; 
 
 1802-74. 
 Trot/, J. F. de. Ft. P., Paris ; 1679-1752. 
 Troy on. Constant, Ft. P., Sevres; 
 
 1810-65. — (p. xlv). 
 TubyoT Tubi,J.-B., S.; 1630-1700. 
 TJecello, Paolo, Flor. P.; 1397-1475. 
 "Valentin, sum. Jean de BouUongne, 
 
 Ft. p., Coulomniiers ; 1591-1634. 
 Vanloo or van Loo, Jacob, Dutch P. ; 
 
 1614-70. 
 
 Vanloo, Jean-Bapiiste, Fr. P., Aix 
 
 1684-1745. 
 — , Gh.-Andri, Fr. P., Nice, brother 
 
 and pupil of the last ; 1705-1765. 
 — , Louis- MicTiel, Fr. P., Toulon, son 
 
 of Jean-Baptiste; 1707-71. 
 Vannucchi, see Sarto. 
 Vannucci, see Perugino. 
 Vasari, Giorgio, Flor. P. <fe art-histo- 
 rian; 1512-74. 
 Vecelli, see Titian. 
 Vela, Vine, Ital. S. ; 1822-91. 
 Velazquez, Don Diego Rodriguez de 
 
 Sylva y V., Span. P.; 1599-1660. 
 Velde, Adr. van de, Dutch P., Am- 
 sterdam; 1635-72. 
 — , Willem van de, the Younger, P., 
 
 Amsterdam; 1633-1707. 
 Ver Meer, see Meer. 
 Vernet, Claude-Jos., Fr. P., Avignon; 
 
 1714-89. 
 — , Ant.-Ch.-Hor., sum. Carle, Fr. 
 
 P., son of the last ; 1758-1835. 
 — , Em.- Jean-Horace, Fr. P., son of 
 
 Carle; 1789-1863. — (p. xl). 
 Veronese, Paolo (P. Caliari) , Ven. 
 
 P.; 1528-1588. 
 Victoor, see Fictoor. 
 Vien, Jos.-Marie, Fr. P., Montpellier; 
 
 1716-1809. 
 Vinchon, Aug.-J.-B., Fr. P., Paris; 
 
 1789-1855. 
 Vinci,Leonardo da, Flor. P.; 1462-1519. 
 Viollet-le- Due, Eug.-Emm., Fr. A., 
 
 Paris; 1814-79. 
 Visconti, Louis, A., pupil of Percier; 
 
 1791-1854. 
 Vollon, Ant., Fr. P., Lyons; b. 1833. 
 Volterra, Daniele Ricciarelli da, Flor. 
 
 P.; 1509-66. 
 Vouet, Sim., Fr. P., Paris; 1590-1649. 
 
 — (p. xxxvi). 
 Tfatteau, Ant., Fr. P., Valenciennes ; 
 
 1684-1721. — (p. xxxvii). 
 Weejiix, J.-B., Dutch P. ; 1621-60. 
 Weyden, Rog. van der, Flem. P., 
 
 Tournai; c. 1399-1464, 
 Wouverman, Phil., Dutch P., Haar- 
 lem; 1619-68. 
 — , Pieter, Dutch P., brother and 
 
 pupil of the last; 1623-82. 
 Wynants, Jan, Dutch P.; 1641-79. 
 Yvon, Ad., Fr. P., Eschweiler, pupil 
 
 of P. Delaroche; 1817-93. 
 Zampieri, see Domenichino. 
 Ziegler, Claude- Louis, Ft. P., Langres, 
 
 pupil of Ingres ; 1804-1856. 
 Ziem, Filix, Fr. P., Beaune; b. 1821. 
 Zurbaran, Francisco, Span. P., 1589- 
 
 1662.
 
 INDEX. 
 
 Abbaye aux Bnis 356. 
 
 — du Val 352. 
 Abbeville 381. 
 Ablon 861. 
 
 Acheres 348. 333. 393. 
 Adamville 304. 
 
 Ste. Adresse 395. 
 Ailly-sur-Noye 384. 
 
 — sar-Somme 382. 
 Alfort 304. 
 Alfortville 304. 362. 
 Amiens 382. 
 Andelys, Les 392. 
 Andilly 345. 
 Andr^sy 348. 
 Antonv 356. 
 
 — (Pont d) 359. 
 Apremont 370. 
 Arcueil 354. 359. 
 Argenteuil 346. 
 Arpajon 360. 
 Arques 387. 
 
 — , the 386. 
 
 Arras 381. 
 
 Arve. the 382. 
 
 Asnieres 293. 346. 347. 393, 
 
 Athis-3Ions 362. 
 
 xiUbervilliers-la-Cour- 
 
 neuve 377. 
 Auger-St. Vincent 376. 
 Aulnay 355. 
 Aulnay-le.s-Bondy 377. 
 Auteu'il 169. Appx. ,p. 24. 
 An vers 349. 
 Avon 370. 
 
 Bagatelle 158. 
 Bagneux 353. 359. 
 Bailly 329. 
 Ballainvilliers 360. 
 Barbery 376. 
 Barbison 370. 
 Barentin 396. 
 Barre-Ormesson, La 344. 
 Bas-Breau 370. 
 Bas-Mendon 294. 296. 300. 
 Beauchamps 347. 
 Beaumont 350. 
 Beauregard (chat.) 331. 
 B^con-les-Bruyferes 293. 
 
 Bel-Air303-, Appx.,p. 24. 
 Belles-Fontaines (Pont 
 
 des) 362. 
 Bellevue 298. 
 — Funiculaire 294. 295. 
 Belloy 351. 
 Berck 381. 
 Bercy-Ceinture 362. 
 Bergerie, La 297. 
 Berny 356. 
 — , La Croix de 359. 
 Bessancourt 352. 
 Bdthnne 381. 
 Beuzeville 396. 
 Bevillera (Chat.) 358. 
 Bezons 380. 348. 
 Bicetre 292. 35i. 361. 
 — , Fort 292. 354. 361. 
 Bievre, the 35i. 356. 
 Bievres 356. 
 
 Billancourt 294. 295. 299. 
 Bizy (Chat.) 392. 
 Bois-de-Colombes 346. 
 Bois-le-Roi 364. 
 Boissy-St-Leger 309. 
 Bolbec 396. 
 Bondy 377. 
 Bonneuil 309. 
 Bonnieres 393. 
 Boran 375. 
 Bouffemont 351. 
 Bougival 383 331. 
 Bouille, La 392. 
 Boullay-les-Troux 857. 
 Boulogne-sur-Mer 878. 
 
 885. 
 Boulogne-sur-Seine 295. 
 Eourg-la-Reine 855. 356. 
 
 359. 
 Bourget, Le 377. 344. 
 Bourron 371. 
 Boves 384. 
 Breante 396. 
 Breteuil 384. 
 St. Brice 351. 
 Briche, Fort de la 371. 
 
 344. 
 Brie, La 363. 
 Brie-Comte-Robert'309. 
 Brunoy 363. 
 Bruyeres 375. 
 
 Bry-snr-Marne 318. 
 Buc, Aqueduct of 356. 
 Bures 357. 
 Butte-Pincon 371. 
 Buzenval '297. 
 
 Caffiers 385. 
 
 Calais 384. 
 
 Canaples 882. 
 
 Canche (Baie de la) 381. 
 
 Carnelle, Forest of 351. 
 
 Carrieres, Les 304. 
 
 — St. Denis 348. 
 Caudebec 396. 
 Caux, Pays de 396. 
 Caveux 381. 
 Ceile-Sf-Cloud. La 331. 
 Cernay 359. 847. 358. 
 Cesson 363. 
 
 Chalais (Pare de) 301. 
 Champagne 350. 
 Champigny 308. 
 Champlan 357. 
 Champlatreux 851. 
 Chantilly 372. 
 Chapelle-Nord-Ceinture, 
 
 La 385. 877. Appx., 24. 
 Chaponval 349. 
 Charenton 304. 362. 
 — , Lac de 306. 
 Charonne, see Appx. p. 24. 
 Chasse (Chateau de la) 
 
 345. 
 Chataigneraie, the 345. 
 Chateauneuf 393. 
 Chatenav 355. 
 ChatilLm 353. 
 Chatou 330. 
 Chaville 309. 
 Chennevieres 308. 
 Chevilly 354. 
 Chevreuse 357. 
 ChiUy-Mazarin 357. 359. 
 Choisv-le-Roi 361. 
 Clamart 298. 
 Clferes 396. 
 
 Clermont-de-rOise 384. 
 Clichy 282. 293. 393. 
 
 Appx.. p. 24. 
 St. Cloud 296. 
 
 — Montretout 294. 298.
 
 406 
 
 INDEX. 
 
 Colombes 346. 393. 
 Combs-la- Ville 363. 
 Compans 377. 
 Conchil-le-Temple 381. 
 Conflans 304. 
 
 — Fin-d'Oise 348. 
 
 — St. Honorine 347. 
 Cormeilles 346. 347. 
 
 — en-Parisis 347. 
 Coarbetin, (Chat, de) 357. 
 Courbevoie 293. 332. 
 Courcelles 392. Appx., 
 
 p. 24. 
 Coye 371. 
 Creil 374. 384. 
 Crepy-en-Valois 376. 
 Crdteil 304. 361. 
 Croissy 331. 
 
 Croix-d'Arcueil, La 359. 
 CrotOT, Le 381. 
 St. Cucufa (Etang de) 333. 
 St. Cyr 329. 
 
 Dammartin 377. 
 Dampierre 358. 
 DaumesnD, Lac 306. 
 Deauville 396. 
 Denecourt (Tour) 369. 
 St. Denis 338. 
 — . He 343. 
 Deuil 352. 
 Dieppe 386. 
 Domont 351. 
 Dompierre-sur-Autbie 
 
 381. 
 Dormoir, the 370. 
 Dover 384. 
 Drancy 377. 
 Dreuil 382. 
 
 Econen 351. 
 Elbeuf 392. 
 Engbien-les-Bains 344. 
 — , Lac d' 345. 
 Epinay 344. 352. 
 
 — sur Orge 362. 
 Epluches 349. 
 Eragny-Neuville 347. 348. 
 Ermenonville 377. 
 Ermont 346. 352. 
 Esneval 396. 
 Etang-la- Ville (L'), 332. 
 Etaples 381. 
 
 Eure, the 392. 
 Ezan ville 351. 
 
 Faiencerie, La 359. 
 Faloise. La 384. 
 St. Firmin 375. 
 Fleurv 301. 298. 300. 
 Folkestone 378. 
 Folleville 3S4. 
 Fontainebleau 364. 
 
 Fontenay-aux-Roses 353. 
 I— sons-Bois 308. 
 Fontinettes 385. 
 Fourquenx 332. 
 Franchard 370. 
 Franconville 347. 351. 
 Fre'pillon 352. 
 Frethun 385. 
 Frette, La 347. 
 
 Gaillard 393. 
 Gaillon 392. 
 Garcbes 297. 331. 
 Garenne, La 330. 348. 
 Games 358. 
 Gennevilliers 293. 343. 
 Gentilly354 5 Appx..p. 24. 
 St. Germain, He 295. 
 St. Germain - en - Laye 
 
 334. 
 St.Germain-Grande-Cein- 
 
 ture 332. 337. 
 - la-NorviUe 360. 
 Gif 357. 
 
 Girard, Monts 370. 
 Gisors 349. 392. 
 Glaciere (La), see Appx., 
 
 p. 24. 
 Gonesse 371. 
 Gonssainville 371. 
 Grange, Chat, de la 309. 
 Grange-aux-Cercles, La 
 
 360. 
 Grange-d'Ory 359. 
 St. Gratien 346. 
 Gravelle 304. 306. 307. 
 Gravigny 357. 
 Graville 396. 
 Grenelle, see Appx., p. 24, 
 Gris-Nez, Cap 385. 
 Gros-Bois, Chat, de 309. 
 Gros Fouteau 370. 
 Gros-Xoyer 352. 
 Groslay 351. 
 
 Hangest 382. 
 Harflenr 396. 
 Haudouin, Le 377. 
 Hautes-Bruyeres (Re- 
 
 doute de.s) 354. 
 Hautil, the 348. 
 Havre, Le 394. 
 Hay, L^ 354. 
 Herblay 347. 
 Hermes 350. 
 Hesdigneul 381. 
 Honilles 348. 
 
 Igny 356. 
 Ingouville 395. 
 Isle-Adam, L' 333. 
 Issy 298. Appx., p. 24. 
 Ivry 361. 
 
 Javel 294. 
 
 Joinville-le-Pont 307. 
 Jonchere, La 333. 
 St. Josse 381. 
 Jouy-en-Josas 356. 
 Jouv-le-Comte 350. 
 Juiliy (College de) 377. 
 St. Just - en - Chaussee 
 
 384. 
 Juvisy 362. 357. 
 
 Landy, Le 338. 
 Laplace 354. 
 Laversine (Chat.) 374. 
 St. Leu-d'Esserent 374. 
 
 375. 
 St. Leu-Taverny 352. 
 Lenville 360. 
 Levallois 293. Appx., 
 
 p. 24. 
 Lezarde. the 396. 
 L'Hay 354. 
 Liancourt 384. 
 Lieusaint 363. 
 Lilas, Les 306. 
 Lillebonne 396. 
 Limours 357. 
 Linas 360. 
 L-Isle Adam 349. 
 Loges, Les 337. 
 Longcbamp 158. 
 Longjumeau 359. 357. 
 Longpont 360. 362. 
 Longpre 382. 
 Longueau 384. 
 Lormoy (Chat, de) 362. 
 Louveciennes 331. 
 Louviers 392. 
 Louvres 371. 
 Lozere 357. 
 Luzarches 351. 
 
 Machine, La 333. 
 
 Maf fliers 351. 
 
 3Iai son-Blanche, La; see 
 
 Appx., p. 24. 
 Maisons-Alfort 382. 
 Maisons-Laffitte 34S. 333. 
 
 393 
 Malabry 356. 
 Malakoff 298. 353. 
 Malaunay 3S7. 396. 
 Malmaison, La 333. 
 St. Mande 303. 
 — , Lac de 306. 
 Mantes 393. 
 iMarcbe, La 331. 
 Marcoussis 360. 
 Mareil 332. 
 Marines 349. 
 Marlotte 371. 
 Marly-le-Roi 331. 
 — , Forest of 332.
 
 INDEX. 
 
 407 
 
 Marne, the 304. 
 Marqnise 385. 
 St. Martin-du-Tertre 351. 
 Massy 356. 
 Massy-Palaiaeau 356. 
 Maubuisson, Chat, de 
 
 349 
 St. Maur-des-Foss^s 304. 
 — , Canal de 307. 
 St. Slaurice 304. 
 Mauviere (Chat.) 358. 
 St. Maximin 374. 875. 
 Measures xxxi. 
 Melun 363. 
 Muriel 352. 
 Mery 352. 349. 
 Meudon 300. 
 St. Michel-sur-Orge 360. 
 
 362. 
 Minime.^, Lac des 308. 
 Mitry-Claye 377. 
 Money ii. xii. 
 Montataire 374. 
 Montgeron 363. 
 Montigny 347. 371. 
 Montivilliers 396. 
 Montlhery 360. 
 Montlignon 344. 
 Montmagny 352. 
 Montmorency 344. 
 Montretont 297. 296. 
 Montreuil 806. 
 Montronge 292. Appx., 
 
 p. 24. 
 
 — (Grand) 359. 
 Montsoult 351. 
 Moret 371. 
 Mortefontaine 371. 
 Motteville 896. 
 Moulin des Rochers 858, 
 Monlineaux, Les 294. 295. 
 
 800. 
 
 Nanterre 830. 382. 
 Nanteuil 377. 
 Nesles 849. 
 Neufchatel 381. 
 Neuilly 155. 
 
 — Plai?ancft 308. 
 Neuville 347. 348. 
 Newhaven 386. 
 Nid de TAigle 869. 
 Nogent - sur - Slarne 308. 
 Nointel 351. 
 
 Nointot 396. 
 Noisy-le-Roi 329. 
 
 — le-Sec 344. 806. 
 
 St. Nom-la-Bretfeche 330. 
 
 382 
 Nonette, the 878. 874. 
 Nord, Fort du 371. 
 Noye, the 384. 
 Noyelles 881. 
 
 Oise, the 348. 874. 
 Oissel 892. 
 Orgemont 846. 
 Orleans -Ceinture 361. 
 Orly 857. 
 Ormeason 344. 
 Ormoy 377. 
 Orry-Coye 371. 
 Orry-la-Ville 371. 
 Orsay 357. 
 St. Ouen 212, and Appx., 
 
 p. 24. 
 St. Ouen TAumone 347. 
 
 848. 349. 
 
 Pacy sur TEure 89o. 
 Palaiseau 357. 
 Paris 1. 
 Abattoirs 205. 206. 282. 
 Acad^mie Francaise 
 
 247. 
 Agricultural Show 152. 
 American Chapel 47. 
 St. Antoine, Faubourg 
 
 xxvii. 302. 
 Apartments 8. 
 Aquarium 168. 
 Arc de Triomphe du 
 
 Carrousel 147. 
 
 de rEtoile 154. 
 
 Archives Nationales 
 
 213. 
 •— de" la Ville 219. 
 Arenes de Lutece 271. 
 Arrival 1. 
 Arrondissements 
 
 xxviii. 
 Art Exhibitions 35. 
 Arts et Metiers, Con 
 
 servatoire des 178. 
 AuberviUiers 206. 
 Auction-rooms 198. 
 Auteuil 169. Appx., 
 
 p. 24. 
 Avenue d'Antin 154. 
 
 — du Bois-de-Boulogne 
 155. 156. 
 
 — des Champs-Elysees 
 
 — de' Clichy 212. 
 
 — Daumesnil 804. 
 
 — des Gobelins 269. 
 
 — de la Grande-Ar- 
 mee 155. 156. 
 
 — Henri Martin 165. 
 168. 
 
 — Hoche 155. 
 
 — d'lena 165. 
 
 — Kleber 155. 165. 
 
 — Malakoff 165. 
 
 — Montaigne 154. 162. 
 
 — derObservatoire288. 
 
 — de rOpe'ra 76. 58. 
 
 Paris: 
 Avenue d'Orldans 292. 
 
 — de St. Ouen 212. 
 
 — Parmentier 179. 
 
 — de la R^publique 73. 
 178. 
 
 — du Trocad^ro 165. 
 
 — Victoria 61. 
 
 — de Villierfl 202. 
 
 — de Vincennes , see 
 Appx.. p. 24. 
 
 Bagatelle. La 168. 
 
 Bal Bullier 34. 288. 
 
 Balls 34. 
 
 Banks 49. 
 
 Banque de France 195. 
 
 Baptist Chapel 47. 
 
 Bardo 292. 
 
 Barracks 67. 196. 219. 
 
 Bars 17. 
 
 Bassin delaVillette204. 
 
 — de rArsenal 808. 
 Bastille, Place de la 68. 
 Baths 45. 
 Batignolles 202. 
 Bazaars 87. 
 Beaux-Arts, Palais des 
 
 249. 
 Beer Houses 17. 
 Bel-Air, seeAppx.,p.24. 
 Belleville 205. Appx. 
 
 p. 24. 
 Bercy 808. 362. 
 Bibliotheque Nationale 
 
 190. 
 
 — de rArsenal 219. 
 
 — Ste. Genevieve 244. 
 
 — Mazarine 248. 
 
 — de la ViUe 218. 
 Bicetre 292. 
 
 Bird Market 225. 
 Blind Asylum 282. 
 Boarding Houses 8. 
 Boating 86. 
 Bois de Boulogne 156. 
 
 — de Vincennes 306. 
 Bon Marche 87. 272. 
 Booksellers 43. 
 Botanic Garden 269. 
 Bottin (directory) xxx. 
 Bouffes Parisiens 82. 
 Boulevards, the Old or 
 
 Inner 70. 
 — , the Outer 71. 
 — . the New 71. 
 
 — d'Enceinte 71. 
 Boulevard Arago 291. 
 
 — Barbes 207. 
 
 — Beaumarchais 72.70. 
 
 — Bonne-Nouvelle 74. 
 
 — des Capucines 76. 
 
 — de CUchv 209. 
 
 — St. Denis 78.
 
 408 
 
 INDEX. 
 
 Paris : 
 
 Boulevard des Filles- 
 du-Calvaire 72. 
 
 — St, Germain 230. 
 
 — Haussmann 200. 
 
 — Henri IV. 70. 219. 
 
 — des Italiens 75. 
 
 — de la Madeleine 79. 
 
 — de Magenta 73. 203. 
 
 — Malesherbes 200. 
 
 — St. Marcel 269. 
 
 — St. Martin 73. 
 
 — St. Michel 230. 
 
 — Montmartre 75. 
 
 — Montparnaase 289. 
 
 — Ornano 207, and 
 Appx., p. 24. 
 
 — du Palais 221. 
 
 — Poissonniere 74. 
 
 — Easpail 289. 291. 
 
 — Richard-Lenoir 70. 
 
 — de Sebastopol 73. 
 173. 61. 
 
 — de Strasbourg 73. 
 203. 
 
 — du Temple 72. 
 
 — Voltaire 73. 179. 
 Boulogne, Bois de 156. 
 Bourse, la 196. 
 
 — du Commerce 170. 
 
 — du Travail 73. 
 Brasseries 17. 
 Bridges, see Ponts. 
 Bullier (Bal) 34. 288. 
 Butte-3Iontmartre 207. 
 Butte-Mortemart 157. 
 Buttes-Chaumont , Les 
 
 20i. 
 Cabinet des Medailles 
 
 et Ant. 193. 
 Cabinets de Lecture 43. 
 Cabs 20; Appx. p. 33. 
 Cafes 18. 
 
 — Concarts 33. 
 Canal St. Denis 204. 
 
 — St. Martin 70. 20i. 
 
 — de rOurcq 204. 377. 
 Carrefour Montmart'e 
 
 75. 
 
 — de rObservatoire 
 287. 
 
 Carriages 20. 23. 
 Carrousel, Arc du 147. 
 Casernes 67. 193. 219. 
 Casino de Paris 33- 34. 
 Catacombs, the 291. 
 Cattle Market 205. 
 Cemetery of Mont- 
 martre 209. 
 
 — Montparnasse 289. 
 
 — of Passy 168. 
 
 — of Pere - Lachaise 
 179. I 
 
 Paris : 
 
 Cemetery Picpus 302. 
 Cercle des Patineurs 
 
 159. 
 Cercles 36. 
 Chambre des Deputes 
 
 273. 
 Chambre des Notaires 
 
 62. 
 Champ-de-Mars 283. 
 Champs-Elysees 151. 
 Chapelle Expiatoire 
 
 200. 
 — St. Ferdinand 155. 
 — , Sainte 222. 
 Charonne Appx., p. 24. 
 Chaussee dAntin, 
 
 Quartier 199. 
 Chemins de Fer de 
 
 Ceinture24.25.Appx., 
 
 p. 24. 
 Chemists 38. 
 Chevet (Maison) 12. 
 Church-music 35. 
 Churches 47. 56. 
 
 St. Ambroise 179. 
 
 American Chapel 47. 
 
 Assumption 84. 
 
 St. Augustin 200. 
 
 Baptist 47. 
 
 St. Bernard 207. 
 
 Billettes. des 48. 
 
 Calvinist 48. 
 
 Ste. Clotilde 274. 
 
 Congregational 47. 
 
 St. Denis-du-St. Sa- 
 crement 72. 
 
 Ste. Elisabeth 213. 
 
 English 47. 
 
 — Roman Catholic 
 47. 
 
 Episcopal 47. 
 
 St. Etienne-du-Mont 
 
 245. 
 St. Eugene 75. 
 St. Eustaehe 171. 
 St. Francois -Xavier 
 
 282. 
 Free Churches 48. 
 St. Germain - TAu- 
 
 xerrois 60. 
 
 - des-Pres 253. 
 St. Gervais 67. 
 Greek 48. 
 Invalides 281. 
 
 St. .Jacques-du-Haut- 
 
 Pas 288. 
 St. Jean-Baptiste205. 
 St. Jean-St. Francoi.'', 
 
 216. 
 Jesu,« 272. 
 St. Joseph-des-Car- 
 
 mes 263. 
 
 Paris : 
 Churches : 
 St. .Tulien-le-Pauvre 
 
 230. 
 St. Laurent 203. 
 St. Louis 281. 
 Lutheran 48. 
 Madeleine 79. 
 Ste. Marie 68. 
 St. Medard 271. 
 St. Merri 63. 
 St. Nicolas - des- 
 
 Champs 178. 
 St. Kicolas-du-Char- 
 
 donnet 246. 
 Notre-Dame 226. 
 Notre - Dame - d' Au- 
 
 teuil 169. 
 
 — des-Blancs-Man- 
 teaux 216. 
 
 — de Bonne-Nouvelle 
 74. 
 
 — des-Champs 290. 
 
 — de Clignancourt 
 209. 
 
 -- de-la-Croix 189. 
 
 — de-Lorette 198. 
 
 — des-Victoires 196. 
 Oratoire 60. 
 Pantheon 242. 
 
 St. Paul et St. Louis 
 68. 
 
 St. Philippe-du- 
 Roule 154. 
 
 St. Pierre -de -Mont- 
 martre 209. 
 
 — (Montrouge) 292. 
 Protestant 48. 
 Redemption 48. 
 
 St. Roch 84. 
 Russian 202. 
 Sacr^ Coeur 208. 
 Sainte-Chapelle 222. 
 Scotland, Church of 
 
 47. 
 St. S^verin 230. 
 Sorbonne 241. 
 St. Sulpice 255. 
 St. Thomas - d'Aquin 
 
 272. 
 Trinity 199. 
 Val-de-Grace 283. 
 St. Vincent-de-Paul 
 
 206. 
 Visitation, Church of 
 
 the 68. 
 Weslevan Chapel 47. 
 Cigars 39. 
 
 Circulating libraries44. 
 Circuses 33. 
 Cirque d'Ete 33. 154. 
 
 — Fernando 33. 209. 
 
 — d^Hiver 33. 72.
 
 INDEX. 
 
 409 
 
 Paris: 
 Cirque, Nouveau 33.84. 
 Cite, island 220. 
 Clichy 212. 
 Clinique d'Accouche- 
 
 ment 287. 
 Clubs 36. 
 Clunv, Hot. et 3Ius^e 
 
 de"281. 
 Coaches 23. 
 Collections, seeJIus^es. 
 College Chaptal 202. 
 
 — Ecossais 248. 
 -de France 241. 
 
 — Goubaux 202. 
 
 — Mazarin 247. 
 
 — des Quatre Nations 
 247. 
 
 — Rollin 207. 
 Colonial Museum 153. 
 
 — Office 147. 
 Colonne de Juillet 69. 
 
 — Vendome 83. 
 Communes Annexees 
 
 xxviii. 
 Compagnie des Pompes 
 
 Funebres ISO. 
 Comptoir d'Escompte 
 
 75. 
 Concerts 33. 35. 
 Conciergerie 224. 
 Concorde, Place de 
 
 la 80. 
 Confectioners 19. 
 Conservatoire des Arts 
 
 et Metiers 173. 
 
 — de Musique 74. 35. 
 Consulates 48. 
 
 Corps L^gislatif 273. 
 Cour d'Assises 224. 
 
 — des Tuileries 146. 
 Courcelles Appx.. p. 24. 
 Cours-la-Reine Ibl. 
 Cours de Vincennes 
 
 302. 
 
 Credit Lyonnais 76. 
 
 Cuisines de St. Louis 
 224. 
 
 Custom-house xiii. 1. 
 
 Cycling 36. 307. 
 
 Deaf and Dumb Insti- 
 tution 288. 
 
 St. Denis 338. 
 
 Dentists 46. 
 
 Depot des Phares 165. 
 
 Dhnis, Reservoir de la 
 189. 
 
 Diaconesses Protestan- 
 tea, Mai.-^on des 47. 
 
 Diary 52. 
 
 Directory xxx. 
 
 Distribution of Time 
 51. 
 
 Paris : 
 
 Divine Service 47. 
 Dome Central (Champ 
 
 de Mars) 285. 
 Dome des Invalides281. 
 Douane 1. xiii. 
 Drainage 62. 
 Druggists 38. 
 Duval, Etablissements 
 
 16. 
 Ecole Arago 302. 
 
 — d'Arboriculture 303. 
 
 — des Arts et Manu- 
 factures 178. 
 
 — des Beaux-Arts 249. 
 
 — de Botanique 269. 
 
 — Boulle 302. 
 
 — des Chartes 215. 
 
 — Coloniale 287. 
 
 — de Droit 244. 
 
 — Massillon 219. 
 
 — de Medecine 230. 
 
 — Militaire 286. 
 de Gymnastique 
 
 308. 
 
 — des Mines 287. 
 
 — Monge 2u2. 
 
 — Normale Sup^rieure 
 244. 
 
 — de Pharmacie 287. 
 
 — Polvtechnique 246. 
 
 — Pratique 231. 
 
 — Sup^rieure de 
 Guerre 286. 
 
 — Turgot 178. 
 Egouts 62. 
 Eiffel Tower 284. 
 Eldorado 82. 203. 
 Elysee, Palais de V 151. 
 Embassies 48. 
 Enceinte, the 157. 
 English Churches 47. 
 Etablissements de 
 
 bouillon 16. 
 Etablissements hydro- 
 
 therapiques 47. 
 Exchange 196. 
 Expositions artistiques 
 
 35. 
 Faubourgs xxvii. 
 Faubourg St. Germain 
 
 272. 
 St. Ferdinand, Cha- 
 
 peile 155. 
 Festivals, Popular 34. 
 Fete des Fleurs 157. 
 Fiacres 20. 
 Figaro Office 198. 
 Fleuriste de la Ville 
 
 169. 
 Flower Markets 43. 225. 
 Foire au Pain d'Epices 
 
 302. 
 
 Paris: 
 
 Folies Bergfere 38. 
 Fontaine Cuvier 266. 
 
 — de Grenelle 272. 
 
 — des Innocents 172. 
 
 — LouvoJs 189. 
 
 — de M^dicis 263. 
 
 — St. Michel 230. 
 
 — Moliere 189. 
 
 — Notre-Dame 229. 
 
 — de rObservatoire 
 281. 
 
 — du Progrfes 285. 
 
 — Richelieu 189. 
 
 — St. Sulpice 256. 
 
 — de la Victoire 61. 
 Fortifications xxviii. 
 Foundling Hospital 
 
 291. 
 Franco-English Guild 
 
 45. 
 Furnished Apartments 
 
 8. 
 Gambetta Monument 
 
 146. 
 Garde-Meuble 283. 
 Gardiens de la Paix 
 
 Gares"23. 
 
 Gare duChamp-de-Mars 
 24. 
 
 — de rEst 23. 203. 
 
 — St. Lazare 24. 199. 
 
 — du Luxembourg 24. 
 
 — de Lyon 24. 
 
 — Slontparnasse 24. 290. 
 
 — du Nord 23. 203. 
 
 — d'Orleans 24. 
 
 — de Paris-Denfert291. 
 
 — de Sceaux 24. 291. 
 
 — de Strasbourg 23. 
 203. 
 
 — de "Vincennes 24. 70. 
 Ste. Genevieve 242. 
 St. Gervais 67. 
 Gobelins, the 269. 
 Goods Agents 26. 
 Grands Magasins 37. 
 Greek Churches 48. 
 Grenelle, Fontaine de 
 
 272. 
 — , Artesian Well of 
 
 282. 
 Greve, Place de 66. 
 Gr^vin, Musde 34. 
 Guimet, Mus^e 162. 
 Halle au Ble 170. 
 
 — aux Vins 269. 
 Halles Centrales 171. 
 Hertford Hospital 47. 
 Hippodrome 33. 
 
 — de Longchamp 158. 
 History xsi.
 
 410 
 
 INDEX. 
 
 Paris : 
 Hopital Broca 271. 
 
 — duVal-de-Grace288. 
 
 — Lariboisiere 207. 
 
 — de Lonrcine 271. 
 
 — de la Piti^ 269. 
 
 — de la Salpetriere 269. 
 
 — Tenon 189. 
 Horse Market 269. 
 
 — Races 35. 157. 
 
 — Show 152. 
 Hospice de Bicetre 292. 
 
 — des Enfants-Assis- 
 t^s 291. 
 
 — Suisse 47. 
 
 — Wallace 47. 
 Hospitals 46. 47. 226. 
 
 272. 283. 302. 
 Hotels 2. 
 Hotel Barbette 215. 
 
 — de Betbune 68. 
 
 — de Clunv 231. 
 
 — Crillon-Coislin 82. 
 
 — Dieu 226. 
 
 — du Figaro 188. 
 
 — de Hollande 216. 
 
 — des Invalides 275. 
 
 — Lambert 229. 
 
 — Lamoignon 216. 
 
 — des Monnaies 248. 
 
 — de Nesle 247. 
 
 — d'Ormesson 68. 
 
 — des Postes 25. 170. 
 
 — de Sens 219. 
 
 — de Soubise 213. 
 
 — de Strasbourg 215. 
 
 — des T^ldpbones 171. 
 
 — du Timbre 186. 
 
 — la Valette 219. 
 
 — des Ventes Mobi- 
 lieres 198. 
 
 — de Ville 63. 
 Ices 19. 
 
 He de la Cite 220. 
 
 — des Cygnes 169. 
 
 — St. Louis 229. 
 Imprimerie Nationale 
 
 215. 
 Industrie, Palais de T 
 
 152. 
 Inatitut Catholique 263. 
 
 — de France 246. 
 
 — Pasteur 47. 
 
 — Polyglotte 45. 
 
 — du Progrea 168. 
 
 — Rudy 45. 
 Institution des Jeunes 
 
 Aveugles 282. 
 
 — desSourds-muets 288. 
 
 — Ste. Pe'rine 169. 
 Invalides, Hotel des 
 
 275. 
 St. Jacques, Tour 61. 
 
 Paris : 
 Jardin d'Acclimatation 
 159. 
 
 — botanique 269. 
 
 — du Luxembourg 262. 
 
 — de Paris 34. 154. 
 
 — des Plantes 264. 
 
 — des Tuileries 149. 
 Jeu de Paume 329. 
 July Column 69. 
 Lectures, Public 178. 
 Libraries , public, see 
 
 Bibliotheques. 
 Longchamp 158. 
 St. Louis, He 229. 
 Louviers, He 219. 
 Louvois, Font, et Place 
 
 189. 
 Louvre 85. 
 
 African Antiquities 
 90. 
 
 Asiatic Museum 99. 
 140. 
 
 Bronzes, Ancient 137. 
 
 Campana, Musee 143. 
 
 Chinese Museum 145. 
 
 Collection of Draw- 
 ings 138. 
 
 — His de la Salle 139. 
 
 — La Caze 136. 
 
 — Grandidier 146. 
 
 — of Potterv 142. 
 
 — Thiers 139. 
 Egyptian Museum 
 
 97. 141. 
 EscalierDaru 89.106. 
 
 — Henri 11. 97. 106. 
 Ethnographical Mu- 
 seum 145. 
 
 Galerie d'Apollon 132. 
 
 — Denon 89. 
 
 — MoUien 89. 
 
 — des Sept Metres 
 115. 
 
 Grande Galerie 117. 
 
 Jewish Museum 100. 
 
 Marine Museum 144. 
 
 Mediaeval, Renais- 
 sance and Modern 
 Objects of Art 139. 
 
 Musee Campana 143. 
 
 — de Chalcographie 
 146. 
 
 Pavilion Denon 89. 
 106. 
 
 — derHorloge(Sullv) 
 137. 
 
 Picture Gallery 107. 
 
 144. 
 Pottery, Antique 142. 
 Rotonde d'Apollon 
 
 132. 
 Salle des Bijoux 135. 
 
 Paris : 
 Louvre : 
 Salle des Boites 146. 
 
 — Duchatel 115. 
 Salle Henri U. 136. 
 
 — des Portraits 129. 
 
 — des Primitifs 115. 
 
 — des Sept Che- 
 min^es 135. 
 
 Salles Francaises 128. 
 
 130. 131. 
 Salon Carre 111. 
 Sculptures , Ancient 
 
 89. 
 — , Mediseval and Re- 
 naissance 101. 
 — , Modern 104. 
 Lunatic Asylum 804. 
 Lutheran Churches 48. 
 Luxembourg, Palais et 
 
 Jardin du 256. 
 Luxor, Obelisk of 81. 
 Lyce'e Carnot 202. 
 
 — Charlemagne 68. 
 
 — Condorcet 200. 
 
 — Henri IV. 246. 
 
 — Janson deSailly 168. 
 
 — Louis-le-Grand 242. 
 
 — St. Louis 241. 
 
 — Montaigne 287. 
 
 — Voltaire 179. 
 
 Madeleine, la 79. 
 Madrid 158. 
 Magasins 37. 200. etc. 
 Mail Coaches 23. 
 Mairie of the 1st Arron- 
 di.^sement 60. 
 
 — 2nd — 196. 
 
 — 3rd — 213. 
 
 — 4th — 6S. 
 
 — 5th — 244. 
 
 — 6th — 256. 
 
 — 10th — 73. 
 
 — 11th — 179. 
 
 — 13th — 271. 
 
 — 14th — 292. 
 
 — 16th — 168. 
 
 — 18th — 209. 
 
 — 19th — 204. 
 
 — 20th — 188. 
 Maison Blanche, La, 
 
 see Appx., p. 24. 
 
 — Chardon Lagache 
 169. 
 
 Maison d'Educat. de la 
 Legion d'Honneur 343. 
 
 Maison de Francois I. 
 161. 
 
 — Rosaini 169. 
 Maisons meublees 4. 5. 
 
 7. 
 
 — de sante 46.
 
 INDEX. 
 
 411 
 
 Paris : 
 Manege 83. 
 
 Marais, Quartier du2l5. 
 Marbeuf, Quartier 164. 
 March^ aux Bestiaux 
 205. 
 
 — aux Fleurs 225. 
 
 — du Temple 213. 
 
 — de la Villette 205. 
 Market, Central 171. 
 M^nilmontant 188. 
 
 Appx,, p. 24. 
 Ministere des Affaires 
 Etrangeres 274. 
 
 — des Finances 49. 
 
 — de la Guerre 273. 
 
 — de la Marine 82. 
 Ministerial Offices 49. 
 Mint 248. 
 
 Missions 48. 
 
 — Etrangeres 272. 
 Monceaux, Pare 201. 
 Money ii. xii. 
 Money Changers 49. 
 Monnaie, La 248. 
 Montmartre 207. 
 
 — , Boflevard 75. 
 
 — , Cemetery of 209. 
 
 Montparnasse , Ceme- 
 tery of 289. 
 
 Mont-de-Pi^te 215. 
 
 Montrouge 292. 
 
 Montsouris, Park of 
 292. 
 
 Monument of Augier 
 263. 
 
 — of Barye 219. 
 
 — de la Defense de 
 Paris 294. 332. 
 
 — Bobillot 179. 
 
 — of Col. Flatters 292. 
 
 — of Gambetta 146. 
 
 — of Moncey 212. 
 
 — of Murger 263. 
 Morgue 229. 
 Mortemart, Butte 157. 
 Moulin Rouge 34. 
 Muette, La 169. 
 Musee d'Anatomie 231. 
 
 — des Antiquit^s Ra- 
 tionales 334. 
 
 — des Archives 214. 
 
 — d^ArtiUerie 276. 
 
 — des Arts De'coratifs 
 152. 
 
 — Astronomique 289. 
 
 — Cambodgien 167. 
 
 — Carnavalet 216. 
 
 — C^ramique 299. 
 
 — de Chalcographiel46, 
 
 — de Cluny 231. 
 
 — des Colonies 153, 
 '— des Copies 250. 
 
 Paris : 
 Mus^e Dupuytren 231. 
 
 — Ethnographique 
 167. 
 
 — Forestier 307. 
 
 — Galli^ra 162. 
 
 — du Garde -Meuble 
 2S3. 
 
 — Gr^vin 34. 
 
 — Guimet 162. 
 
 — Hatiy 283. 
 
 — d'Histoire Naturelle 
 264. 
 
 — Historique (Ver- 
 sailles) 312. 
 
 de la Ville 216. 
 
 — Industriel 173. 
 
 — Khmer 167. 
 
 — du Louvre 88. 
 
 — du Luxembourg 258. 
 
 — deMme.de Caen 248. 
 
 — des Medailles 193. 
 
 — de Mineralogie 287. 
 
 — Monetaire 248. 
 
 — des Moulages 166. 
 
 — de Musique 75. 
 
 — de rOpe'ra 79. 
 
 — Orfila 231. 
 
 — Pal^ographique 214. 
 
 — Pedagogique 288. 
 
 — de la Revolution 329. 
 
 — de Sculpture Com- 
 par^e 166. 
 
 — Social 275. 
 
 — des Thermes 231. 
 
 — des Voitures 328. 
 Music 33. 
 
 Napoleon I.'s Tomb 281. 
 Natural History Mu- 
 
 se\im 264. 
 Neuilly 155. 
 Newspapers 44. 
 Notre-Dame 226. 
 
 Obelisk of Luxor 81. 
 Observatoire 288. 
 
 — populaire 168. 
 Oculists 46. 
 Odeon 30. 263. 
 Olympia 33. 34. 
 Omnibuses 1. 21. 
 
 Appx , 26. 30. 
 Opera 30. 76. 
 Opera Comique 30. 76. 
 Oratoire, V 48. 
 St. Ouen 212. Appx., 
 
 p. 24. 
 Ouest-Ceinture 298. 
 
 Appx., p. 24. 
 
 Palais des Arts-Lib^- 
 raux 286. 
 
 Paris : 
 Palais des Beaux-Arts 
 
 249. 
 — (Champ de 
 
 Mars) 286. 
 
 — Bourbon 273. 
 
 — de Castille 165. 
 
 — du Corps L^gislatif 
 
 — de'rElysee 161. 
 
 — de Glace 34. 164. 
 
 — de rindustrie 152. 
 
 — de rinstitut 246. 
 
 — de Justice 221. 
 
 — de la Legion d'hon- 
 neur 273. 
 
 — du Louvre 85. 
 
 — du Luxembourg 256. 
 
 — des Machines 286. 
 
 — du Quai d'Orsay 
 273. 
 
 — Royal 58. 
 
 — des Tournelles 218. 
 
 — du Trocad^ro 165. 
 
 — des Tuileries 147. 
 Panoramas 34. 150. 209. 
 Panthe'on 242. 
 Pantin 206. 
 
 Pare Monceaux 201. 
 
 — Montsouris 292. 
 Parcels 27. 
 Passage Jouflfroy 75. 
 
 — de rOp^ra 76. 
 
 — des Panoramas 75. 
 
 — des Princes 76. 
 
 — Vivienne 195. 
 Passports xiii. 
 Pa3syl68. Appx., p. 24. 
 Patissiers 19. 
 PavDlon de Hanovre 76. 
 
 — des Travaux Publics 
 168. 
 
 — de la Ville de Paris 
 163. 
 
 Pensions 8. 
 
 Pere - Lachaise , Ceme- 
 tery of 179. 
 
 Petit-Montrouge 292. 
 
 Physicians 46. 
 
 Picpus, Cemetery 302. 
 
 Picture - Gallery 
 (Louvre) 107. 
 
 — (Luxembourg) 258. 
 
 — (Versailles) 312. 
 Place de la Bastille 68. 
 
 — Baudover 68. 
 
 — Blanche 209. 
 
 — de la Bourse 196. 
 
 — du Carrousel 147. 
 
 — du Chateau d'Eau72. 
 
 — du Chatelet 61. 
 
 — de Clichy 212. 
 
 — de la Concorde 80.
 
 412 
 
 INDEX. 
 
 Paris: 
 Place Daumesnil 304. 
 
 — Denfert - Rochereau 
 291. 
 
 — des Etats-Unis 165. 
 
 — de TEtoile 154. 
 
 — de TEurope 199. 
 
 — de Fontenoy 286. 
 
 — Gambetta 188. 
 
 — de Greve 66. 
 
 — de rH6tel-de-Ville 
 66. 
 
 — d'ltalie 271. 
 
 — Ledru-Rollin 179. 
 
 — Maleslierbes 202. 
 
 — Maubert 240. 246. 
 
 — Moncey 212. 
 
 — Monge 271. 
 
 — de la Nation 302. 
 
 — de rOp^ra 76. 
 
 — du Palais-Royal 57. 
 
 — du Parvis-Notre- 
 Dame 226. 
 
 — St. Pierre 207. 
 
 — Pigalle 209. 
 
 — des Pyr^n^es 188. 
 
 — de la E^publique 
 72. 
 
 — de Rivoli 85. 
 
 — St. Sulpice 256. 
 
 — du Theatre-Fran- 
 cais 59. 
 
 — du Trocadero 165. 
 
 — du Trone 302. 
 
 — Vauban 282. 
 
 — Vendome 83. 
 
 — des Victoires 196. 
 
 — des Vosges 218. 
 
 — Wagram 202. 
 Point-du-Jour 295. 
 
 Appx., p. 24. 
 Pointe St. Eustaebe 171. 
 
 173. 
 Pole Nord 34. 
 Policemen xxx. 
 Pompe a Feu de Gbail- 
 
 lot 162. 
 Pont de rAlma 161. 
 
 — des Arts 246. 
 
 — d^Austerlitz 264. 
 
 — de Bercv 303. Appx 
 p. 24. 
 
 — du Carrousel 264. 
 
 — au Change 63. 
 
 — de la Concorde 82. 
 
 — de Flandre, see 
 Appx., p. 24. 
 
 — de Grenelle 169. 
 
 — d-Iena 168. 
 
 — d'lvry 303. 
 
 — des Invalides 161. 
 
 — St. Michel 229. 
 
 — Mirabeau 169. 
 
 Paris : 
 Pont National 303; 
 Appx., p. 32. 
 
 — Neuf 225. 
 
 — Royal 272. 
 
 — des Sts. Peres 264. 
 
 — de Solf^rino 273. 
 
 — Sully 219. 229. 
 
 — de Tolbiac 303. 
 Population xxvi. 
 Porte Dauphine 156. 
 
 — St. Denis 74. 
 
 — Maillot 156. Appx. 
 p. 24. 
 
 — St. Martin 73. 
 
 — de la Muette 169. 
 Portefeuille Industriel 
 
 178. 
 Post Office 26. 170. 
 Pre Catelan 159. 
 Prefecture de Police 
 
 225. 
 
 — de la Seine 65. 
 Preliminary Drive 50. 
 Pre St. Gervais 206. 
 Prison de la Concier- 
 
 gerie 224. 
 
 — de la Force 68. 
 
 — des Jeunes Detenus 
 179. 
 
 — de Ste. P^agie 269. 
 
 — de la Roquette 179. 
 
 — de la Sante 291. 
 PrivateApartments 8. 
 Protestant Churches 48 
 
 Quai de la Conference 
 161. 
 
 — des Orfevres 225. 
 
 — d^Orsay 273. 
 Quartier de la Chaussee 
 
 d'Antin 199. 
 
 — de rEurope 199. 
 
 — Latin 7. 220. 
 
 — du Marais 215. 
 
 — Marbeuf 154. 
 
 — du Temple 213. 
 
 Race Courses 35. 158 
 212. 307. 331. 344 
 346. 348. 372. 
 
 Railways xiii. 
 
 Railway Agents 25. 
 
 — Offices 25. 
 
 — Omnibuses 1. 
 
 — Stations 23. 
 Ranelagh, the 169. 
 Reading Rooms 43. 
 Reservoirs 189. 208. 
 
 392. 
 Restaurants 9. 
 River Steamboats 23. 
 
 Appx., p. 32. 
 
 Paris: 
 
 Roman Baths 239. 
 Rue d'Allemagne 204. 
 
 — St. Antoine 68. 70. 
 
 — du Bac 272. 
 
 — de la Banque 195. 
 
 — de Chateaudun 198. 
 
 — delaChaussee-d'An- 
 tin 76. 
 
 — St. Denis 74. 
 
 — Drouot 75. 198. 
 
 — Etienne-Marcel 196. 
 
 — du Faubourg-St- An- 
 toine 70. 
 
 — du Faubourg -St- 
 Denis 74. 
 
 — du Faubourg-Mont- 
 martre 75. 
 
 — du Faubourg-Pois- 
 sonniere 74. 
 
 — du Faubourg -du- 
 Temple 73. 
 
 — d'Hauteville 74. 
 
 — St. Honors 84. 
 
 — Lafayette 198. 
 
 — Laffitte 76. 
 
 — du Louvre 60. 170. 
 
 — de Maubeuge 198. 
 
 — Monge 246. 
 
 — Montmartre 75. 
 
 — de la Paix 76. 
 
 — Poissonniere 74. 
 
 — des Pyramides 85. 
 
 — duQuatre-Septembre 
 76. 197. 
 
 — Reaumur 178. 
 
 — de Rennes 254. 
 
 — de Richelieu 75. 189. 
 
 — de Rivoli 59. 83. 
 
 — de la Roquette 179. 
 
 — Rovale 80. 
 
 — Soufflot 242. 
 
 — du Temple 67. 73. 
 213. 
 
 — des Tuileries 149. 
 
 — de Turbigo 73. 173. 
 
 — de la Victoire 199. 
 
 — Vivienne 75. 198. 
 Russian Church 48. 202. 
 
 Sainte-Chapelle 222. 
 Salles de Danse 34. 
 Salle Wagram 34. 
 Salon, the 152. 
 
 — du Champ-de-Mars 
 286. 
 
 Savonnerie, la 270. 
 Scala 33. 202. 
 Seminaire de St. Sul- 
 pice 256. 
 
 — des Missions Etran- 
 geres 272. 
 
 Sergents de Yille xxx.
 
 INDEX , 
 
 413 
 
 Paris : 
 
 Sewers 62. 
 
 Shops 37. 
 
 Skating 34. 36. 
 
 Sorbonne, the 240. 
 
 Sports 36. 
 
 Square d'Anvers 207. 
 
 — des Arts et Metiers 
 74. 173. 
 
 — du Carrousel 146. 
 
 — Cluny 239. 
 
 — des Manages 272. 
 
 — Monge 246. 
 
 — Montholon 198. 
 
 — de Montrouge 292 
 
 — Parmentier 179. 
 
 — Richelieu 189. 
 
 — de la Trinity 199. 
 
 — VintimiUe 212. 
 Stamps 49. 
 
 Statue of the Ahbe de 
 lEpce 28S. 329. 
 
 — of Aguesseau 169. 
 
 — of Arago291. 
 
 — of Beauharnais 276 
 
 — of Beranger 213. 
 
 — of Berlioz 212. 
 
 — of Bernard 242. 
 
 — of Bichat 231. 
 
 — of Louis Blanc 271. 
 
 — of Bobillot 179. 
 
 — of Boucher 86. 
 
 — of Boussinganlt 173. 
 
 — of Broca 231. 
 
 — of Budd 242. 
 
 — of Chappe 272. 
 
 — of Charlemagne 220. 
 
 — of Coligny 60. 
 
 — of Condorcet 248. 
 
 — of Dante 242. 
 
 — of Danton 231. 
 
 — of Daubenton 160. 
 266. 
 
 — of Daumesnil 305. 
 
 — of Diderot 207. 254. 
 
 — of Dolet 246. 
 
 — of Dumas 202. 
 
 — of Gambettal46.87. 
 
 — of Gutenberg 216. 
 
 — of Henri IV 225. 
 
 — of Joan of Arc 85. 
 269. 
 
 — of La Fontaine 169. 
 
 — of Lamartine 169. 
 
 — of Larrey 288. 
 
 — of Leblanc 174. 
 
 — of Ledru-RoUin 179. 
 
 — of Le Verrier 289. 
 
 — of Liberty 170. 
 
 — of Louis XIII. 218 
 
 — of Louis XIV. 196 
 
 — of Marcel 64. 
 
 — of Meissonier 87. 
 
 Paris : 
 Statue of Moliere 189. 
 
 — of Moncey 212. 
 
 — of Xapoleon 83. 
 
 — of Neuville 202. 
 
 — of Nev 287. 
 
 — of Paiissy 254. 
 
 — of Papin 174. 
 
 — of Parmentier 155. 
 
 — of Pascal 61. 
 
 — of Pinel 269. 
 
 — of Raffet 86. 
 
 — of Itaspail 2S9. 
 
 — of Reniudot 226. 
 
 — of the Republic 72. 
 246. 
 
 — of Ricord 2^8. 
 
 — of Rousseau 244. 
 
 — of Sedaine 2u7. 
 
 — of Shakspeare 201. 
 
 — of Velazquez 86. 
 
 — of Villon 246. 
 
 — of Volt:dre 246. 248. 
 Steambo ,t Offices 25. 
 Steamboats 28. Appx. 
 
 p. 82. 
 Swimming-baths 45. 
 Synagogues 48. 199. 
 
 Tabacs , Manufacture 
 
 des 283. 
 Tables d'Hote 15. 
 Tea Rooms 19. 
 Telegraph Offices 27. 
 Telephones 28. 
 Temple, Faubourg du 
 
 xxvii. 
 — , Marclie du 213. 
 — , Quartier du 213. 
 — , Square du 213. 
 — . Tour du 213. 
 Theatres 28. 
 Theatre de FAmbigu 
 
 Comique 32. 73. 
 
 — des Bouffes Pari- 
 siens 32. 
 
 — du Chatelet 32. 62. 
 
 — de Cluny 32. 
 
 — de la Comcdie fran- 
 caise 30. 59. 
 
 — Ddjazet 32. 
 
 — deiEldorado32.203. 
 
 Paris : 
 
 Theatre de TOd^on 30. 
 268. 
 
 — de rOp^ra 30. 
 
 — de rOp^ra-Comique 
 
 30. 76. 62. 
 
 — du Palais-Royal 31. 
 
 — de la Porte-St. Mar- 
 tin 31. 13. 
 
 — de la Renaissance 
 
 31. 73. 
 
 — de la Republique 32. 
 
 — Marigny 154. 
 
 — Robert Houdin 32. 
 
 — des Ternes 32. 
 
 — des Varietes 31. 75. 
 
 — du Vaudeville 31. 76. 
 Theatre Offices 28. 
 Thermes 239. 
 Tivoli 34. 
 Tobacco Manufactory 
 
 283. 
 Topography xxvi. 
 Tour Eiflei 284. 
 
 — St. Jacques 61. 
 
 — de Jean sans Peur 
 173. 
 
 Tramways 21. Appx., 
 
 pp. 27. 30. 81. 
 Tribunal de Commerce 
 
 224. 
 Trocadero, Palais du 
 
 165. 
 — . Pare du 168. 
 Tuileries, the 146. 
 — , Jardin des 149. 
 
 University 240. 
 
 Val-de-Grace 288. 
 Vendome Column 88. 
 Villette, La 205. 
 Voitures 20. 
 
 Weights xxxi. 
 Wine Shops 17. 
 
 Zoological Garden 159. 
 265. 
 
 Parmain 350. 
 Passv 168. Appx. 
 Pavillv 396. 
 
 p. 24. 
 
 — des Folies Drama-|Pecq, Le 331. 
 
 Perray-Vauduse 362. 
 Persan- Beaumont 375. 
 
 tiques 32. 73. 
 
 — Franfais 30. 59. 
 
 — de la Gaite 31. 173. Petit-Bieetre, Le 356. 
 
 — du Gvmnase 31. 74. Petit-Mas,<y, Le 359. 
 
 — Marigny 154. Petit Nauterre 318. 
 
 — des Menus Plaisirs Petit- Vaux 357. 
 32. iPicquigny 382. 
 
 — , Nouveau 33. jPierre Turquaise 851. 
 
 — des Nouveaut^s 32.iSt. Pierre-les-Calais 365 
 76. — du Vauvray 392.
 
 414 
 
 INDEX. 
 
 Pierrefitte 371. 
 Pierrelaye 347. 
 Piple, Chat, du 309. 
 Plaine-Voyageurs, La 
 338. 
 
 — St. Denis, La 377. 
 Plessis-Belleville , Le 
 
 377. 
 Plessis-Piquet, Le 354. 
 Point-du- Jour 295. Appx., 
 
 p. 24. 
 Poissy 393. 
 
 Grande-Ceinture 337 
 
 Pont d' Antony 859. 
 
 — de FArche 392. 
 
 — de Briques 381. 
 
 — de Flandre, see Appx., 
 p. 24, 
 
 — Remv 382. 
 
 — de la Revolte 338. 
 
 — de St. Cloud 294. 
 
 — de Sevres 294. 
 
 — de Soissons 377. 
 
 — Viaduc du Point-du- 
 Jour 295. 
 
 Pontoise 348. 347. 
 Port-Cre'teil 304. 
 Port-Marlv 333. 
 Preey 375! 
 Preslea 351. 
 St. Prix 354. 
 Puteaux 294. 
 
 B,ang du Fliers - Verton 
 
 381. 
 Rapee-Bercy (La), see 
 
 Appx. p. 2i. 
 Reine Blanche, Chat, de 
 
 la 374. 
 St. Remy-les-Chevreuse 
 
 357. 
 Reuilly 308. 
 St. Riquier 381. 
 Robinson 355. 353. 
 St. Roch 382. 
 RoUeboise 393. 
 RomainviUe 306. 
 Rosny 393. 
 
 — sous Bois 308. 
 Rond-Point des Bergeres 
 
 322. 
 
 Rouen 388. 
 Royaumont 351. 
 Rue 381. 
 Rueil 332. 330. 
 Rungis 354. 359. 
 
 Saclay (Etang de) 356. 
 Sannois 346. 347. 
 Saquet (Moulin) 361. 
 Sarcelles 351. 
 Sartrouville 348. 
 S aulx-les-Chartreux 
 
 360. 
 Sausseron, the 349. 
 Savignv-sur-Orge 357. 
 
 362. ' 
 Sceaux 355. 
 Sceaux-Ceinture 354. 
 Seguin, He 295. 
 Selle, the 382. 
 Senlis 375. 
 Sevran-Livry 377. 
 Sevres 299. 
 Sognolles 352. 
 Soisy 344. 
 Solle, la 370. 
 Somme, the 381. 
 Sotteville 392. 
 Southampton 393. 
 Stains 371. 
 Stors 352. 
 Sucy-Bonneuil 309. 
 
 en-Brie 309. 
 Suresnes 294. 158. 
 — Longchamp 294. 
 Survilliers 371. 
 
 Taverny 352. 
 
 Theve, the 371. 
 
 Thieux-Xantouillet 377. 
 
 Touqnes, the 396. 
 
 Tour, Chat, de la 345. 
 347. 
 
 Treport, Le 382. 
 
 Trianon, Grand and Pe- 
 tit 828. 
 
 Trcu-Sale (Etang du) 
 356. 
 
 Trouville-sur-Mer 395. 
 
 Tuile, Butte de la 347. 
 
 TJs-Marines 349. 
 
 Val, Abbaye du 352. 
 Valenton 357. 
 Valerien, Mont 294. 
 St. Valery-en-Caux 396. 
 St. Valery-sur-Somme 
 
 381. 
 Valmondois 349. 352. 
 Vanves 293. 
 Varenne-St-Hilaire, La 
 
 30i. 
 
 — Chennevieres, La 309. 
 Vauboyen 356. 
 Vaucelles 352. 
 Vaucluse 362. 
 Vaucresson 331. 
 Vaugirard, see Appx., 
 
 p. 24. 
 Vaux-de-Cernay 358. 
 Vaux - le - Penil (Chat.) 
 
 364. 
 Vaux-Praslin (Chat.) 364. 
 Verneuil-r Etang 309. 
 Vernon 392. 
 Verrieres, Bois de 356. 
 Versailles 309. 
 Vert-Galant 377, 
 Vesinet, Le 331. 
 Viarmes 351. 
 Ville-d'Avray 297. 298. 
 Ville-du-Bois, La 360. 
 Ville-Evrard 308. 
 Villejuif 854. 361. 
 Villeneuve-St-Georges 
 
 357. 372. 
 TEtang 331. 
 
 - le-Roi 357. 
 Villeparisis 377. 
 Villiers-le-Bel 351. 371. 
 V^incennes 301. 305. 
 Vineuil 375. 
 Viroflay 309. 
 
 Vitry 361. 
 
 Wissoua 359. 
 
 Teres, the 363. 
 Yvetot 396. 
 Yvette, the 357.
 
 415 
 
 Alphabetical List of the Hoteh, Restaurants, and 
 Cafes of Paris mentioned in the Handbook. 
 
 The words Hotel. Restaurant^ etc., are omitted for the sake of brevity. 
 
 Hotels and Maisons Meublees. 
 
 Albe (d'), 7. 
 Alexandra, 5. 
 Ambassadeurs (des), 7, 
 Amiraute (de T), R. 
 
 Daunou, 4. 
 Amiraute (de T), R. Du- 
 
 phot, 5. 
 Angleterre (d'), R. Mont- 
 
 martre, 6. 
 Anglo-Am^ricain, 8. 
 Antin (d'), 4. 
 Arcade (de 1'), 5. 
 Athen^e (de T), 5, 8. 
 
 Bade (de), 5. 
 Bale, 8. 
 Balmoral, 4. 
 Balzac (villa), 7. 
 Baviere (de), 6. 
 Beaiijon, 7. 
 Beau-Sejour, 6. 
 Bedford, 5. 
 Beige, 8. 
 
 Belgique<fedeHollande,6. 
 Bellevue. 4, 8. 
 Bergere, 6. 
 Berne (de), 5. 
 Binda, 4. 
 Bonaparte, 7. 
 Bon Lafontaine (du), 7. 
 Boston (de), 4. 
 Bourse & des Ambassa- 
 deurs (de la), 6. 
 Brighton, 3. 
 Bristol, 4. 
 Britannique, 7. 
 Buckingham, 5. 
 Burgundy, 5. 
 Byron, 5. 
 
 Oailleux, 8. 
 Calais (de), 4, 
 Campbell, 7. 
 Capucines (des), 4. 
 Carmes (des), 7. 
 Castiglione, 4. 
 Castille, 4. 
 Central de la Bourse de 
 
 Commerce, 3. 
 Champs-Elys^es (des), 7. 
 Chariot d'Or (du), 7. 
 Chateaubriand, 7. 
 Chatham, 4. 
 Chemin de F de TEst 
 
 (du), 8. 
 
 Chemin de fer de Lyon 
 
 (du), 8. 
 Chemin de Fer du Nord 
 
 (du), 8. 
 Choiseul(fed'Egypte(de),4. 
 Claise, 6. 
 
 College de France (du), 7. 
 Cologne (de), 6. 
 Colonies (des), 6. 
 Concorde (de la), 5. 
 Constantine (de), 8. 
 Continental, 8, 4, 13. 
 Corneille, 8. 
 Cosmopolitan, 6. 
 Gusset, 6. 
 
 Danube (du), 5. 
 Deux-Mondes (des), 4. 
 Dominici, 4. 
 Dor^ & des Panoramas, 6. 
 
 Empire (de T), 4. 
 Espagne & de Hongrie 
 
 (d^), 5. 
 Etats-Unis (des), 4. 
 Etrangers(des), R.Racine 
 
 7. 
 Europe (deT), Boulev. de 
 
 Strasbourg, 8. 
 Europe (deT), R. Le Pe- 
 
 letier 5. 
 Europeen, 7. 
 
 Faculte's (des), 7. 
 
 Favart, 6. 
 
 Foyot, 7. 
 
 Francaia, 8. 
 
 France et de Choiseul 
 
 (de), 4. 
 France & de Bretagne 
 
 (de), 8. 
 France & de Lorraine 
 
 (de), 7. 
 Fribourg (de), 6. 
 
 Gand & de Germanie (de), 
 
 6. 
 Gare du Nord (de la), 8. 
 Gay-Lussac, 8. 
 Gerson, 7. 
 Gibraltar, 4. 
 Globe (du), 6. 
 Grand-Hotel, 3. 5. 
 Grande-Bretagne (de la), 
 
 5. 
 Grands-Boulevards (des), 
 
 U. 
 
 Harcourt (d'), 7. 
 Havane (de la), 6. 
 Helder (du), 5. 
 Hollande (de), R. de la 
 
 Paix, 4. 
 Hollande (de), R. Radzi- 
 
 viU, 6. 
 
 lies Britanniques (des), 4 
 Isly (d'), 7. 
 Jacob, 7. 
 
 Jardin des Tuileries 
 (du), 3. 
 
 Laffitte, 5. 
 
 Lartisien, 5. 
 
 Levant (du), 6. 
 
 Lille & d' Albion (de), 4. 
 
 Londres (de), R. Bona- 
 parte, 7. 
 
 Londres (de) , R. Casti- 
 glione, 4. 
 
 Londres & de New- York 
 (de), 8. 
 
 Lord Byron (villa), 7, 
 
 Louis-le-Grand, 4. 
 
 Louvois, 6. 
 
 Louvre (Gr. Hot. du), 3. 
 
 Lyon & de New York 
 (de), 6. 
 
 Maison blanche (de la), 6. 
 Maisons Meublees, 4, 5, 
 
 6,7. 
 3Ialesherbes, 5. 
 Malte (de), 6. 
 Manchester (de), 6. 
 Marine & des Colonies 
 
 (de la), 8. 
 Massillon, 7. 
 Metropole, 4. 
 Metropolitain, 4. 
 Meurice, 3. 
 Meyerbeer, 7. 
 Midi (du), 7. 
 Ministres (des), 7. 
 Mirabeau, 4. 
 Moderne, 3. 7. 
 Monaigny, 6. 
 Mont Blanc (du), 7. 
 Montesquieu, 7. 
 Mont St. Michel (du), 8. 
 Musee de Cluny (du), 7. 
 
 N^va (de la), 6. 
 Newton, 5.
 
 416 
 
 HOTELS. 
 
 ■Nice (de), 6, 7. 
 Nil (du), 5. 
 Normandy, 4. 
 
 Opera (de 1'), 5. 
 Orient (d^), 4. 
 Orleans (d^), 6. 
 Oxford & de Cambridge 
 (d'), 4. 
 
 Palais (du), 7. 
 
 Paris (dej, Boulev. de 
 
 Strasbourg, 8. 
 Paris (de), E. du Fau- 
 
 bourg-Montmartre, 6. 
 Paris Centre. 4. 
 Paris (fed'Osborne (de), 4. 
 Pays-Bas (des) 5. 
 Pension«i, 8. 
 Perey, 4. 
 Perigord (du), 6. 
 Pfeiffer 5. 
 Port-ilabon (de), 4. 
 
 Rapp, 5. 
 
 Rastadt (de), 4. 
 
 Raynaud, 4. 
 
 Rhin (.du), Place Ven- 
 
 dome, 4. 
 Rhone (du), 6. 
 Richepanse, 5. 
 
 Richer, 6. 
 
 Richmond, 5. 
 
 Rollin, 7. 
 
 Rome (de) 8. 
 
 Ronceray, 6. 
 
 Rossini, 5. 
 
 Rouen (de), R. St. Denis, 
 
 7. 
 Rougemont, 6. 
 Royal, 7. 
 Russie (de), 5. 
 
 St. Georges, 5. 7. 
 St. James (Gr. Hot.), 4. 
 St. James & d' Albany, 3. 
 St. Laurent et de Mul- 
 
 house, 8. 
 St. Petersbourg, 5. 
 St. Pierre, 7. 
 St. Romain, 4. 
 St. Sulpice, 7. 
 Ste. Marie, 3. 
 Saints-Peres (des), 7. 
 Seine (de), 7. 
 Seze (de), 5. 
 Strasbourg (de), Boulev. 
 
 de Strasbourg, 8. 
 Suez (de), 7. 
 Saffren, 7. 
 Suisse, R. Lafayette, 5. 
 
 Suisse, R. N.-D.-d. -Vic- 
 toires, 6. 
 
 Taitbout, 5. 
 Tamise (de la), 4. 
 Terminus, 3. 8. 
 Terrasse (de la), 6. 
 Tete, 4. 
 Tibre fdu). 5. 
 Tour-d'Argent (de la), 8. 
 Trevise (de), 6. 
 
 TJnivers (de V), 8. 
 Univers & du Portugal 
 
 (de D. 6. 
 Universite (de T), 7. 
 
 Valois (de), 6. 
 Vatican, 7. 
 Vendome, 4. 
 Victoria. Cite d'Antin, 5. 
 Ville de New York (de 
 
 la) 8. 
 Violet, 6. 
 Vivienne, 6. 
 Voltaire, 7. 
 Vouillemont. 4. 
 Voyageurs (des), 8. 
 
 Wagram, 8. 
 Westminster, 4. 
 Windsor, 3. 
 
 Restaurants and Cafes. 
 
 Albe (d'), 13. 
 Ambassadeurs (des) 13. 
 Americain, 12, 18. 
 Anglais, B. d. Italiens, 12. 
 Anglais, R. Royale, 13. 
 Arc en del (de 1'), 14. 
 Armennoville (Pavilion 
 d'), 13. 
 
 Barbotte, 14. 
 
 Blond (Table d'hote), 15. 
 
 Blot, 14. 
 
 Boeuf a la Mode (au), 12. 
 
 Bonvalet 13. 15. 
 
 Bouillod (Table d'hote), 
 
 15. 
 Bouillons Duval, 14. 15. 
 
 16. 
 — Boulant, 16. 
 Bourse (de la), 15. 
 Brasseries, 17. 
 Brabant, 17. 
 Bruneaux, 15. 
 
 Capucines (Tav. des), 17. 
 Cardinal, 18. 
 Cascade (de la), 13. 
 Cercle (du), 15. 
 Cesar, 12. 
 
 Chalets du Cycle, 13. 
 
 Champeaux, 13. 
 
 Chauveau. 15. 
 
 Cinq Arcades (aux), 14. 
 
 Cirque (du), 13. 
 
 Colin, 15. 
 
 Commerce, du (Pass, des 
 Panoramas), 15. 
 
 Commerce, du(R. St. De- 
 nis) 15. 
 
 Coq d'Or (Tav. du), 17. 
 
 Corazza, 12. 
 
 Cubat, 13. 
 
 Dame Blanche (a la), 19. 
 Darras, 15. 
 Dehouve, 13. 15. 
 Deux -Theatres (des), 
 
 15. 
 Diner National, 14. 
 Douix, 12. 
 Dreher. 17. 
 Ducastaing, 17. 
 Duflos, 28. 
 Durand, 12. 18. 
 Duval (Etablissements), 
 
 16. 14. 15. 
 
 English-American, 12. 
 
 Excoffier (Table d'hote), 
 15. 
 
 Finances (des), 15. 
 Flamande (Tav.), 17. 
 Foyot, 14. 
 Francais (Diner), B. des 
 
 Italiens 15. 
 Francais (Cafe'). 15. 
 France (Cafe de), 19. 
 
 — (Rest, de) 12. 
 
 Gaillon. 13. 
 
 Gazal, 14. 
 
 Gillet, 13. 
 
 Glacier Napolitain, 18. 19. 
 
 Grand Caf^, 12. 18. 
 
 Gruber, 15. 17, 
 
 Harcourt (d'), 19. 
 Havre (du), 15. 
 
 Imoda, 19. 
 
 Jacqueminot-Graflfe, 17. 
 Jardin des Plantes (Cha- 
 let du), 14. 
 
 — Turc (Cafe du). 19. 
 Julien, 12. 18.
 
 RESTAURANTS AND CAFl&S. 
 
 417 
 
 Lap^rouse, 14. 
 
 Lame, 12. 
 
 Lecomte, 13. 
 
 Ledoyen, 13. 
 
 Legion d'Honneur (de la). 
 
 16. 
 L^on, 14. 16. 
 Lequen, 14. 
 Lion d'Or, 13. 
 Londres fTav. de), 13. 
 Lucas, 12. 13. 
 
 Madrid (Cafd de), 18. 
 Madrid (Rest, de), 13. 
 Magny, 14. 
 Mahieu, 19. 
 
 Mail (table d'hote du), 14, 
 Maire, 13. 
 Maison Dor^e, 12. 
 Marguery, 13. 
 Marivaux (de), 13. 
 Mazarin, 18. 
 Mignon, 14. 
 Ministeres (des), 16. 
 Moderne, 15. 
 Mollard, 17. 
 Montmartre (Tav.), 17. 
 Muller, 17. 
 Musee de Cluny (du), 19. 
 
 Napolitain, 18. 
 National (Diner), 14. 
 Nations (des), 15. 
 Noel-Peters, 12. 
 
 Oc^an (de T), 16. 
 Op^ra (Brass, de T), 17. 
 Orleans (d'), 12. 19. 
 
 Paillard, 12. 
 
 Paix (de la), 12. 18. 
 
 Palais (du), 16. 
 
 Paris (Cafe de), 13. 18 
 
 Paris (Diner de), 15. 
 
 Paris (Rest, de), au Palais 
 
 Royal, 14. 
 Paris (de), R.Montmartre. 
 
 15. 
 Pavilion d'Armenonville 
 
 13. 
 Pavilions Chinois, 13. 
 Philippe, 14. 
 Poissonniere, 13. 
 Pont de Fer (du), 19. 
 Pont-Neuf (Tav.), 17. 
 Porte Montmartre (de la). 
 
 15. 
 Porte St. Martin (de la). 
 
 15. 
 Pousset, 17. 
 
 Quatre Sergents (aux), 
 13. 
 
 Regence (de la), 19. 
 Regent (au), 15. 
 Rhenane (Brass.), 17. 
 Riche, 12. 17. 18. 
 Richelieu (Dejeuner de), 
 
 19. 
 Richelieu (Rest.), 15. 
 Rocher (du), 15. 
 Rond-Point (du), 13. 
 Rosbif (au), 15. 
 Rotonde (de la), 19. 
 Rougemont, 12. 
 
 Royale (Tav.), 17. 
 Ruth Mitchell, 13. 
 
 Ste. Clotilde, 16. 
 St. Roch, 18. 
 Schaeffer, 14. 
 Scossa, ID. 
 Soufflet, 14. 19. 
 Source (de la), 19. 
 Suede (de), 18. 
 Sylvain, 13. 
 
 Taverne Flamande, 17. 
 Tavernier, 13. 
 Tavernier Aine, 14. 
 Terminus (du), 14. 
 Terrasse (de la), 19. 
 Terrasse Jouffroy (de la) 
 
 15. 
 Tour d' Argent, 14. 
 Touring Club (du), 15. 
 Tournier (Brass.), 17. 
 
 Universel, 15. 
 Universelle (Brass.), 
 
 17. 
 
 Vachette, 19. 
 Varidt^s (des), 18. 
 Vefour (Grand), 12, 14. 
 — (Petit), 12. 
 Versailles (de), 16. 
 Vian, 13. 
 Vidrequin, 14. 
 Vivienne (Table d'hote) 
 
 14. 
 Voisin, 13. 
 Voltaire, 16. 19. 
 
 Zimmer, 17. 
 
 Baeuekkb. Paris. 12th Edit. 
 
 27
 
 Leipsic. Printed by Breitkopf & Hartel.
 
 Lai r 
 Lar J 
 Ler 
 Lp 
 I 
 
 INDEX OF STREETS 
 
 AND 
 
 PLANS OF PARIS. 
 
 Contents. 
 
 1. List of the principal streets, public buildings, 
 
 etc., of Paris. 
 
 2. General Plan of Paris , showing the divisions 
 
 of the large plan and the limits of the spe- 
 cial plans. 
 
 3. Large Plan of Paris, in three sections. 
 
 4. Five Special Plans of the most important quarters 
 
 of the city. 
 
 5. List of the stations of the Chemin de Fer de 
 
 Ceinture. 
 
 6. Plan^ and List of the omnibus and tramway 
 
 lines and of the river steamboats. 
 
 7. Cab Tariff. 
 
 Tbis cover may be detached from the rest of the book by 
 
 severing the yellow thread which will be found between 
 
 Nos. I. and II. of the special plans. 
 
 5t rfi
 
 List of the Principal Streets, Squares, Public 
 Buildings, etc. 
 
 with Reference to the accompanying Plans. 
 
 The large Plan of Paris, on the scale of 1 : 20,000, is divided into three 
 sections, of which the uppermost is coloured brown, the central red, and 
 the lowest grey. Each section contains 36 numbered squares. In the 
 accompanying index the capital letters B, E., G, following the name of a 
 street or building, refer to the different sections, while the numbers cor- 
 respond with those on the squares in each section. When the name re- 
 quired is also found on one of the special plans , this is indicated by an 
 italicised Roman numeral. Thus, Rue de TAbbaye will be found on the 
 red section, square 19 ; and also on the fourth special map. 
 
 Names to which Ancienne., Petit , Saint , etc. , are prefixed, are to be 
 sought for under these prefixes. It should also be observed that the names 
 of streets in Paris are frequently altered. In the special maps some of 
 the house-numbers are inserted at the corners of the longer streets, especi- 
 ally in those cases in which the consecutive odd and even numbers are 
 locally some distance apart. See also footnote at p. 1. 
 
 The numbering of the squares is so arranged, that squares in different 
 sections bearing the same number adjoin each other. Thus, square 18 on 
 the brown section finds its continuation towards the S. in square 18 on 
 the red section. 
 
 The squares will also be useful for calculating distances, each side 
 of a square being exactly one kilometre, while the diagonals if drawn 
 would be 1400 metres or I'^/s kilometre. 
 
 The word Rue is always omitted in the following index for the sake 
 of brevity; the other contractions will present no difficulty. 
 
 B. R. G. B.R.G. 
 
 Abattoirs (Villette) . 
 
 
 31 
 
 
 
 Aligre (rue et place d') . . 
 
 _ 
 
 28 
 
 
 -^ Crive erauchel . . . 
 
 
 
 13 
 
 ''3 
 
 Allemagne (d') 
 
 Alleray (rue & place d'). . 
 
 '>y 
 
 
 
 \ Abbaye (de 1') ... 
 
 . IV 
 
 
 19 
 
 
 
 
 10 
 
 i — aux-Bois 
 
 . JV 
 
 
 16 
 
 
 Alma (avenue, place, & pont 
 
 
 
 
 4 Abbe-de-l'Ep^e (de Y) IV. V 
 
 
 
 14 
 
 de r) ... 
 
 
 1? 
 
 
 f - Gr^goire 
 
 . IV 
 
 . 
 
 16 
 
 
 Alouettes (des) 
 
 30 
 
 
 
 i - Groult (de 1') . . 
 
 
 
 
 10 
 
 Alpes (place des) 
 
 
 23 
 
 
 Abbesses (des) . . . 
 
 . . 
 
 20 
 
 
 
 Alphan (passage) 
 
 
 
 23 
 
 Abbeville (d') .... 
 
 
 M 
 
 
 
 Alphonse 
 
 
 \ 
 
 \ 
 
 Abel-Leblanc (passage) 
 
 
 
 28 
 
 
 — de-Neuville 
 
 11 
 
 
 
 Aboukir (d') 
 
 .hi 
 
 
 24 
 
 
 Alsace (d') 
 
 24 
 
 
 
 Acacias (des) .... 
 
 
 9 
 
 
 
 Amandiers (des) 
 
 
 83 
 
 
 Acclimatation (jardin 
 
 d') . 
 
 3 
 
 
 
 Ambassade d' Allemagne // 
 
 
 17 
 
 
 Adolphe-Adam . . . 
 
 . V 
 
 
 23 
 
 
 — d' Angle terre .... // 
 
 
 15 
 
 
 Affaires Etrang.(min.des) // 
 
 
 14 
 
 
 — d'Autriche // 
 
 
 17 
 
 
 AflFre 
 
 
 23 
 
 
 
 — de Russie // 
 
 
 17 
 
 
 igrippa d'Aubigne . 
 
 , . 
 
 
 25 
 
 
 Ambassadeurs (cone, des) // 
 
 
 15 
 
 
 Vguesseau (d') , . . 
 
 // 
 
 
 15 
 
 
 Ambigu (rue & th. de 1') /// 
 
 . 
 
 24 
 
 
 ^ain-Chartier . . . 
 
 
 
 
 10 
 
 Amboise (d') /// 
 
 
 21 
 
 
 boni 
 
 . / 
 
 . 
 
 25 
 
 
 Ambroise-Pare 
 
 23 
 
 
 
 'OViJ 
 
 /// 
 
 27 
 
 
 
 Am^lie (rue & passage) IV 
 
 
 14 
 
 
 zar d'Ete .... 
 
 // 
 
 
 15 
 
 
 Amelot Ill, V 
 
 
 26 
 
 
 ihert (d') .... 
 
 
 
 
 n 
 
 Amiral-Courbet (de T) . / 
 
 
 9 
 
 
 ia (d') 
 
 
 
 
 14 
 
 — Mouchez 
 
 
 
 ';i 
 
 aoidre-Cabanel . 
 
 
 
 10 
 
 Ampere 
 
 11 
 
 
 Unas 
 
 
 
 31 
 
 
 Amsterdam (d') 
 
 Amyot V 
 
 1S 
 
 
 
 jd-de-Vigny. . . . 
 
 
 12 
 
 
 
 
 
 22 
 
 r (d') 
 
 // 
 
 . 
 
 18 
 
 
 Anatole de la Forge .... 
 
 9 
 
 
 
 jrt 
 
 III 
 
 . 
 
 27 
 
 
 Anatomie (amphitheatre d') 
 
 
 
 22 
 
 nes (asile clinique 
 
 d') 
 
 
 
 20 
 
 Ancienne - Com^die (de V) 
 
 
 
 
 -gre (cour d') . . . . 
 
 /// 
 
 
 20 
 
 
 77, V 
 
 
 19 

 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. B. G. 
 
 B.R. G, 
 
 /// 
 
 Ancre (passage de T) 
 
 Andral (hopital) 
 
 Andr^-Ch^nier 
 
 — del-Sarte 
 
 Anglais (des) F 
 
 — (passage des) 
 
 Angouleme (d') .... /// 
 Anjou (d') // 
 
 — (quai d') F 
 
 Annam (d") 
 
 Annelets (des) 
 
 Annonciation (de T) ... 
 
 — (egl. de r) 
 
 Antin (d') // 
 
 — (avenue d") .... // 
 
 — (cite d') // 
 
 Antoine-Dubois . . IV^T 
 
 Antoinette 
 
 Anvers (place d") 
 
 Apennins (des) 
 
 Aquednc (de T) 
 
 Arago Cbonlev.) 
 
 — (ecole) 
 
 Arbalete (de T) 
 
 Arbre-Sec (de T) . . . /// 
 Arc de triomphe du Car- 
 rousel (PI. du Carr.). // 
 
 — de TEtoile / 
 
 Arc-de-triomphe (de T) . . 
 
 Arcade (de T) // 
 
 Archevech^ (quai et pont 
 
 de r) F 
 
 Archives (des) /// 
 
 Archives Kationales . . /// 
 Arcole (pont <fe rue d') . F 
 Arcueil (d') 
 
 — (porte d') 
 
 Ardennes (des) 
 
 Arenes deLutece (sq. des) F 
 
 Argenson (d') // 
 
 Argenteuil (d') .... // 
 Argonne (rue & place de T) 
 
 Argout (d') /// 
 
 Armaille (d') 
 
 Armorique (de T) 
 
 Arquebusiers (des) . . /// 
 
 Arras (d') F 
 
 Arriv^e (de T) 
 
 Arsenal (biblioth. de T) F 
 
 — (rue (fe place de T). . F 
 
 Artistes (des) 
 
 Arts (des) 
 
 — (pont des) IV 
 
 Arta-et-Metiers (sq. des) /// 
 Asile-Popincourt (rue k pas- 
 sage de T) 
 
 Asnieres (porte d') .... 
 
 Assas (rue d') IV 
 
 Assomption (de T) 
 
 — (^glise de D . . . . II 
 Astorg (d^) // 
 
 Attunes (d') 
 
 Atlas (de T) 
 
 Auber // 
 
 Aubervilliers (d") 
 
 — (porte d') 
 
 Aubigne (d') F 
 
 Aubriot /// 
 
 Aubry-le-Boucher . . . /// 
 
 Aude (de r) 
 
 Auguste Comte . . . /F, F 
 
 — Vacquerle / 
 
 Aumaire Ill 
 
 Aumale (d') 
 
 Austerlitz (quai & pont d") F 
 Auteuil (rue, gare, porte d') 
 
 — (place d') 
 
 Avre (de P) 
 
 Avron (d') 
 
 Babylone (de) IV 
 
 Bac (du) //, 7F 
 
 Bacon 
 
 Bagneux (de) IV 
 
 Bagnolet (de) 
 
 — (porte & route de) . . . 
 
 Baillet /// 
 
 Bailleul /// 
 
 Baillif //,/// 
 
 Baillon 
 
 Bailly /// 
 
 Balagny 
 
 Balkans (des) 
 
 Ballu 
 
 Baltard Ill 
 
 Balzac / 
 
 Banque (de la) ... . Ill 
 Banque de France . //, /// 
 
 Banquier (du) 
 
 Bara 
 
 Barbanegre 
 
 Barbes (boul.) {TI) . . . . 
 Barbet-de-Jouy .... IV 
 
 Barbette /// 
 
 Bardinet 
 
 Bargue (rue & passage) . . 
 
 Baron 
 
 Barouillere (de la) . . IV 
 Barrault 
 
 — Tpas.) 
 
 Barre (de la) 
 
 Barres (des) F 
 
 Barthelemy IV 
 
 Basfour (passage) . . . /// 
 
 Basfroi 
 
 Bas-Meudon (porte du) . . 
 
 Bassano / 
 
 Basse -du-Rempart . . // 
 
 Bassompierre F 
 
 Bastille (de la) F 
 
 — (pi. de la) F
 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 B. R. G. 
 
 B.R. O. 
 
 Batignolles (boal. & r. des) 
 
 — (square des) 
 
 Banches (des) 
 
 Baudelique 
 
 Baudin 
 
 Baudoyer (pi.) (r. de Rivoli) F 
 
 Bandriconrt 
 
 Banme (de la) // 
 
 Baasset 
 
 Bayard // 
 
 Bayen 
 
 B^arn (rue & impasse de) V 
 
 Beaubonrg /// 
 
 Beauce (de) /// 
 
 Beau-Grenelle (place) . . . 
 
 Beauharnals (cit^ 
 
 Beaujolais (de) . . //, /// 
 Beaujon (rne & hopital) . 
 
 Beaalien (pass.) 
 
 Beaamarchais fboul.) ///, V 
 
 Beaune (de) IV 
 
 Beaunier 
 
 Beauregard /// 
 
 Beaurepaire /// 
 
 Beaus^jour (boulevard) . . 
 
 Beautreillis V 
 
 Beauveau (place) . . . JI 
 Beaux -Arts (des) . . . IV 
 
 — (^cole des) IV 
 
 Beccaria 
 
 Becquerel 
 
 Beethoven / 
 
 Bel-Air (avenue du) . . . 
 
 — (station du) 
 
 Belfort (de) 
 
 Belgrand 
 
 Bellart IV 
 
 Bellay (du) V 
 
 Bellechasse (de) . . II, IV 
 
 — (place de) // 
 
 Bellefond 
 
 Belles-Feuilles (des) . . . / 
 Belleville (de) 
 
 — (boulev. de) 
 
 Bellevue (de) 
 
 Belliard 
 
 Bellievre 
 
 Bellini / 
 
 Belloni 
 
 Bellot 
 
 Belloy (de) I 
 
 Bel-Respiro (du) 
 
 Belzunce 
 
 Benard 
 
 Benedictines (couv. de) IV 
 
 Benouville 
 
 Beranger /// 
 
 Bercy (de) V 
 
 — (boul. (fe pont de) . . . 
 
 — (entrepots , quai , port , 
 & porte de) 
 
 20 
 
 31 
 
 31 
 
 Berger /// 
 
 Bergere /// 
 
 — (cite) /// 
 
 Bergers (des) 
 
 B^rite IV 
 
 Berlin (de) 
 
 Bernardins (des) . . . . F 
 Bernard-Palissy . . . . /F 
 
 Berne (de) 
 
 Berri (de) / 
 
 Berryer 
 
 Berthe 
 
 Berthier (boulevard) . . . 
 
 Berthollet 
 
 Bertin-Poiree /// 
 
 Berton / 
 
 Bertrand IV 
 
 — (cite) 
 
 Berzelius 
 
 Bessieres (boulevard) . . . 
 Bestiaux (marche aux). . . 
 Bethune (quai de) . . . F 
 
 Beudant 
 
 Beuret 
 
 Bezout 
 
 Bibliotheque Mazarine IV 
 
 — Rationale. . . . II, III 
 
 Bicetre (porte de) 
 
 Bichat /// 
 
 — (hopital) 
 
 Bidassoa (de la) 
 
 Bienfaisance (de la) ... . 
 
 Bievre (de) F 
 
 Billancourt (rue & porte de) 
 Billettes (temple des) ///, F 
 
 Billy (quai de) / 
 
 Biot 
 
 Birague (de) F 
 
 Biscornet F 
 
 Bisson 
 
 Bitche (place de) . . . . / 
 
 Bizet / 
 
 Blainville F 
 
 Blaise 
 
 Blanche (cite) 
 
 — (rue & place) 
 
 Blancs-Manteaux (des). . . 
 
 Bleue 
 
 Bleus (cour des) , . . /// 
 
 Blomet IV 
 
 Blondel /// 
 
 Blottifere 
 
 Boccador I 
 
 Bochart-de-Saron 
 
 Boetie (la) 
 
 Boeufe (ancien chemin des) 
 Boieldien (place) . . . II 
 
 Boileau 
 
 Bois (du) 
 
 Bois-de-Boulogne (av. du) I 
 
 — (passage du) .... ///
 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. B. G. 
 
 B. R. G. 
 
 Bois-le-Vent 
 
 Boissiere / 
 
 Boissonnade 
 
 Boissy-d'Anglas .... // 
 
 Boiton (passage) 
 
 Bolivar 
 
 Bonaparte lY 
 
 — (quartier) // 
 
 Bondy (de) /// 
 
 Bon-March^ (magas. du) lY 
 Bonne-Nouvelle (boul.) /// 
 Bons-Enfants (des) . //, /// 
 
 Borda /// 
 
 Borrego (dn) 
 
 Borrom^e 
 
 Bosquet (avenue) . . . . / 
 
 Bosauet 
 
 Botzaris 
 
 Bouchardon /// 
 
 Boucher /// 
 
 Boudon (avenue) 
 
 Boudreau // 
 
 Bouffea-Paris. (theatre des)// 
 Boufflers (avenue) .... 
 
 Bougainville lY 
 
 Boulainvilliers (de) .... 
 Boulangers (des) . . . . F 
 
 Boulard 
 
 Boulay (rue & passage) . . 
 Boule 
 
 — Rouge (de la) . . . /// 
 
 Boulets (des) 
 
 Bouloi (du) /// 
 
 Bouquet-de-Longch. (du) / 
 Bourbon (passage) 
 
 — (quai) Y 
 
 — le-Chateau lY 
 
 Bourdon fboulevard) . . Y 
 Bourdonnais (av. de la) . / 
 
 — (des) /// 
 
 Bouret 
 
 Bourg-rAbbe' (r. (fepass). /// 
 Bourgogne (de) . . //, lY 
 
 Bourgon 
 
 Bourg-Tibourg (du) . . . F 
 
 Boursault 
 
 Bourse (palaia de la) . /// 
 
 — (rue & place de la) //, /// 
 
 — de Commerce. . . . /// 
 
 — du Travail /// 
 
 Boussingault 
 
 Boutarel F 
 
 Boutebrie F 
 
 Bouvines (avenue & rue de) 
 
 Boyer 
 
 Brady (passage) .... /// 
 Brancion (r. et porte) . . . 
 
 Brantome /// 
 
 Braque (de) /// 
 
 Br^a lY 
 
 Brfeche-aux Loupa (r. de la) 
 
 30 
 
 18 
 
 26 
 
 Breda (rue & place) . . . 
 
 Breguet F 
 
 Bremontier 
 
 Bretagne (de) /// 
 
 Breteuil (av. & place de) lY 
 
 Bretonvilliers /// 
 
 Brey 
 
 Brezin 
 
 Bridaine 
 
 Brignole (de) / 
 
 Brillat-Savarin 
 
 Brisemiche /// 
 
 Brissac F 
 
 Broca (rue et hopital) . . . 
 
 Brochant 
 
 Brosse (de) F 
 
 Broussais 
 
 — (bopital) 
 
 Bruant 
 
 Brune (boulevard) 
 
 Brunei 
 
 BruxeUes (de) 
 
 Bucherie (de la) . . . . F 
 
 Buci (de) lY 
 
 Bude F 
 
 Buffon F 
 
 — (lyc^e) 
 
 Bugeaud (avenue) . . . . / 
 Buisson-Saint-Louis (du) . 
 
 Buot 
 
 Bumouf 
 
 Burq 
 
 Butte-aux-Cailles (de la). . 
 Buttes-Chaumont (pare des) 
 Buzenval (de) 
 
 Cabanel 
 
 Cabanis 
 
 Cadet /// 
 
 Cafarelli /// 
 
 Call 
 
 CaiUaux (impasse) 
 
 Cailli^ 
 
 CaQloux (des) 
 
 Caire (pi. <fe rue du) . /// 
 Caisse des Depots . . . // 
 
 Calais (de) 
 
 Cambac^res // 
 
 Cambon // 
 
 Cambrai (de) 
 
 Cambronne (r. & pi.) . . . 
 
 Camille-Douls 
 
 Camou / 
 
 Campagne-Premiere .... 
 Campo-Formio (de) .... 
 Canal St-Denis 
 
 — St-Martin (& rue du) 
 
 — de rOurcq 
 
 Canettes (des) lY 
 
 Canivet Cdu) lY
 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 B. K. O. 
 
 B. K. G. 
 
 Capiat 
 
 
 23 
 
 
 
 Championnet 
 
 19 
 
 
 
 Capron 
 
 
 17 
 
 
 
 Champollion V 
 
 Champ8-Ely8^e8(avenue des) 
 
 
 19 
 
 
 CapucinesCboul. (fer. des) // 
 
 
 18 
 
 
 
 
 
 Cardinale 
 
 J V 
 
 
 19 
 
 
 /, // 
 
 
 15 
 
 
 Cardinal-Lemoine . . . 
 
 . . 
 
 
 22 
 
 
 Chanaleilles (de) . . . IV 
 
 
 13 
 
 
 Cardinet 
 
 
 14 
 
 22 
 
 
 Chanez . . . 
 
 
 1 
 20 
 
 ' 
 
 Cannes (des) 
 
 . r 
 
 Change (pont au) . . . . F 
 
 
 
 Carnavalet (mus^e) . . 
 
 . V 
 
 
 26 
 
 
 Chanoinesse V 
 
 
 22 
 
 
 Carnot (avenue) . . . 
 
 , . 
 
 12 
 
 
 
 Chantiers (des) V 
 
 
 22 
 
 
 
 
 
 
 14 
 
 
 
 
 11 
 
 
 17 
 
 2(5 
 
 
 
 28 
 
 
 Caron 
 
 . r 
 
 Chapelle (boulevard de la) 
 
 ?.S 
 
 
 Carpeaux 
 
 . . 
 
 16 
 
 
 
 — (citg & place de la) . . 
 
 23 
 
 
 
 Carrieres (des) .... 
 
 
 32 
 
 
 
 — (r. & Stat, de la) . . . . 
 
 22 
 
 
 
 — (les) 
 
 
 
 
 SB 
 
 — Expiatoire // 
 
 Chapon /// 
 
 IS 
 
 
 
 Carrousel (place & pont 
 
 du) 
 
 
 
 
 
 24 
 
 
 JI, 
 
 JV 
 
 
 20 
 
 
 Chappe 
 
 20 
 
 
 
 
 
 
 3H 
 
 
 Chaptal 
 
 — (college) 
 
 18 
 
 
 
 Casimir-Delavigne . . 
 
 IV 
 
 
 19 
 
 
 15 
 
 
 
 Casimir-P^rier .... 
 
 IV 
 
 
 14 
 
 
 Charbonniere (de la) . . . 
 
 2a 
 
 
 
 Casino de Paris .... 
 
 
 
 18 
 16 
 
 
 Charcot 
 
 
 
 -"H 
 
 Cassette 
 
 IV 
 
 
 Chardin 7 
 
 
 8 
 
 
 Castellane 
 
 II 
 
 
 18 
 
 
 Charente (quai de la) . . . 
 
 28 
 
 
 
 Castex 
 
 . V 
 
 II 
 
 
 25 
 18 
 
 
 Charenton . 
 
 
 
 Sfi 
 
 Castiglione (de) . . . 
 
 - (de) V 
 
 
 28 
 
 28 
 
 
 
 
 
 17 
 
 
 
 
 32 
 
 Catalosne 
 
 
 H 
 
 
 
 Charite (hopital de la) IV 
 Charlemagne (lycee) . . V 
 
 
 17 
 
 
 Catinat 
 
 III 
 
 
 21 
 
 
 
 23 
 
 
 Caulaincourt 
 
 . , 
 
 20 
 
 
 
 — (rue et passage) . . . F 
 
 
 23 
 
 
 Caumartin 
 
 II 
 
 18 
 
 18 
 
 
 Charles V F 
 
 
 25 
 
 
 Cav^ 
 
 
 OS 
 
 
 
 Charles-Dallery . . . 
 
 
 '>H 
 
 
 Cavendish 
 
 '. V 
 
 29 
 
 22 
 
 16 
 22 
 
 — Divry 
 
 
 
 17 
 
 C^lestins (quai des) . . 
 Cels . . 
 
 — Fourier 
 
 
 
 94 
 
 — Nodier 
 
 Chariot /// 
 
 20 
 
 26 
 
 
 Cendriers (des) 
 
 
 30 
 
 Ofi 
 
 
 
 
 98 
 
 Cerisaie (de la) ... . 
 
 V 
 
 
 
 
 B? 
 
 
 Consoles (de) 
 
 C^vennes (des) .... 
 
 . / 
 
 
 io 
 
 
 — (boulevard de) . • 
 
 
 31 
 
 
 
 
 
 7 
 
 Charras // 
 
 18 
 
 
 
 Chabanais 
 
 II 
 
 
 21 
 
 
 Charretiere F 
 
 
 19 
 
 
 Chabrand (cit^) .... 
 
 II 
 
 
 18 
 
 
 Chartres (de) 
 
 23 
 
 
 
 Chabrol (de) 
 
 
 24 
 
 
 
 Chasseloup-Laubat .... 
 
 20 
 
 
 
 Chaillot (de) 
 
 f 
 
 
 17 
 
 
 Chateau (du) 
 
 
 
 n 
 
 Chaise (de la) 
 
 IV 
 
 
 16 
 
 
 Chateaubriand / 
 
 12 
 
 
 
 Chalet (du) 
 
 
 •n 
 
 
 
 Chateau-d'Eau (du) . . Ill 
 
 24 
 
 24 
 
 
 Chalgrin 
 
 
 9 
 
 
 
 — (theatre du) . . . . /// 
 
 
 27 
 
 
 Chaligny 
 
 
 
 2H 
 
 
 Chateau-des-Rentiers (du) . 
 
 
 
 26 
 
 Chalons (de) 
 
 . . 
 
 
 
 28 
 
 Chateaudnn (de) 
 
 21 
 
 
 
 Chamaillards (des) . . 
 
 
 
 
 27 
 
 Chateau-Landon (de) . . . 
 
 26 
 
 
 
 
 
 
 • 
 
 28 
 11 
 
 
 
 
 14 
 
 Chamb^ry (de) .... 
 
 Chatelet (pi. & theatre dn) F 
 
 
 20 
 
 
 Chambiges 
 
 . / 
 
 
 12 
 
 
 Chatillon (avenue de) . . . 
 
 . 
 
 
 18 
 
 Chambre des d^put^s . 
 Champagny 
 
 // 
 
 
 U 
 
 
 — (porte de) 
 
 
 
 15 
 
 IV 
 
 
 U 
 
 
 Chauchat //, /// 
 
 21 
 
 
 
 Champ-d'Asile (dn) , . 
 
 
 
 
 17 
 
 Chandron 
 
 26 
 
 
 
 — de-rAlouette (du) . 
 
 
 
 
 20 
 
 Chaufourniers (des) .... 
 
 27 
 
 
 
 — de Manoeuvres dlssy 
 
 
 
 
 5 
 
 Chaume (du) /// 
 
 . 
 
 23 
 
 
 - de-Mars 
 
 . I 
 
 
 11 
 
 
 Chaumont (porte) 
 
 32 
 
 
 
 - (du) 
 
 . / 
 
 . 
 
 11 
 
 
 Chauss^e-d^Antin (de la) // 
 
 18 
 
 21 
 
 
 — (st.it. du) 
 
 T 
 
 
 8 
 
 
 — de la Muette 
 
 
 5 
 
 
 Champerret (porte de) 
 
 
 8 
 
 
 
 Chansson (passage) . . /// 
 
 
 24 

 
 LIST OF THE PRINCIPAL STREETS, 
 
 S. R. G. 
 
 B.E. G. 
 
 // 
 
 Chauveau-Lagarde . 
 
 Chauvelot 
 
 Ctiauvin (passage) 
 
 Chazelles 
 
 Chemin-Vert (du) . . . . V 
 Cherche-Midi (du) . . . IV 
 
 Cherubini // 
 
 Cheval-Blanc (passage dn) V 
 Chevaleret (r. & chemin du) 
 
 Chevert JV 
 
 Chevreuse (de) (B. du M.-P.) 
 
 — (Issy) 
 
 Chine (de la) 
 
 Choiseul (rue & passage) // 
 Choisy (avenue & porte de) 
 
 Chomel IV 
 
 Choron 
 
 Christian! 
 
 Christine IV, V 
 
 Christophe-Colomb . . . I 
 
 Cimarosa / 
 
 Cinaetiere du Mont-Parnasse 
 
 — du Pere-Lachaise .... 
 
 — Montmartre 
 
 — Montmartre (avenue du) 
 Cinq-Diamants (des) . . . 
 
 Cirque (du) // 
 
 Cirque d'Ete // 
 
 — d'Hiver /// 
 
 — Fernando 
 
 — Nouveau // 
 
 Ciseaux (des) IV 
 
 Cit6 (lie de la) V 
 
 — (r. & quai dela). . . V 
 
 Citeaux (de) 
 
 Civiale 
 
 Civry (de) 
 
 Clairault 
 
 Clapeyron 
 
 Claude-Bernard 
 
 — Decaen 
 
 — Lorrain 
 
 — Pouillet 
 
 — Tillier 
 
 — Vellefaux /// 
 
 Clausel 
 
 Clavel 
 
 Clef (de la) V 
 
 Clement IV 
 
 — Marot / 
 
 Cler / 
 
 Clery (de) /// 
 
 Clichy (<fe porte de) . . . . 
 
 — (rue de) 
 
 — (av. de 
 
 — Cboul. de) 
 
 — (place de) 
 
 Clignancourt (de) 
 
 — (porte de) 
 
 Clisson 
 
 Cloche-Perce V 
 
 32 
 
 29 
 
 27 
 
 23 
 
 22 
 
 26 
 
 Cloitre-Notre-Dame (du) V 
 Cloitre-St. -Merry (du) . /// 
 
 Clopin V 
 
 Clos (du) 
 
 Clotilde V 
 
 Clovis V 
 
 Cloys (des) 
 
 Cluny (r. & mus^e de) . V 
 Cochin V 
 
 — (hospice) 
 
 Coetlogon IV 
 
 Colbert (rue & pass.) //, /// 
 
 Coligny (de) V 
 
 Colis^e (du) // 
 
 College de France . . . F 
 
 CoUette 
 
 Colombe (de la) .... 7 
 Colonies (minist des) . II 
 Colonnes (desj . . //, /// 
 
 — du Trone 
 
 Combes / 
 
 Comete (de la) . . . .IV 
 Commandant-Riviere (du) . 
 
 Commandeur (du) 
 
 Commerce (Bourse de) /// 
 
 — (Chambre de) . . . /// 
 
 — (Minist. du) .... IV 
 
 — (Tribunal de) . . . V 
 
 Com.mines /// 
 
 Compans (rue & impasse) . 
 Comptoir d'Escompte . /// 
 
 Conciergerie V 
 
 Concorde (place & pont de 
 
 la) // 
 
 Condamine (de la) .... 
 Conde (de) .... IV, V 
 Condorcet 
 
 — Oycee) // 
 
 Confe'rence (quai dela) /, // 
 Conflans 
 
 — (pont de) 
 
 Conseil d'Etat .....// 
 
 — de Guerre IV 
 
 Conservatoire (du) . . /// 
 
 — de Musique .... /// 
 
 — des Arts et Metiers /// 
 Constantine (de). . //, IV 
 Constantinople (de) .... 
 Conti (quai) . . . . IV,V 
 Contrescarpe (boul.) . . V 
 
 — (place) V 
 
 Convention (de la) .... 
 
 Copernic / 
 
 Copreaux 
 
 Coq (du) V 
 
 Coquilliere /// 
 
 Corbeau /// 
 
 Corbes (passage) .... /// 
 
 Corbineau 
 
 Cordelieres (des) 
 
 Coriolis
 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 B. R. G. 
 
 B.E. O 
 
 Corneille IV, V 
 
 Cortambert 
 
 Cortot 
 
 Corvisart 
 
 Cossonnerie (de la) . . /// 
 
 Cotentin (du) 
 
 Cotte (de) 
 
 Cottin (passage) 
 
 Couche 
 
 CoucoTis (des) 
 
 Couesnon 
 
 Courat 
 
 Coarbevoie 
 
 Courcelles (de) 
 
 — (boulevard de) 
 
 Cour-des-Noues (de la) . . 
 Coaronnes (r. & imp. des) 
 Cours-la-Reine . . . /, // 
 
 Conrty (de) // 
 
 Contellerie (de la) . . . F 
 Coatnres-St-6ervais(de3)/// 
 
 Coysevox . 
 
 Crebillon IV, V 
 
 Credit Fonder .... // 
 
 — Lyonnais // 
 
 Cremieux V 
 
 Crevaux 
 
 Crillon V 
 
 Crimee (de) 
 
 Croisades (dea) 
 
 Croissant (dn) /// 
 
 Croix - des - Petits - Champs 
 
 //, /// 
 
 Croix-Nivert 
 
 Croix-Rouge (carr. de la) IV 
 
 Crouin (passage) 
 
 Croulebarbe 
 
 Crozatier 
 
 Crussol (rue & cite de) . /// 
 
 Cugnot 
 
 Cujas V 
 
 Curial 
 
 Custine 
 
 Cuvier F 
 
 Cygne (du) /// 
 
 Cygnes (allee des) . . . . I 
 
 Daguerre 
 
 Dalayrac // 
 
 Dames (des) 
 
 — de la Trinitd 
 
 — de rAssomption .... 
 
 — St-Michel F 
 
 Damesme 
 
 Damiette (de) Ill 
 
 Damoy (passage) . . . . F 
 
 Damremont 
 
 Dancourt (place & rue) . . 
 
 Dangeau 
 
 Dante (du) F 
 
 Danton 
 
 20 
 
 35 
 
 22 
 
 Dantzig (de) 
 
 Danube (place du) .... 
 
 Darboy 
 
 Darcet 
 
 Darcy 
 
 Dareau 
 
 Daru 
 
 Daubenton 
 
 Daubigny 
 
 Daumesnil (av. & pi.) . . . 
 
 — (porte & lac) 
 
 Daunou • II 
 
 Dauphine (pl.,r.,pafl8.)/F, V 
 
 — (porte) 
 
 Dautancourt 
 
 Daval F 
 
 David-d' Angers 
 
 Davioud 
 
 Davoust (boulevard) . . . 
 
 Davy 
 
 Debarcadere (du) 
 
 Debelleyme /// 
 
 Debilly (quai) / 
 
 Debrousse / 
 
 Decamps 
 
 Dechargeurs (des) . . . /// 
 
 Decheroy 
 
 Decres 
 
 Deguerry 
 
 Dejazet (theatre) . . . /// 
 
 Delambre , 
 
 Delbet 
 
 Delessert / 
 
 Delouvain 
 
 Delta (du) 
 
 Demours 
 
 Denain (boul. de) 
 
 Denfert-Rochereau . . IV 
 
 — (place) 
 
 Denoyez 
 
 Deparcieux 
 
 Depart (du) 
 
 D^partement (du) 
 
 D^potoir (du) 
 
 Depots et Cons, (caiase) // 
 Deputes (chambre des) // 
 
 Deaaix / 
 
 Deabordes-Valmore . . . . 
 
 Deacartea F 
 
 Deacombea 
 
 Deagenettea // 
 
 Desir (passage du) . . /// 
 
 Desnouettea 
 
 Deaprez 
 
 Dearenaudes 
 
 Deux-Ecua (dea) .... /// 
 
 Deux-Garea (dea) 
 
 Deux-Pont^ (dea) 
 
 Diderot (boulevard). . . F 
 
 Didot 
 
 Dier (paasage)
 
 LIST OF THE PRINCIPAL STREETS, 
 
 
 B. 
 
 B 
 
 G. 
 
 
 B. 
 
 R. 
 
 G. 
 
 Dien /// 
 
 Dijon (de) 
 
 
 27 
 
 29 
 
 11 
 
 26 
 26 
 
 14 
 17 
 17 
 
 31 
 
 13 
 
 22 
 26 
 
 31 
 13 
 
 Echaud^ (de T) . . . .IV 
 Echelle (de V) .... // 
 Echiquier (de V) . . . Ill 
 Ecluses-Saint-Martin (des) . 
 Ecole Centrale .... /// 
 
 — Coloniale IV 
 
 — d'Architecture 
 
 — de Droit V 
 
 — de Medecine F 
 
 (rue et place de T) F 
 
 — de Pharmacie . . . IV 
 
 — des Beaux-Arts . . . IV 
 
 — des Hautes-Etudes comm. 
 
 — des Mines IV 
 
 — des Ponts-et-Chauss. IV 
 
 — d'Etat-Major . ... IV 
 
 — Militaire IV 
 
 — Normale supe'rieure . F 
 
 d'Auteuil et J.-B. Say 
 
 d'lnstitutrices .... 
 
 — Polytechnique . . . . F 
 (de 1 ) F 
 
 — Pratique IV 
 
 Eeoles (des) F 
 
 Ecosse (d') F 
 
 EcouflFes (des) F 
 
 Ecuries-d'Artois (des) . // 
 
 27 
 14 
 
 i 
 
 17 
 15 
 
 19 
 21 
 24 
 
 24 
 19 
 
 19 
 19 
 19 
 
 17 
 
 17 
 14 
 10 
 
 22 
 22 
 19 
 22 
 19 
 23 
 
 
 Docteur-Blanche (du) . . . 
 Domat F 
 
 
 1 
 22 
 
 
 Dombasle 
 
 
 Dome (du) / 
 
 Dominicaines de la Croix 
 
 Domr^my (de) 
 
 Dore (cit^) 
 
 
 9 
 
 28 
 
 16 
 
 
 
 31 
 9 
 
 27 
 22 
 
 12 
 16 
 
 19 
 5 
 
 
 Dosne . . 
 
 
 19 
 
 Douai (de) 
 
 Douane (hot. & rue de la) /// 
 Doubles (pont aux) . . . F 
 Doudeauville (rue et pass.) 
 Douze-Maisons (pass, des) / 
 Dragon (rue et cour du) IV 
 Drevet 
 
 20 
 23 
 
 20 
 
 21 
 24 
 
 19 
 19 
 
 Droit (^cole de) . . . . F 
 
 Drouot II, III 
 
 Dubail (passage) . ... Ill 
 Duban 
 
 
 Dubois (passage) 
 
 Ducange 
 
 29 
 
 
 Du^e (de la) 
 
 Dufrenoy 
 
 
 6 
 
 
 
 
 16 
 
 Duguay-Trouin . ... IV 
 
 Duguesclin / 
 
 Dubesme 
 
 Dulac (passage) ...... 
 
 Dulaure 
 
 Dulong 
 
 Dumas (passage) 
 
 Dum^ril 
 
 19 
 
 20 
 14 
 
 16 
 10 
 
 31 
 
 Edimbourg (d') 
 
 Edmond-Valentin 
 
 Egalite (de 1') 
 
 Eginhard F 
 
 Eglise (de r) 
 
 Elys^e (pal. & rue de 1') // 
 
 — (passage de T) 
 
 — Montmartre 
 
 Elzevir Ill 
 
 Emeriau / 
 
 Emile-AUez 
 
 Enfants-Assistes (hosp. des) 
 
 — Malades (hop. des) . IV 
 
 — Rouges (march^ d.) /// 
 Enfer (boul. d') 
 
 15 
 
 20 
 20 
 
 8 
 
 26 
 15 
 
 26 
 
 13 
 26 
 16 
 
 31 
 24 
 27 
 
 7 
 
 30 
 
 19 
 
 28 
 1 
 33 
 
 24 
 
 7 
 
 Dumont-d'Urville . . . . / 
 Dunkerque (de) 
 
 ii 
 
 12 
 
 
 Duperre 
 
 Dupetit-Thouars . ... Ill 
 
 Duphot // 
 
 Dupin IV 
 
 20 
 
 27 
 18 
 16 
 10 
 29 
 27 
 19 
 13 
 
 29 
 
 15 
 
 33 
 13 
 24 
 
 19 
 13 
 
 Dupleix (place et rue) . / 
 Dupont (cit^) 
 
 Enfer (passage d') 
 
 Enghien (hospice d') . . . 
 
 - (d') /// 
 
 Entrepot (de T) . . . . /// 
 Entrepreneurs (des) .... 
 Envierges (rue, citi, Sl pas- 
 sage des) 
 
 24 
 
 16 
 
 Dupuis /// 
 
 Dupuytren IV, V 
 
 Duquesne (avenue) . . IV 
 
 Durance (de la) 
 
 Duranti 
 
 
 7 
 
 Durantin 
 
 Duras (de) // 
 
 Duret / 
 
 Durifl 
 
 20 
 9 
 
 Ep^e-de-Bois (de T) . . . . 
 
 Eperon (de 1') F 
 
 Epinettes 
 
 16 
 
 22 
 
 Duroc IV 
 
 
 
 
 1 
 
 Dussoubs /// 
 
 Dutot 
 
 Ermitage (rue & villa de 1') 
 
 Ernestine 
 
 Esperance (de T) 
 
 Esquirol .... 
 
 23 
 
 
 Duvivier I, IV 
 
 
 14 
 
 8 
 13 
 
 24 
 
 Eaux (passage des) ... 7 
 
 Est (de V) 
 
 
 33 
 
 
 Ebl^ IV 
 
 - (gare de D 
 
 24 

 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 
 B. 
 
 R. 
 
 G. 
 
 
 B. 
 
 R. 
 
 G. 
 
 Estrapade (rue & pi. de T) V 
 
 
 
 19 
 
 Figuier (du) V 
 
 
 22 
 
 
 Estr^es (d^) IV 
 
 
 13 
 
 
 Filles-Dieu (des) . . . Ill 
 
 
 24 
 
 
 Etat-Major (^cole d') . IV 
 
 
 14 
 
 
 Filles-du-Galvaire (boul. <fr 
 
 
 
 
 Etata-Unis (place des) . / 
 
 
 9 
 
 
 rue des) /// 
 
 
 26 
 
 
 Etex 
 
 17 
 
 
 
 — St-Thomas (des) //, III 
 Finances (min. des) . . // 
 Flandre (de) 
 
 
 VI 
 
 
 Etienne-Dolet . . 
 
 
 30 
 
 
 
 ?0 
 
 
 — Marcel /// 
 
 . 
 
 21 
 
 
 26 
 
 
 
 Etoile (de r) / 
 
 12 
 
 
 
 — (pont & route de) . . . 
 
 28 
 
 
 
 — (rond-point de V) . . I 
 
 12 
 
 
 
 Flandrin (boulevard) . . . 
 
 
 6 
 
 
 Etuves /// 
 
 
 23 
 
 
 Fleurs (quai aux). . . . F 
 
 
 22 
 
 
 Engene-Delacroix 
 
 
 5 
 
 
 Fleurus (de) IV 
 
 
 16 
 
 
 — Gibez 
 
 
 
 11 
 
 Florence (de) 
 
 17 
 
 
 
 — Sue 
 
 22 
 
 
 
 Foin (du) V 
 
 
 26 
 
 
 Euler I 
 
 
 12 
 
 
 Folie-Me'ricourt (de la) /// 
 
 
 2i 
 
 
 Eupatoria (d') 
 
 
 30 
 
 
 Folie-Regnault (de la) . . . 
 Folies-Dram. (th. des). /// 
 
 
 '?!A 
 
 
 Europe (pi. de T) 
 
 18 
 
 
 
 
 27 
 
 
 Evangile (de T) 
 
 25 
 
 
 
 - Bergere ...... Ill 
 
 21 
 
 
 
 Exelmans (boulevard) . . 
 
 
 
 1 
 
 — Marigny // 
 
 
 lb 
 
 
 Exposition (de r ) . . . / 
 Eylau (avenue) / 
 
 
 11 
 
 
 Fondary. . . . 
 
 
 Kl 
 
 
 
 9 
 
 
 Fontaine 
 
 
 20 
 
 
 
 
 
 
 Fontaine-du-But (de la) . . 
 
 19 
 
 
 
 Fabert // 
 
 
 14 
 
 
 — aux-Clercs (de la) . . . 
 
 
 
 24 
 
 Fabre-d'Eglantine 
 
 . 
 
 31 
 
 
 — Mulard (de la) .... . 
 
 
 .; 
 
 24 
 
 
 
 
 23 
 
 — au-Roi . /// 
 
 Fontaines (des) . ... Ill 
 Fontarabie (de) 
 
 
 2r 
 94 
 
 
 Faidherbe 
 
 
 9B 
 
 
 Faisanderie (de la) ... . 
 
 
 fi 
 
 
 
 32 
 
 
 Fallempin (passage) .... 
 
 
 7 
 
 
 Fontenoy (place de) . . . . 
 
 
 10 
 
 
 Faraday 
 
 8 
 
 
 
 Forest 
 
 IV 
 
 
 
 Faubourg -du- Temple (du) 
 
 
 
 
 Forez (du) /// 
 
 
 23 
 
 
 III 
 
 
 21 
 
 
 Forges (des) /// 
 
 
 24 
 
 
 — Montmartre (du) . . /// 
 
 21 
 
 21 
 
 
 Fortin (avenue) 
 
 
 
 23 
 
 — Poissonniere (du) . . /// 
 
 24 
 
 24 
 
 
 Fortuny 
 
 11 
 
 
 
 — St-Antoine (du) . . . V 
 
 
 28 
 
 
 Fossds-St-Bernard (des) . F 
 
 
 22 
 
 
 — St -Denis (du) . . . Ill 
 
 24 
 
 24 
 
 
 — St-Jacques (des) . . . F 
 
 
 19 
 
 19 
 
 — St-Honore (du) . . // 
 
 15 
 
 15 
 
 
 Fouarre (du) F 
 
 
 22 
 
 
 — St-Jacques (du) .... 
 
 
 
 19 
 
 Four (du) 
 
 
 16 
 
 
 — St-Martin (du) 
 
 27 
 
 24 
 
 
 Fourcroy 
 
 12 
 
 
 
 Fauconnier (du) . . . . F 
 
 
 22 
 
 
 Fourcy (de) F 
 
 
 23 
 
 
 Favart //,/// 
 
 
 21 
 
 
 Fourneaux (r. & ch. des) IV 
 
 
 . 
 
 13 
 
 Favorites (des) 
 
 
 
 10 
 
 Foyatier 
 
 20 
 
 
 
 Fecamp (de) 
 
 
 
 ■■\') 
 
 Francais (theatre) 
 
 Franc aise /// 
 
 
 21 
 
 
 F^d^ration (de la) . . . / 
 
 
 10 
 
 
 
 24 
 
 
 F^licien-David 
 
 . 
 
 4 
 
 
 Francoeur 
 
 19 
 
 
 
 Felicity (de la) 
 
 14 
 
 
 
 Francois-Bonvin 
 
 
 10 
 
 10 
 
 Fenelon (cit^) 
 
 - Oyc^e) V 
 
 0^ 
 
 
 
 — Gerard 
 
 
 4 
 
 
 
 19 
 
 
 - Miron F 
 
 
 23 
 
 
 Fer-a-Moulin (du) 
 
 
 
 22 
 
 Francois !« (maison de) // 
 
 
 lb 
 
 
 Ferdinand-Berthoud . . /// 
 
 
 24 
 
 
 — (rue <fe place). ../,// 
 
 
 lb 
 
 
 Fermat 
 
 
 
 17 
 
 Francs-Bourgeois(des) ///, V 
 
 
 23 
 
 
 Fermiers (des) 
 
 14 
 
 
 
 Franklin / 
 
 
 8 
 
 
 Ferou. . . IV 
 
 
 19 
 23 
 
 
 Fr^micourt 
 
 
 10 
 13 
 
 
 Ferronnerie (de la) , . /// 
 
 Freres (Institut des) . . IV 
 
 
 
 Ferrus 
 
 
 
 20 
 
 Fresnel . / 
 
 
 12 
 12 
 
 
 Fessard (rue & impasse) . 
 
 30 
 
 
 Freycinet / 
 
 
 Fetes (rue & place des) . . 
 Feuillade (de la) . //, /// 
 
 3S 
 
 
 
 Friant 
 
 
 
 
 
 21 
 
 
 Friedland (av. de) 
 
 12 
 
 
 
 Feuillantines (des) . . . F 
 Feuillet (passage) 
 
 
 
 19 
 
 Frochot 
 
 '^) 
 
 
 
 27 
 
 
 
 Froissart /// 
 
 
 26 
 
 
 Fentrier 
 
 20 
 
 21 
 
 
 
 
 26 
 19 
 
 
 Feydeau Ill 
 
 Fromentel F 
 
 
 
 ¥imxi€ (de la) ... . Ill 
 
 24 
 
 
 
 Fromentin 
 
 'h 
 

 
 10 
 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. R. G. 
 
 B.R. G„ 
 
 Fulton .... 
 Furstenberg (r. 
 Furtado-Heine. 
 
 & pi.) JV 
 
 II 
 
 Gabon (du) .... 
 Gabriel (avenue) 
 
 — Lam^ 
 
 Gabrielle 
 
 Gaillard 
 
 Gaillon // 
 
 Gaite (rue & impasse de la) 
 
 Galande F 
 
 Galilee / 
 
 Galli^ra (r. & mus^e de) . 
 
 Galvani 
 
 Gambetta (avenue) .... 
 
 — (place) 
 
 Gambey /// 
 
 Ganneron 
 
 Garanciere IV 
 
 Garde-Meuble / 
 
 Gardes (des) 
 
 Gare de TEst 
 
 — de Lyon 
 
 — de Sceaux 
 
 — de Vincennes 
 
 — d'Orl^ans 
 
 — du Nord 
 
 — Montparnasse (de TOuest, 
 rive gauche) 
 
 — St-Lazare (de TOuest, 
 rive droite) 
 
 — (boul. de la) 
 
 — (porte de la) 
 
 — (quai de la) 
 
 — (de la) 
 
 Gares (des Deux-) 
 
 Garibaldi (boul.) 
 
 Gassendi 
 
 Gaston-de-St-Paul . . . . / 
 
 Gatbois (passage) 
 
 Gatines (des) 
 
 Gaudon (ruelle) 
 
 Gautbey 
 
 Gavarni I 
 
 Gay-Lussac V 
 
 Gaz (rue <fe impasse du) 
 
 Gazan 
 
 G^n^ral-Appert 
 
 — Brunet (du) 
 
 — Foy (du) 
 
 — Lasalle (du) 
 
 Gentilly 
 
 — (porte et station de) . . 
 
 — (de) 
 
 Geoffroy-Didelot 
 
 — Langevin /// 
 
 — Lasnier V 
 
 — Marie /// 
 
 — St-Hilaire V 
 
 George Sand 
 
 25 
 
 25 
 
 25 
 
 22 
 
 Gerando 
 
 Gerard 
 
 Gerbert 
 
 Gerbier 
 
 Gerbillon IV 
 
 Gergovie (de) 
 
 G'3rmain-Pilon 
 
 Gosvres (quai de) . . . . F 
 
 Ginoux 
 
 Girardon 
 
 Gironde (quai de la) . . . 
 
 Git-le-Coeur F 
 
 Glaciere (de la) 
 
 Glaisiere (de la) 
 
 Gluck II 
 
 Gobelins (av., rue, & man. 
 
 des) 
 
 Godefroy-Cavaignac .... 
 Godot-de-Mauroy . . . .II 
 
 Goethe / 
 
 Gomboust // 
 
 Gourgaud (avenue) .... 
 Goutte-d'Or (de la) ... . 
 Gouvion-St-Cyr (boulevard) 
 Gozlin (rue & place) . IV 
 
 Gracieuse F 
 
 Grammont (de) // 
 
 Grand-Cerf (passage du) /// 
 Grand-Prieur^ (du) . . /// 
 Grande- Arm^e (avenue dela) 
 Grande-Chaumiere (de la) . 
 Grande-Truanderie (d.l.)/// 
 Grandes-Carrieres (ch. des) 
 Grands- Angus tins (rue <fe quai 
 
 des) F 
 
 Grands-Champs (des) . . . 
 
 — Degr^s F 
 
 Grange-Bateliere (de la) /// 
 Grange-aux-Belles . . . /// 
 Gravelle (avenue de) . . . 
 Gravilliers (des). . . . /// 
 
 Grefifulhe // 
 
 Gregoire-de-Tours . . . IV 
 Grenelle(de) . . . . /, /F 
 
 — (boul. de) / 
 
 — (gare et quai de). . . . 
 
 — (pont et stat. de) . . . 
 
 Greneta /// 
 
 Grenier-St-Lazare . . . Ill 
 Grenier-sur-rEau . . . . F 
 
 Gr^try // 
 
 Greuze / 
 
 Gribeauval IV 
 
 Gros 
 
 Grotte (de la) 
 
 Guadeloupe (de la) ... . 
 
 Gudin 
 
 Guen^gaud IV, V 
 
 Guenot (cit^) 
 
 Gnerin-Boisseau .... /// 
 Guerre (min. de la) //, IV 
 
 25
 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 11 
 
 G. 
 
 Qaersant 
 
 Guichard 
 
 Gailhem 
 
 Guillanme-Tell 
 
 Guillemites (des) , . . /// 
 
 Guimet (mus^e) / 
 
 Guisarde IV 
 
 Gustave-Courbet 
 
 Gutenberg /// 
 
 Guy-Labrosse V 
 
 Guyot 
 
 Guy-Patin 
 
 Gymnase (theatre du) • . . 
 
 Haies (des) 
 
 Hainant (dn) 
 
 Hal^vy // 
 
 Halle 
 
 Halle-aux-Vins V 
 
 Halles - Centrales , . . /// 
 
 Halles (des) /// 
 
 Hambourg (de) 
 
 Hamean (du) 
 
 Hamelin / 
 
 Hanovre (de) // 
 
 Harlay (de) F 
 
 Harpe (de la) V 
 
 Harvey 
 
 Haudriettes (des) . . . Ill 
 Haussmann (boulevard) // 
 
 Hautefeuille V 
 
 Hauteville (d') .... /// 
 
 Haut-Pav6 (du) F 
 
 Hautpoul (d') 
 
 Havre (du) // 
 
 Haxo 
 
 Hebert (place) 
 
 Helder (du) // 
 
 H^lene 
 
 Henri-Chevreau 
 
 — Martin (av.) / 
 
 — Lepage (cit^) / 
 
 Henri IV (boul. et quai) F 
 
 — (lycee) 
 
 Henri-Regnault 
 
 H^ricart 
 
 Hermel 
 
 Harold /// 
 
 Herr 
 
 Herschell IV 
 
 Hirondelle (de V) . . . . V 
 
 Hoche (avenue) 
 
 Honore-Chevalier . . . IV 
 Hopital (boul. & pi. de T) F 
 Hopital-Saint-Louis (de T) 
 Horloge (quai de T) . . . F 
 
 — (concert de V) , . . II 
 
 Hospices (des) 
 
 Hospitalieres-Saint-Gervais 
 
 (des) /// 
 
 Hotel-Colbert (de T) . . . F 
 
 22 
 
 26 
 
 Hotel-Dieu F 
 
 Hotel de Ville F 
 
 H6tel-de-Ville (r. , quai, <fe pi. 
 
 de r) F 
 
 Houdart (passage) 
 
 Houdon 
 
 Huchette (de la) . . . . F 
 
 Humboldt 
 
 Huygens 
 
 20 
 
 le'na (av. & place d') , . / 
 
 — (pont d') / 
 
 Immaculee-Conc. (coll.de T) 
 Immeubles Industriels (des) 
 Imprimerie Nationale . /// 
 Industrie (pal. de T) . . // 
 
 Ingres (avenue) 
 
 Innocents (des) .... // 
 Insti tut (pal. & place der)/F 
 
 — Agrcnomique 
 
 — Catholique 17 
 
 — Pasteur 
 
 InFtruction Publique (minis- 
 
 tere de T) 
 
 Int^rieur (min. de T ) . // 
 Invalides (boul. des) . . IV 
 
 — (hotel des) IV 
 
 — (espl. & pont des) //, IV 
 
 Irlandais (des) F 
 
 Islettes (des) 
 
 Isly (de r) // 
 
 Issy (porte d') 
 
 Issy 
 
 Italie (avenue & porte d') 
 
 — (boulevard & place d') . . 
 Italiens (boul. des) //, /// 
 Ivry 
 
 — (av. & porte d') . . . . 
 
 Jabach (passage) . . . /// 
 
 Jacob IV 
 
 Jacquemont 
 
 Jacques-Coeur IV 
 
 Janeon de Sailly Ojcee) . . 
 Jardin d'Acclimatation . . 
 
 — de Paris // 
 
 — des Plantes F 
 
 Jardinet (du) . . . .IV,V 
 
 Jardiniers (des) 
 
 Jardins-Saint-Paul (des) . F 
 
 Jarente (de) F 
 
 Jasmin 
 
 Javel (quai de) 
 
 — (de) 
 
 Jean-Bart IV 
 
 — Beausire (r. <fe imp.) . F 
 
 — de-Beauvais F 
 
 — Bologne 
 
 — Cottin 
 
 — Goujon /. // 
 
 — Jacq. -Rousseau. . . /// 
 
 16 
 
 21 
 
 15 
 
 25
 
 12 
 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. E.G. 
 
 B. R. G. 
 
 Jean-Lantier 
 
 — Leclaire 
 
 — Nicot 
 
 // 
 
 16 
 23 
 8 
 
 20 
 14 
 
 20 
 
 26 
 
 14 
 
 21 
 1 
 
 14 
 22 
 
 24 
 24 
 
 14 
 
 18 
 22 
 
 7 
 
 Laennec (bopital) . . . IV 
 
 Lafayette // 
 
 — (place) . . 
 
 21 
 
 24 
 21 
 21 
 
 16 
 
 21 
 
 4 
 
 34 
 22 
 
 
 — Robert 
 
 — Tison 
 
 Jean-Bapti«te-Duma9 . 
 
 Laferriere (passage) .... 
 
 Laffitte //,/// 
 
 Lafontaine (de) . . 
 
 
 Laghouat (de) 
 
 23 
 
 
 Jeanne-d'Arc (r. & pi.) 
 Jemmapes (quai de) . . 
 
 /// 
 
 27 
 
 27 
 
 
 Lagrange V 
 
 
 '>fi 
 
 Jessaint (rue <fe place) . 
 
 /// 
 
 // 
 
 )/F 
 
 des) 
 
 /// 
 
 23 
 
 29 
 16 
 
 27 
 18 
 13 
 29 
 21 
 
 
 
 
 10 
 
 Lalande 
 
 
 
 17 
 
 — de-Paume 
 
 Jeune9Aveugles(inst.de£ 
 Jeunes Detenus (prison 
 
 Lallier 
 
 Lamarck 
 
 Lamartine 
 
 20 
 
 20 
 21 
 
 6 
 
 
 Joinville (de) 
 
 Lamblardie . . . 
 
 
 31 
 
 Jonquiere (de la) . . . 
 
 La Motte -Piquet (avenue 
 
 de) / 
 
 Lancette (de la) 
 
 Lancry (de) /// 
 
 Landrieu (passage) . . . I 
 
 27 
 
 10 
 
 27 
 11 
 22 
 
 19 
 6 
 
 12 
 22 
 25 
 20 
 
 IT 
 
 
 Joquelet 
 
 Joseph-Dijon 
 
 Joubert 
 
 JouflFroy 
 
 /// 
 
 7/ 
 
 /// 
 /// 
 
 19 
 18 
 11 
 21 
 
 21 
 21 
 
 31 
 
 — (passage) 
 
 Jour (du) 
 
 Jourdan (boulevard) . 
 
 Lanneau (de) V 
 
 Lannes (boulevard) .... 
 
 Lannois 
 
 Lantier 
 
 La Perouse / 
 
 Laplace F 
 
 Lappe (de) 
 
 16 
 
 
 Jouy (de) 
 
 Juge 
 
 . V 
 
 ■ 
 
 23 
 7 
 
 23 
 12 
 25 
 25 
 
 
 Juifs (des) 
 
 . V 
 
 . I 
 
 '. V 
 
 
 
 Juigne (de) 
 
 Juillet (colonne de) . . 
 
 Jules-C^ar 
 
 Julie 
 
 Lard (au) /// 
 
 Lariboisiere (hopital) . . . 
 La Rochefoucauld (hospice) 
 
 - (de) 
 
 Laromiguiere F 
 
 Las Cases (de) . ... IV 
 Laterale 
 
 23 
 
 17 
 
 Julien-Lacroix 
 
 
 80 
 
 21 
 22 
 20 
 
 18 
 
 29 
 
 12 
 9 
 
 19 
 
 Juliette-Lambert 
 
 ii 
 
 11 
 
 Jussienne (de la) . . . 
 Jussieu (r. & pi. de) . 
 Justice (palais de) . . . 
 Justice (min. de la) . . 
 
 Keller 
 
 III 
 . r 
 
 . V 
 
 
 Latour-Maubourg (boulev.) 
 //, IV 
 
 Latran (de) F 
 
 La Tremoille (de) . . . / 
 
 Laugier 
 
 Laumiere (avenue) .... 
 
 Laurent-Pichat / 
 
 Lauriston / 
 
 Lauzun 
 
 Lavandieres (des) . . . /// 
 
 Lavoisier // 
 
 Lazaristes (des) . ... IV 
 Leblanc 
 
 • 
 18 
 
 14 
 19 
 12 
 
 I 
 
 20 
 16 
 
 4 
 25 
 
 
 Kellermann ("buolevard;. . 
 
 Kapler / 
 
 Kl^ber (av.) / 
 
 Knss 
 
 • 
 
 9 
 
 Labat 
 
 Labie 
 
 ' II 
 
 23 
 9 
 
 25 
 18 
 
 fi 
 
 
 
 
 13 
 
 Laborde (r. et sq, de) 
 Labrouste 
 
 Lebouteux 
 
 Lebrun ... 
 
 
 00 
 
 La Bruyere 
 
 Lacaille 
 
 • ' 
 
 21 
 16 
 
 29 
 
 Lecluse 
 
 
 
 Lacaze 
 
 Lecourbe IV 
 
 10 
 
 Lac^pede 
 
 Lacharriere 
 
 . V 
 
 • 
 
 ^^ 
 
 
 
 1-1 
 
 Lacordaire 
 
 
 Ledru-Rollin (avenue). . V 
 Lefevre (boulevard) .... 
 Lefort 
 
 19 
 
 
 Lacroix 
 
 Lacu^e 
 
 .' V 
 
 16 
 
 25 
 
 11
 
 SQUARES, PUBLIC BUILDINaS, etc. 
 
 13 
 
 
 
 B 
 
 R 
 
 . G 
 
 
 B. 
 
 R. 
 
 G. 
 
 Legendre 
 
 
 14 
 
 
 
 Louvois //,/// 
 
 
 21 
 
 
 Legion d^Honneur (pal.) // 
 
 
 17 
 
 
 Louvre (pal., quai, &. rue du) 
 
 
 
 
 Le Goff 
 
 ... 7 
 
 
 n 
 
 
 //. /// 
 
 
 9f 
 
 
 Leibnitz 
 
 
 19 
 
 
 
 Lovp-endal (av. de). . . IV 
 
 
 13 
 
 
 
 
 
 
 •>\ 
 
 Lnbeck (de) / 
 
 Lully // 
 
 Lune (de la) . // 
 
 
 M 
 
 
 T.pmftiTP. , , 
 
 
 7 
 
 
 
 ?1 
 
 
 Lemarrois 
 
 
 
 1 
 
 
 '^\ 
 
 
 Lemercier .... 
 
 
 17 
 
 
 
 Lundville (de) 
 
 29 
 
 
 
 Lemoine (passage) 
 
 . . /// 
 
 
 24 
 
 
 Lutece (de) V 
 
 
 20 
 
 
 Lemoult 
 
 
 
 
 7 
 
 Luxembourg (du) 
 
 — (palais & jardin du) IV 
 
 
 1fi 
 
 
 Le Notre 
 
 . . . / 
 
 
 8 
 
 
 
 19 
 
 19 
 
 Lco-Delibes .... 
 
 
 
 9 
 
 9 
 12 
 
 
 Lyannes (des) ... 
 
 
 36 
 25 
 
 
 Leon 
 
 . . . I 
 
 23 
 
 Lyon (de) 
 
 
 
 Leonard-de-Vinci . 
 
 — (gare de) 
 
 
 98 
 
 L^once-Begnaud . 
 
 
 
 
 
 Lepage (citd) . . . 
 
 .... 
 
 ii 
 
 
 
 Mabillon IV 
 
 
 Vt 
 
 
 Le Peletier .... 
 
 //, III 
 
 21 
 
 21 
 
 
 Mac-Mahon 
 
 11 
 
 
 
 Lepic 
 
 
 20 
 
 
 
 Macdonald (boulevard) . . 
 
 81 
 
 
 
 Leregrattier .... 
 
 ... 7 
 
 
 22 
 
 
 Madame IV 
 
 
 16 
 
 
 Leriche 
 
 
 
 
 11 
 
 Madeleine (boul., e'gl., mar- 
 ch^, & pi. de la) 
 
 Mademoiselle 
 
 
 
 
 Lesage . . 
 
 80 
 
 
 
 
 16 
 
 
 Lesdiguieres . . . 
 
 . . . F 
 
 
 25 
 
 
 
 
 10 
 
 
 Madone (de la) 
 
 Madrid (de) 
 
 25 
 15 
 
 
 
 Lesueur 
 
 
 9 
 
 
 
 
 
 Letellier . 
 
 
 
 \(] 
 
 
 — (porte de) 
 
 Magasins G^neraux .... 
 
 3 
 
 
 
 Letort 
 
 19 
 
 
 
 
 33 
 
 Levallois-Perret . . 
 
 .... 
 
 7 
 
 
 
 Magdebourg (de) 
 
 
 8 
 
 
 Levee (passage) . . 
 
 .... 
 
 
 
 26 
 
 Magellan / 
 
 
 12 
 
 
 Levert 
 
 .... 
 
 '6-6 
 
 
 
 Magenta Cboulevard de) /// 
 
 24 
 
 27 
 
 
 Levis (rue & place 
 
 de) . . 
 
 14 
 
 
 
 Mail (du) /// 
 
 
 21 
 
 
 Lhomond 
 
 . . . F 
 
 
 
 19 
 
 Maillot (boulevard) .... 
 
 6 
 
 
 
 Liancourt 
 
 
 
 
 17 
 
 - (porte) 
 
 Main-d'Or (cour de la) . . 
 
 9 
 
 28 
 
 
 Liberte (de la) . . 
 
 
 33 
 
 
 
 Lilas (des) .... 
 
 
 83 
 
 
 
 Maine (avenue du) . . IV 
 
 
 
 16 
 
 Lille (de) 
 
 11,1V 
 
 . 
 
 17 
 
 
 — (place & rue du) .... 
 
 
 
 16 
 
 Lincoln 
 
 . . . I 
 
 
 1'> 
 
 
 Mairie du ler arrondiss. /// 
 
 
 9( 
 
 
 Lingerie (de la) . . 
 
 . . // 
 
 
 90 
 
 
 — du ne - • . . Ill 
 
 
 21 
 
 
 Linn^ 
 
 . . . F 
 
 
 
 99 
 
 — du me - - . . /// 
 
 
 27 
 
 
 Linois 
 
 
 
 7 
 25 
 
 
 — du IVe ..... F 
 du Ve - . F 
 
 
 23 
 
 19 
 
 
 Lions (des) .... 
 
 V 
 
 
 
 Lisbonne (de) 
 
 \h 
 
 
 
 — du Vie . . . . IV 
 
 
 IB 
 
 
 Littr^ 
 
 . . IV 
 
 
 16 
 
 16 
 
 — du vne - - .... 
 
 
 M 
 
 
 Lobau (place) . . . 
 
 . . . F 
 
 
 93 
 
 
 — du Vnie . ... II 
 
 
 18 
 
 
 Lobineau 
 
 . . IV 
 
 
 19 
 
 
 — du IXe - - . . Ill 
 
 91 
 
 
 
 Logelbach (de) . . 
 
 
 14 
 
 
 
 — du Xe - - . . Ill 
 
 
 94 
 
 
 Loire (quai de la). 
 
 .... 
 
 9,9 
 
 
 
 — du Xle ...... 
 
 
 99 
 
 
 Lombards (des) . . 
 
 . . /// 
 
 
 93 
 
 
 — du xne . . .... 
 
 
 
 31 
 
 Londres (de) . . . 
 
 
 18 
 
 
 
 — du Xllle . . .... 
 
 
 
 23 
 
 Longchamp (de). . 
 
 . . . / 
 
 
 9 
 
 
 — du XlVe - . .... 
 
 
 
 17 
 
 Loos fde) 
 
 . . /// 
 
 97 
 
 
 
 — du XVe . . .... 
 
 
 
 iO 
 
 Lord-Byron .... 
 
 . . . / 
 
 19 
 
 
 
 — du XVIe - - .... 
 
 
 fi 
 
 
 Lorraine (de) 
 
 29 
 97 
 
 
 
 — du XVIIe - - .... 
 
 — du XVIIIe - . .... 
 
 17 
 19 
 
 
 
 Louis-Blanc 
 
 
 — Braille .... 
 
 
 8 
 
 34 
 
 - du XIXe ...... 
 
 — du XXe . - .... 
 
 M 
 
 .33 
 
 
 — David 
 
 
 
 
 — le-Grand . . , 
 
 . . II 
 
 
 IS 
 
 
 Maison-Dieu (de la) ... . 
 
 . 
 
 
 17 
 
 — le-Grand Oyce'e) 
 
 . . . F 
 
 
 19 
 
 
 Maison pompeienne . . . / 
 
 
 12 
 
 
 — Philippe .... 
 
 . . . F 
 
 
 23 
 
 
 Maistre (de) 
 
 17 
 
 
 
 — Thuillier. . . . 
 
 . . . F 
 
 
 . 19 
 
 Maitre-Albert F 
 
 
 22 
 
 
 Lourcine ou J^roca C 
 
 hop. de) 
 
 
 . 20 
 7 7 
 
 MalakoflF . 
 
 
 9 
 
 1? 
 
 Lourmel 
 
 — (avenue de) / 
 
 9 

 
 14 
 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. B. G. 
 
 B.R. Q 
 
 MalakoflF (porte de) 
 
 . 10 
 
 Malaquais (quai) . . . 7F . 
 
 iO 
 
 Malar / . 
 
 .1 
 
 Malebranche V . 
 
 19 
 
 Malesherbes (boulevard) // . 
 
 18 
 
 — (place 14 
 
 
 Malber V . 
 
 26 
 
 Malmaisons (des) 
 
 . 27 
 
 Malte (de) /// . 
 
 i'l 
 
 Malte-Brun 
 
 id 
 
 Mandar /// . 
 
 21 
 
 Manin 29 
 
 
 Mansart 17 
 
 
 Manuel 21 
 
 
 Manutention (de la) ... 7 . 
 
 12 
 
 Marais (rue & imp. des) /// . 
 
 27 
 
 Marbeau 9 
 
 
 Marbeuf (avenue & rue) I . 
 
 12 
 
 Marc-Se'guin 25 
 
 
 Marcadet 16 
 
 
 Marceau (avenue) . . . , / . 
 
 L2 
 
 Marche-aux-Bestiaux ... 31 
 
 
 — des - Blancs - Manteaux 
 
 
 (place <fe rue du) . . /// . 
 
 28 
 
 — de-Montrouge (pi. du) . 
 
 . 17 
 
 — Neuf (quai du) 
 
 L9 
 
 — Saint-Honor^ (du) . .// . 
 
 18 
 
 Mare (de la) 
 
 i'6 
 
 Marengo (de) ...//, /// . 
 
 20 
 
 Marguettes (des) 
 
 . U 
 
 Marie (pent) V . 
 
 22 
 
 Marie-et-Louise . ... Ill . 
 
 27 
 
 Marie-Stuart /// . 
 
 24 
 
 Marie-Therese (hosp.) ... . 
 
 . 16 
 
 Marignan (de) / . 
 
 12 
 
 Marigny (avenue) . . . II . 
 
 15 
 
 Marine (min. de la) . . // . 
 
 18 
 
 Mariniers (sentier des) . . . 
 
 . 14 
 
 Marivaux // . 
 
 21 
 
 Maroc (rue & place du) . . 26 
 
 
 Maronites (des) 
 
 iO 
 
 Marronniers (des) 
 
 5 
 
 Marseille (de) /// . 
 
 27 
 
 MarsoUier // . 
 
 21 
 
 Martel 77/24 
 
 
 Martignac (rue & cit^) IV . 
 
 14 
 
 Martin-Bernard 
 
 . 24 
 
 Martyrs (des) 20 
 
 
 Mass^na (boulevard) 
 
 . 30 
 
 Masseran IV . 
 
 13 
 
 Massillon V . 
 
 22 
 
 Masson .... 20 
 
 
 Maternite (hospice de la) . . 
 
 . 19 
 
 Mathis 28 
 
 
 Mathurins (des) .... 77 18 
 
 
 Matignon (rue & avenue) 77 . 
 
 13 
 
 Maubert (place) V . 
 
 22 
 
 Maubeuge (de) 24 
 
 
 Maublanc 
 
 . 10 
 
 Maubu^e 777 . 
 
 23 
 
 Mauconseil 777 , 
 
 21 
 
 Maure (du) 777 
 
 Slaurice (passage) 
 
 Mauvais-Garcons (dee) . . F 
 
 Mayet 7F 
 
 Mayran 
 
 Mazagran (rue & imp.) 777 
 
 Mazarine 7F 
 
 Mazas (place) F 
 
 Mazet F 
 
 Meaux (de) 
 
 Mechain 
 
 Med^ah (de) 
 
 M^decine (^cole de) . . F 
 
 M^dicis (de) 7F,F 
 
 M^gisserie (quai de la) 777, F 
 
 Mehul 77 
 
 Meinadier 
 
 Meissonier 
 
 Manages (square des) . 7F 
 
 Menars 77, 777 
 
 M^nilmontant (boul. de) . 
 
 — (porte de) 
 
 — (de) 
 
 Mercosur 
 
 Me'rime'e 
 
 Merlin 
 
 Meslay 777 
 
 Mesnil 7 
 
 Messageries (des) 
 
 Messine (avenue de). . . . 
 
 Metz (de) 
 
 Meuniers (ruelle des) . . . 
 
 Meyerbeer 77 
 
 M^zieres (de) 7F 
 
 Michal 
 
 Michel-Ange 
 
 — Hidalgo 
 
 — Bizot 
 
 — le-Comte 777 
 
 Michodiere (de la). . . .77 
 Midi ou Ricord (hopital du) 
 
 Mignon F 
 
 Mignottes (des) 
 
 Milan (de) 
 
 Militaire (^cole) . . . . 7F 
 
 Milton 
 
 Mines (^cole de) . . . . 7F 
 
 Minimes (des) F 
 
 Ministere de rAgriculture7F 
 
 — de la Guerre . . 77, 7F 
 
 — de la Justice .... 77 
 
 — de la Marine. ... 77 
 
 — de rinstructionPubl. 7F 
 
 — de rint^rieur ... 77 
 
 — des Affaires Etrang. 77 
 
 — des Colonies .... 77 
 
 — du Commerce et de Tln- 
 dustrie 7F 
 
 — des Finances .... 77 
 
 — desTravaux Publics 7F 
 Miollis
 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 15 
 
 
 B. 
 
 R. 
 
 G. 
 
 ] 
 
 B.] 
 
 R. 
 
 G. 
 
 Mirabeau 
 
 
 ;| 
 
 
 Ml ntrouge (porte de) . . . 
 Montsouris (av. & pare) . . 
 
 
 
 18 
 
 Miracles (cour des) . . /// 
 
 
 24 
 
 
 
 
 21 
 
 Mirbel (de) 
 
 
 
 W 
 
 Mont-Thabor (du) . . . II 
 Montyon (de) /// 
 
 
 1M 
 
 
 Mirom^nil (de) .... // 
 
 
 15 
 
 
 21 
 
 
 
 Missions-Etrangeres . . IV 
 Mogador // 
 
 
 1H 
 
 
 M Grand ... 
 
 
 3(1 
 
 
 
 
 
 Moreau F 
 
 
 25 
 
 
 Moines (des) 
 
 Moliere (fontaine & rue) // 
 (Ivc^e) 
 
 
 
 
 Mi)rere . 
 
 
 
 IK 
 
 
 91 
 
 
 Moret 
 
 
 30 
 
 
 
 f) 
 
 
 
 
 90 
 
 
 Molitor 
 
 
 
 1 
 
 Morillons (des) 
 
 Morland (boulevard) . . F 
 
 
 25 
 
 11 
 
 Blonceaux (de) 
 
 
 
 
 — (pare de) 
 
 
 
 
 Mornay F 
 
 . 
 
 25 
 
 
 Moncey 
 
 
 
 
 Mortier (boulevard) .... 
 
 36 
 
 36 
 
 
 — (place) ou pi. Clichy . . 
 
 
 
 
 Moscou (de); 
 
 18 
 
 
 
 Mond^tour /// 
 
 
 23 
 
 
 Moselle (de la) 
 
 29 
 
 
 
 Mondovi // 
 
 
 18 
 
 
 Mouffetard F 
 
 
 . 
 
 22 
 
 Monge (^cole) 
 
 
 
 
 Moulin-de-Beurre (du). . . 
 
 
 
 13 
 
 — (r. & pi.) V 
 
 
 
 22 
 
 — de-la-Pointe (du) .... 
 
 
 
 24 
 
 — (square) V 
 
 
 22 
 
 
 — dis-Pres (du) 
 
 
 
 23 
 
 Monjol 
 
 
 
 
 Moulinet (du) 
 
 
 
 24 
 
 Monnaie (de la) ... . /// 
 
 
 20 
 
 
 Moulins (des) // 
 
 
 21 
 
 
 Monnaies (hotel des)/F, V 
 
 
 20 
 
 
 Moulin-Vert (rue & imp. du) 
 
 
 
 17 
 
 Monsieur IV 
 
 
 13 
 
 
 Moussy (des) . . . ///, F 
 
 
 23 
 
 
 Monsieur-le-Prince . IV,V 
 
 
 19 
 
 
 Mouton-Duvernet 
 
 
 
 17 
 
 Monsigny 11 
 
 
 21 
 
 
 Mouzaia (de) 
 
 33 
 
 
 
 Montagne-Sainte-Genevieve 
 
 
 
 
 Mozart 
 
 
 5 
 
 
 (de la) V 
 
 
 22 
 
 
 Muette (chat, de la). . . . 
 
 
 5 
 
 
 Montaigne // 
 
 
 15 
 
 
 — (porte de la) 
 
 
 ^ 
 
 
 — (av.) /, // 
 
 
 12 
 
 
 Mulhouse (de) . ... Ill 
 
 
 21 
 
 
 — Gycee) IV 
 
 
 
 19 
 
 MuUer 
 
 20 
 
 
 
 Montalivet // 
 
 
 15 
 
 
 Murat (boulevard) .... 
 
 
 1 
 
 1 
 
 Montbrnn . . . , 
 
 
 
 17 
 
 Murillo 
 
 Murs-de-la-Roquette (des) . 
 
 15 
 
 29 
 
 
 Montcalm 
 
 
 
 
 Mont-Cenis (dn) 
 
 Montchanin 
 
 
 
 
 Musset (de) 
 
 
 
 1 
 
 
 
 
 Myrrha 
 
 23 
 
 
 
 Mont-Dore (du) 
 
 
 
 
 
 
 
 
 Mont-de-Piae /// 
 
 
 23 
 
 
 Nansouty 
 
 
 
 21 
 
 Moatebello (quai de) . . F 
 
 
 22 
 
 
 Nantes (de) 
 
 28 
 
 
 
 Montempoivre (porte de) . 
 
 
 
 34 
 
 Naples (de) 
 
 lb 
 
 
 
 Montenotte (de) 
 
 
 
 
 Nation (de la) ...... . 
 
 23 
 
 
 
 Montesquieu ...//, /// 
 Montessuy (de) / 
 
 
 'XI 
 
 
 
 
 31 
 
 
 
 11 
 
 
 National (boulevard) . . . 
 
 13 
 
 
 
 Montfaucon IV 
 
 
 1M 
 
 
 — (pont) 
 
 
 
 oq 
 
 Montgallet 
 
 
 
 SI 
 
 Nationale 
 
 
 
 96 
 
 Montgolfier /// 
 
 
 24 
 
 
 Nativity (place & ^glise dela) 
 
 
 . 
 
 29 
 
 Montbolon (rue & square) 
 
 
 
 
 Navarin (de) 
 
 21 
 
 
 
 Montiboeufs (des) 
 
 
 36 
 
 
 Navarre (de) F 
 
 . 
 
 
 22 
 
 Monti ouis . . 
 
 
 32 
 21 
 21 
 
 
 Navier 
 
 Necker F 
 
 16 
 
 26 
 13 
 
 
 Montmartre 112 
 
 
 
 — (boulevard) .... Ill 
 
 — (hospice) IV 
 
 
 - (cim.) 
 
 
 
 
 Nemours (de) IV 
 
 
 21 
 
 
 Montmorency(av.<febonl. de) 
 
 
 1 
 
 
 Nesle (de) IV, V 
 
 
 20 
 
 
 - (de) /// 
 
 
 23 
 
 
 Neuf (Pont). . . . ///, F 
 
 
 20 
 
 
 Montorgueil /// 
 
 
 21 
 
 
 Neuilly (av. de) 
 
 2 
 
 
 
 Mont-Parnasse (du) . . IV 
 
 
 
 16 
 
 — (porte de) 
 
 3 
 
 
 
 — (boul. du) 
 
 
 
 16 
 
 — Levallois (hippodr. de) . 
 
 Neuve-des-Boulets 
 
 Neva (de la) 
 
 4 
 
 
 
 — (cimet.) 
 
 
 
 16 
 16 
 
 15 
 
 81 
 
 
 - (gare) IV 
 
 
 
 
 Montreuil (porte de) ... 
 
 
 •k 
 
 
 Nevers (de) IV, V 
 
 
 20 
 
 
 — (de) 
 
 
 '! 
 
 15 
 
 Newton / 
 
 Ney (boulevard) 
 
 
 12 
 
 
 Montrouge 
 
 
 22 

 
 16 
 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. R. G. 
 
 B.R.G. 
 
 Nice (de) 
 
 — la-Frontiere (de) .... 
 
 Nicolai 
 
 Nicolas-Chuquet 
 
 — Flamel /// 
 
 Nicolet 
 
 Nicolo 
 
 Kiel 
 
 Nil (du) /// 
 
 Nitot / 
 
 Nollet . . . ., 
 
 Nonnains-d'Hyerea (des) F 
 
 Nonnettes (des) 
 
 Nord (gare dn) 
 
 Normandie (de) .... /// 
 
 Norvins 
 
 Notre-Dame (^gliae) . . . F 
 
 — (pont) F 
 
 — de - Bonne - Nonvelle 
 (^glise & rue) .... Ill 
 
 — de-Clignancourt (egl.) . 
 
 — de-la-Croix (^gl.) .... 
 
 — de-la-Gare (^gl.) .... 
 
 — de-Lorette (rue et eglise) 
 
 — de-Nazareth .... /// 
 
 — de-Recouvrance . . /// 
 
 — des-Blancs-Manteaux /// 
 
 — de8-Champ8(r. et^gl.)/F 
 
 — des-Victoires (rue, place, 
 & Eglise) /// 
 
 Nouveau Cirque . ... II 
 Nouveaut^a (th. des) . . . 
 Nouvelle-Californie .... 
 
 Oberkampf /// 
 
 Oblin /// 
 
 Observatoire 
 
 — (avenue & carrefour de V) 
 
 Odeon (place, rue & th. del') 
 
 /F, V 
 
 Odessa (d') IV 
 
 Odiot (cit6) / 
 
 Offemont (d') 
 
 Oise (quai de T) 
 
 Oiseaux (anc. mais. des) IV 
 
 Olier 
 
 Olive (1') 
 
 Olivier-de-Serres 
 
 Omer-Talon 
 
 Opera (av. de T) . . . . // 
 
 — (passage de T) ... II 
 
 — (theatre & pi. de V) II 
 
 — Comique (th. de F) // 
 
 Oran (d') 
 
 Oratoire(r.&^gl,der)//,/// 
 
 Ordener 
 
 Orfevres (quai des) . . . F 
 
 Orfila 
 
 Orillon (rue & impasse de V) 
 Orleans (av. d') 
 
 — (gare) . . 
 
 20 
 
 25 
 
 Orleans (porte d') 
 
 — (quai d') F 
 
 Orme (de T) 
 
 Ormeaux (des) 
 
 Ormesson (d') F 
 
 Ornano (boulevard) .... 
 Orsay (quai d') . . . /, // 
 
 Orsel (d') 
 
 Orteaux (des) 
 
 Oudinot IV 
 
 Oudry 
 
 Ouest (rue & impasse de T) 
 Ourqc (de T) 
 
 — (canal de T) 
 
 Ours(aux)(Et.-Marcel) /// 
 
 Paix (de la) 
 
 Pajol 
 
 Paj ou 
 
 Palais (boulevard du). . F 
 Palais-Bourbon (place du) // 
 
 — des Arts Liberaux , . / 
 
 — des Beaux- Arts. . . . 1 
 
 — des Machines . . . . I 
 Palais-Royal // 
 
 — (place du) // 
 
 Palatine IV 
 
 Palestine (de) 
 
 Palestro (de) /// 
 
 Palikao (de) 
 
 Palmyre 
 
 Panoramas (r.<fepass.des)/i/ 
 
 Panoyaux (des) 
 
 Pantheon F 
 
 — (place du) F 
 
 Pantin 
 
 — (porte de) 
 
 Paon-Blanc (du) F 
 
 Pape-Charpentier . . . IV 
 
 Papillon 
 
 Paradis (de) /// 
 
 Parcheminerie (de la) . . F 
 Parc-Royal (du) .... /// 
 
 Paris (de) 
 
 Parme (de) 
 
 Parmentier (avenue) . /// 
 
 Partants (des) 
 
 Parvis- Notre -Dame (place 
 
 du) F 
 
 Pascal 
 
 Pasquier 
 
 Passy (pont de) / 
 
 — (quai de) / 
 
 — (r. (fepl.de) / 
 
 — (station de) 
 
 Pasteur (Institut) 
 
 Pastourel /// 
 
 Pastourelle /// 
 
 Patay (de) 
 
 Paul-Baudry / 
 
 — Bert
 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 17 
 
 B. B. O. 
 
 B.B.G. 
 
 Paul-Lelong /// 
 
 — Louis-Courier . . . lY 
 
 Pauquet / 
 
 Pav^e F 
 
 Payen (impasse) 
 
 Payenne /// 
 
 Peclet 
 
 Pel^e (ruelle) .* .* .' .' .' /// 
 Pelican (dn) ... //, /// 
 
 Pelleport 
 
 Penthievre (de) . ... II 
 Pepiniere (de la) ... // 
 
 Perceval 
 
 Perchamps (rue & place des) 
 
 Perche (du) /// 
 
 Percier (avenue) . . . II 
 
 Perdonnet 
 
 Pereire (boulevard & place) 
 
 Pere-Lachaise 
 
 Pergolese 
 
 P^rignon IV 
 
 Perle (de la) /// 
 
 Pernelle /// 
 
 Pernetty 
 
 Perrault /// 
 
 Perr^e /// 
 
 Perret (pass) 
 
 Perronet IV 
 
 P^tel 
 
 Petit 
 
 Petit-Musc (du) V 
 
 Petit-Pont V 
 
 — (rue du) V 
 
 Petite-Pierre (de la). . . . 
 Petite Rue de Paris. . . . 
 Petites-Ecuries (rue & pas- 
 sage des) /// 
 
 Petits-Carreaux (des) . /// 
 
 — Champs (des). . 11,111 
 
 — Hotels (des) 
 
 — Peres (r. &pl.des) //, /// 
 
 P^trarque / 
 
 P^trelle 
 
 Peupliers (avenue des) . . 
 
 — (rue & poterne des) . . 
 
 Phalsbourg (de) 
 
 Pharmacie (^cole de) . IV 
 Philippe-Auguste (avenue) 
 Philippe-de-Girard . . . . 
 
 Piat 
 
 Picardie (de) /// 
 
 Piccini 
 
 Picot 
 
 Picpus (de) 
 
 — (boulevard de) 
 
 — (cim., orat., & s^min. de) 
 Pierre-au-Lard .... /// 
 
 — Charron / 
 
 — Dillery 
 
 — Gu^rin 
 
 — Larousse 
 
 26 
 20 
 
 33 36 
 
 15 
 
 18 
 
 10 
 
 24 
 
 24 
 
 26 
 
 30 30 
 27 
 
 23 
 
 . 7 
 
 , II 
 
 V 
 
 III 
 
 Bakdeker. Pari:j. 12tli Edit, 
 
 Pierre-le-Grand 12 
 
 — Leroux IV 
 
 — Lescot /// 
 
 — Levee /// 
 
 — Nys 
 
 — Picard 
 
 — Sarrazin V 
 
 Pigalle (r. & pi.) 
 
 Pinel (rue & place) .... 
 Piti^ (hop. & rue de la) V 
 
 Pix^r^court 
 
 Plaine (de la) 
 
 — (poterne de la) 
 
 Plaisance (porte de). . . . 
 
 Planchat 
 
 Plantes (des) 
 
 Plat-d Etain (du) . . . /// 
 
 Platre (du) /// 
 
 Plumet 
 
 Poccart 
 
 Point-du-Jour 
 
 — (pont du) 
 
 Pointe-d'Ivry (de la) . . . 
 Poissonniere /// 
 
 — (boul.) /// 
 
 Poissonniers (des) 
 
 Poissy (de) V 
 
 Poitevins (des) V 
 
 Poitiers (de) 
 
 Poitou (de) /// 
 
 Poliveau (de) 
 
 Polonceau 
 
 Polytechnique (€cole) . . V 
 
 Pomereu (de) 
 
 Pommard (de) 
 
 Pompe (de la) / 
 
 Ponceau(rue & pass. du)/// 
 
 Poncelet 
 
 Poniatowski (boulevard) . 
 
 Pont (du) 
 
 Pont-aux-Choux (du) . /// 
 Pont-de-Lodi (du) . . 
 Ponthieu (de) .... 
 Pont-Louis-Philippe , 
 Pont-Neuf (du) . . 
 
 Pontoise (de) V 
 
 Ponts-et-Chau8. (^c. des) IV 
 
 Popincourt 
 
 Portalis (avenue) . . . II 
 
 Porte-Foin /// 
 
 Port-Mahon (du) . . . II 
 Port-Royal (boul. de) . . . 
 
 Possoz (place) 
 
 Postes (administr. des) /// 
 
 Pot-de-Fer (du) V 
 
 Poteau (du) 
 
 Poterie (de la) ... . /// 
 
 Pouchet 
 
 — (porte) 
 
 Poulet 23 
 
 PouUetier V \ 
 
 II 
 
 31 
 
 17 
 
 22 
 
 32 
 
 22 
 
 20 
 
 22
 
 18 
 
 LIST OF THE PRINCIPAL STREETS, 
 
 
 B. 
 
 R 
 
 G. 
 
 
 B. 
 
 E. 
 
 G. 
 
 Ponssin 
 
 
 1 
 
 
 Easpail (boul.) . ... IV 
 
 Rataud 7 
 
 Ravignan 
 
 
 16 
 
 1fi 
 
 Pradier 
 
 30 
 
 35 
 
 
 20 
 
 
 19 
 
 Prairies (des) . 
 
 
 Pre-aux-Clercs (du) . . IV 
 
 
 17 
 
 
 Raynaud (cit^) 
 
 . 
 
 
 14 
 
 — St-Gervais (le) 
 
 bb 
 
 
 
 Raynouard / 
 
 . 
 
 8 
 
 
 — (porte dn) 
 
 3G 
 
 
 
 Reaumur /// 
 
 
 24 
 
 
 Prechenrs (des) .... /// 
 
 
 23 
 
 
 R^beval 
 
 30 
 
 
 
 Prefecture de la Seine // 
 
 
 17 
 
 
 Recollets (des) . ... Ill 
 
 2/ 
 
 
 
 — de Police V 
 
 
 20 
 
 
 Recnlettes (ruelle des) . . 
 
 
 
 23 
 
 Presbourg (de) / 
 
 12 
 
 
 
 Regard (du) IV 
 
 . 
 
 16 
 
 
 Presentation (de la) ... . 
 
 
 30 
 
 
 Regis IV 
 
 . 
 
 16 
 
 
 Presles (de) / 
 
 Pressoir (du) 
 
 
 1(1 
 
 
 
 
 
 30 
 
 
 30 
 
 
 
 
 
 13 
 
 Pretres - St- Germain- T Aux. 
 
 
 
 
 Reille (avenue) 
 
 
 
 21 
 
 (des) /// 
 
 
 20 
 
 
 Reine (Cours la) . . I, II 
 
 
 15 
 
 
 Pretres-St-Severin (des) . V 
 
 33 
 
 
 
 Reine-Blanche (de la) . . . 
 
 
 
 22 
 
 Prevost (passage) ..... 
 
 
 
 20 
 
 — de-Hongrie (passage de 
 
 
 
 
 Pr^vot 7 
 
 
 23 
 
 
 la) /// 
 
 
 21 
 
 
 Prevoyanee (de la) ... . 
 
 32 
 
 
 
 Rembrandt 
 
 15 
 
 
 
 Priestley 
 
 Princes (passage des)//, /// 
 
 311 
 
 
 
 Remusat (de) 
 
 
 /{ 
 
 
 
 21 
 
 
 Renaissance (de la) ... / 
 
 
 12 
 
 
 Princesse IV 
 
 
 19 
 
 
 — (theatre de la) . . . /// 
 
 
 24 
 
 
 Procession (de la) 
 
 
 
 13 
 
 Renard (du) /// 
 
 
 23 
 
 
 Prony 
 
 11 
 
 
 
 Rendez-vous (du) 
 
 . 
 
 34 
 
 
 Proudhon 
 
 
 
 31 
 
 Rennequin 
 
 Rennes (de) IV 
 
 11 
 
 16 
 
 
 Prouvaires (des) . . . /// 
 
 
 20 
 
 16 
 
 Provence (de) ...//, /// 
 
 18 
 
 
 
 Republique (av. de la) /// 
 
 36 
 
 27 
 
 
 Providence (de la) .... 
 
 
 
 24 
 
 — (place de la) . . . . /// 
 
 
 27 
 
 
 Prud'hon (avenue) 
 
 
 5 
 
 
 Reservoirs (des) . . . . / 
 
 
 8 
 
 
 Puits-de-rErmite (du) . . 7 
 
 
 
 22 
 
 Retiro (cite da) ... // 
 
 . 
 
 18 
 
 
 Puteaux 
 
 17 
 
 
 
 Retrait (du) 
 
 
 33 
 
 
 Py (de la) 
 
 
 3fi 
 
 
 Reuilly (boulevard de) . . 
 — (porte de) 
 
 
 
 31 
 
 Pyramides (des). . . . // 
 
 
 18 
 
 
 
 
 35 
 
 Pyr^ndes (r. & place des) . . 
 
 33 
 
 33 
 
 
 — (de) 
 
 
 •>8 
 
 31 
 
 
 
 
 — (station de) 
 
 
 
 31 
 
 ftuatrefages 7 
 
 
 
 22 
 
 Reunion (passage de la) /// 
 
 
 23 
 
 
 Quatre-Fils (des) . . . /// 
 
 
 23 
 
 
 — (rue & place de la) . . 
 
 
 32 
 
 
 Quatre-Sept. (du) . . . .11 
 
 
 21 
 
 
 — (villa de la) 
 
 
 
 4^ 
 
 Quatre-Vents (des) . . IV 
 
 
 . 
 
 19 
 
 Reynie (de la) .... /// 
 
 
 23 
 
 
 
 
 
 1(1 
 
 Rhin (du) 
 
 Ribera 
 
 '>q 
 
 
 
 Quincampoix /// 
 
 
 23 
 
 10 
 
 
 4 
 35 
 
 
 Quintinie (de la) 
 
 Riblette 
 
 
 
 Quinze-Vingts (hospice des) 
 
 
 ^fi 
 
 
 Richard-Lenoir 
 
 
 99 
 
 
 
 
 
 
 — (boulevard) . . . ///, 7 
 
 
 26 
 
 
 Babelais ....... // 
 
 
 15 
 
 
 Richard-Wallace (boulevard) 
 
 2 
 
 
 
 Racine IV, V 
 
 
 19 
 
 
 Richelieu (de). . . //, /// 
 
 
 21 
 
 
 - (lyc^e) 
 
 18 
 
 
 
 — (square) // 
 
 
 21 
 
 
 Radzivill //, /// 
 
 
 21 
 
 
 Richepanse // 
 
 
 18 
 
 
 Raflfet 
 
 
 1 
 
 28 
 
 Richer /// 
 
 Richerand (avenue) . . /// 
 
 21 
 
 27 
 
 
 
 Raguinot (passage) .... 
 
 
 
 Rambouillet (de) 
 
 
 
 28 
 
 Richomme 
 
 23 
 
 
 
 Rambuteau (de). . . . /// 
 
 
 23 
 
 
 Ricord (hopital) 
 
 
 
 19 
 
 Rameau // 
 
 
 21 
 
 
 Rigaud / 
 
 
 9 
 
 
 Ramey 
 
 20 
 
 
 
 Rigny (de) // 
 
 18 
 
 
 
 Rampon /// 
 
 
 27 
 
 
 Rigoles (rue et cit^ des). . 
 
 33 
 
 33 
 
 
 
 
 30 
 5 
 
 
 
 
 
 17 
 
 Eanelagh (av. & rue du) . 
 
 
 Riquet 
 
 26 
 
 
 
 Raoul (passage) 
 
 
 29 
 
 
 Riverin (cit^) /// 
 
 
 •M 
 
 
 Rap^e (quai de la) ... 7 
 
 
 
 25 
 
 Rivoli (de) . . //, ///, 7 
 
 
 20 
 
 
 Raphael (avenue) 
 
 
 5 
 
 
 — (place de) // 
 
 
 18 
 
 
 Rapp (avenue) / 
 
 
 11 
 
 
 Rochebrune 
 
 
 29 

 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 19 
 
 B. R. O. 
 
 B.S.G. 
 
 Rochechouart 
 
 — Cboul. de) 
 
 Rocher (du) 
 
 Rocroy (de) 
 
 Rodier 
 
 Roger 
 
 Rohan (de) // 
 
 Roi-de-Sicile (du) . . . . F 
 
 Roi-Dor^ (du) /// 
 
 RoUin 7 
 
 — (college) 
 
 Romainville (r. & porte de) 
 Rome (de) // 
 
 — (passage de) . . . . /// 
 
 Ronce (passage) 
 
 Rondelet 
 
 Ronsard 
 
 Roqu^pine // 
 
 Roquette (de la) 
 
 — (prison de la) 
 
 Roses (des) 
 
 Rosiers (des) V 
 
 Rossini //, /// 
 
 Rotrou V 
 
 Rottembourg 
 
 Rouelle / 
 
 Rougemont (rue & cite) /// 
 Rouget-de-risle . ... II 
 Roule (du) /// 
 
 — (avenue du) 
 
 Roussel 
 
 Rousselet IV 
 
 Roussin 
 
 Rouvet 
 
 Roy // 
 
 Royal (pont) // 
 
 Royale // 
 
 Royer-Collard (r. & imp.) 7 
 
 Rubens 
 
 Ruisseau (du) 
 
 Eungis (pi. de) 
 
 Ruty 
 
 Ruysdael (avenue) .... 
 
 Sabliere (de la) 
 
 Sablonniere (ruelle de la) 
 Sablons (des) / 
 
 — (porte des) 
 
 Sablonville 
 
 Sabot (du) IV 
 
 Sacr^-Coeur (couv. du) IV 
 
 — (^glise du) 
 
 Saida (de la) 
 
 St-Amand 
 
 St-Ambroise (^gl. &t.) . . 
 
 St-Anastase /// 
 
 St-Andre-des-Arts (rue & 
 
 place) 77, 7 
 
 StAntoine 7 
 
 — (hopital) 
 
 St-Augustin // 
 
 20 
 
 22 
 
 34 
 
 St-Augustin (^gl.) 
 
 St-Benoit IV 
 
 St-Bernard (^glise) .... 
 
 — (quai) 7 
 
 — (rue & imp.) 
 
 St-Blaise 
 
 St-Bon /// 
 
 St-Bruno 
 
 St-Charles I 
 
 St-Claude /// 
 
 St-Cloud (avenue de) . . . 
 
 — (porte de) 
 
 8t-Denis Ill 
 
 — (boul.) /// 
 
 - (canal) 
 
 — du-St-Sacrement (eglise) 
 
 III 
 
 St-Didier / 
 
 St-Dominique .... /, // 
 
 — (passage) / 
 
 St-Esprit (s^m. du) . . . F 
 St-Etienne-du-Mont (rue & 
 
 eglise) 7 
 
 St-Eugene (dglise-). . . Ill 
 St-Eustache (^glia place, & 
 
 impasse) (Halle&) . . /// 
 
 St-Fargeau 
 
 St-Ferdinand (chap., rue, & 
 
 place) 
 
 8t-Fiacre /// 
 
 St-Florentin // 
 
 St-Francois-de-Sales . . . 
 
 — (^gl-) 
 
 St-Francois-Xavier (place 
 
 & Eglise) IV 
 
 St-Georges (eglise) .... 
 
 — (rue & place). . . . II 
 St-Germain(boul.)//,/7, 7 
 
 — (ile) 
 
 — (march^) IV 
 
 — de-Charonne (eglise) . . 
 
 — des-Pr^s (eglise & pi.) IV 
 
 — TAuxerrois (egl. & r.) /// 
 St-Gervais (Eglise) .... 
 
 St-Gilles /// 
 
 St-Gothard (du) 
 
 St-Guillaume IV 
 
 St-Hippolyte 
 
 St-Honor^ (cloitre) II, III 
 
 — (rue) II 
 
 — (marche) II 
 
 St"Hyacinthe 7 
 
 St-Jacques 7 
 
 — (boulevard) 
 
 — (squ. & tour). . . . Ill 
 
 — du-Haut-Pas (^gl.) . . 7 
 St-Jean-Baptiste-de-Belle- 
 
 ville (eglise) 
 
 de-Grenelle (Eglise) . 
 
 St-Jean-de-Dieu (Freres) IV 
 St-Joseph Ill 
 
 U* 
 
 23 
 
 26 
 
 22 
 
 16 
 
 20 
 
 20 
 
 23 
 
 33
 
 50 
 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. R. G. 
 
 B.E.G. 
 
 St-Jo8eph ((^gl.) 
 
 
 97 
 
 — des Allemands 
 
 27 
 
 
 — (chap, angl.) 
 
 12 
 
 
 St-Julien-le-Pauvre . . . V 
 
 
 22 
 
 St-Lambert 
 
 
 
 St-Laurent (e'glise) .... 
 
 
 
 — (passage) /// 
 
 
 24 
 
 St-Lazare (prison) .... 
 
 24 
 
 
 — (rue & gare) .... // 
 
 18 
 
 
 St-Leu (eglise) .... /// 
 
 
 23 
 
 St-Louis (hopital) . . /// 
 
 27 
 
 
 — (lie et pont) F 
 
 
 22 
 
 - (lycee) V 
 
 
 19 
 
 — aux-Invalides (Eglise) IV 
 
 
 14 
 
 — d'An-tin (Eglise) . . II 
 
 18 
 
 
 — en-rile (rue & eglise) V 
 
 
 22 
 
 St-Mande (av. & porte de) 
 
 
 
 St-Marc //, /// 
 
 
 21 
 
 St-Mareel (boul. & ^gl.) . . 
 
 
 
 St-Martin Ill 
 
 
 28 
 
 — (boul. & porte) . . . /// 
 
 
 24 
 
 — (canal) 
 
 27 
 
 2f 
 
 — (marche) /// 
 
 . 
 
 24 
 
 St-Maur-Popincourt . . /// 
 
 27 
 
 29 
 
 St-Medard (r. & eglise) . V 
 
 
 
 St-Merry (r. & 6gl.} V, III 
 
 . 
 
 23 
 
 St-Michel(boul.). . IV, V 
 
 
 19 
 
 
 
 
 — (pont, place, & quai) V 
 
 
 19 
 
 5t-Nicola3 (port) . . . II 
 
 
 20 
 
 — des-Champs (Eglise) . . 
 
 
 24 
 
 — du-Chardonnet (eglise) . 
 
 
 22 
 
 St-Ouen (av. & porte de) 
 
 16 
 
 
 St-Paul (rue & pass.) . . V 
 
 
 25 
 
 — Saint-Louis (e'glise) . V 
 
 
 25 
 
 St-Petersbourg (de) .... 
 
 17 
 
 
 St-PMlibert (avenue) . . . 
 
 
 5 
 
 St-Philippe /// 
 
 
 24 
 
 — du-Roule (Eglise). . // 
 
 15 
 
 
 St-Pierre-de-Chaillot. . . / 
 
 
 12 
 
 — de-Montmartre (place & 
 
 
 
 Eglise) 
 
 20 
 
 
 — de-Montrouge (eglise) . 
 
 
 
 — du-Gros-Caillou (^gl.) / 
 
 
 12 
 
 — du-Temple (pass.) . /// 
 
 
 26 
 
 — St-Antoine (passage) . V 
 
 
 25 
 
 St-Placide IV 
 
 
 16 
 
 St-Rocb (egl. & rue) . . // 
 
 
 18 
 
 St-Romain IV 
 
 
 16 
 
 St-Sabin ///, V 
 
 
 26 
 
 St-Sauveur /// 
 
 
 21 
 
 St-Sebastien /// 
 
 
 26 
 
 St-Severin (rue & eglise) V 
 
 
 19 
 
 St-Siege (legation du) .IV 
 
 
 17 
 
 St-Simon IV 
 
 
 17 
 
 St-Sulpice (rue, pi., & €gl.) 
 
 
 
 IV 
 
 
 19 
 
 — (seminaire de) 
 
 
 
 St-Thomas-d'Aquin (Eglise, 
 
 
 
 rue, & place) . ... IV 
 
 
 1/ 
 
 St-Victor V 
 
 
 22 
 
 St- Vincent, Montmartre . . 
 
 — de - Paul (Eglise) .... 
 
 — de-Paul (soeurs de) . IV 
 
 St- Yves 
 
 Ste-Alice 
 
 Ste-Anne (e'glise) 
 
 — (rue & pass.) . . . II 
 
 — Popincourt (pass.) . . . 
 
 Ste-Apolline /// 
 
 Ste-Avoye (passage) . . /// 
 Ste-Barbe (college) . . . F 
 
 Ste-Cecile /// 
 
 Ste-Chapelle (pal. de just.) V 
 Ste-Clotilde (eglise) . . IV 
 Ste-Croix-de-la-Bretonnerie 
 
 (rue & pass.) . . . ///, F 
 Ste-Elisabeth (r. & ^gl.) /// 
 
 Ste-Eugenie 
 
 Ste-Euphrasie 
 
 Ste-Fe'Ueit^ (impasse) . . . 
 Ste-Foy (rue & pass.) . /// 
 Ste-Genevieve (eglise) . F 
 
 — (place) F 
 
 Ste-Marguerite (r. & egl.) . 
 Ste-Marie 
 
 — (cour & passage) .... 
 
 — des-Batignolles (Eglise) . 
 
 Ste-Marthe /// 
 
 Ste-Opportune (r. (fepl.) /// 
 Ste-Pelagie (prison) . . . V 
 Ste-Perine (institut. de) . . 
 Saintonge (de) .... /// 
 Saints-Peres (des) . . . IV 
 
 — (pont des) . . . .II, IV 
 
 Salneuve 
 
 Salomon-de-Caus . . . /// 
 Salpetriere (de la) .... 
 
 — (hopital de la) 
 
 Sambre-et-Meuse (de) . . . 
 
 Samson 
 
 Sante (rue et prison de la) 
 
 Santeuil 
 
 Sarette 
 
 Sauffroy 
 
 Saules (des) 
 
 Saulnier (passage) . . /// 
 Saumon (passage du) . /// 
 Saussayes (des) .... // 
 
 Saussure 
 
 Sauvage 
 
 Sauval /// 
 
 Savoie (de) F 
 
 Saxe (avenue de) . . . IV 
 
 Scala (la) /// 
 
 Sceaux (anc. gare de). . . 
 Sceaux-Ceinture (stat. de) 
 
 Scheffer / 
 
 Schomberg F 
 
 Schomer 
 
 Scipion (rue & place) . . . 
 Scribe //
 
 SQUARES, PTJHLTC BUILDINGS, etc. 
 
 21 
 
 L. G. 
 
 B.R.O. 
 
 S^bastopol (bonlev. de) /// 
 
 SecT^tan 
 
 Sedaine F 
 
 Siguier V 
 
 S^gur (avenue de) , . IV 
 Seine (de) IV 
 
 — (quai de la) 
 
 S^nat (palais du) . . . IV 
 
 S^n^gal Cdu) 
 
 Sentier (dn) /// 
 
 Sergent-Bauchat (du) . . . 
 
 Serpente V 
 
 S^rurier (boulevard) . . . 
 
 Servan 
 
 Servandoni IV 
 
 Seveste 
 
 S^vign^ V 
 
 Sevres (de) IV 
 
 — (porte de) 
 
 Seze (de) // 
 
 Sfax (de) / 
 
 Sibuet 
 
 Simart 
 
 Simon-le-Franc .... /// 
 
 Simonet (passage) 
 
 Simplon (du) 
 
 Singer 
 
 Smala (de la) 
 
 Soeur-Rosalie (avenue) . . 
 Solferino (rue & pont de) // 
 
 Solidarite (de Ih) 
 
 Solitaires (des) 
 
 Sommerard (du) .... 7 
 
 Sontay (de) / 
 
 Sorbier 
 
 Sorbonne F 
 
 — (pi., r., & pass, de la) F 
 
 Soufflot F 
 
 Soult (boulevard) 
 
 Source (de la) 
 
 Sourdifere (de la) . . . // 
 
 Sourdis /// 
 
 Sourd8-Muet8(in8tit. des). F 
 
 Soyer 
 
 Spontini 
 
 Stanislas (rue & passage) IV 
 
 — (college) IV 
 
 Steinkerque (de) 
 
 Stender (cit^) 
 
 Stendhal 
 
 Stephenson 
 
 Stinville (passage) 
 
 Strasbourg (rue & gare de) 
 
 — (boulevard de). . . Ill 
 Suchet (boulevard) .... 
 
 Sud (passage du) 
 
 SuflFren (avenue de) . . . I 
 
 Suger F 
 
 Suisses (passage des) . . . 
 Sully (de) F 
 
 — (pout) F 
 
 30 
 
 29 
 
 20 
 
 22 
 
 22 
 
 23 
 
 29 
 
 34 
 
 23 
 
 23 
 
 34 
 
 Surcouf // 
 
 Suresne (de) // 
 
 Surmelin (du) 
 
 Sycomores (avenue des) . . 
 
 Tabacs (manufacture des) // 
 Tacherie (de la) . . . . F 
 
 Tage (du) 
 
 Taillandiers (des) 
 
 Taillebourg (avenue de) . . 
 
 Taillepain /// 
 
 Taitbout // 
 
 Talma 
 
 — (cit^) 
 
 Tanger (de) 
 
 Tanneries (des) 
 
 Tarbe 
 
 Tardieu 
 
 Taylor /// 
 
 T^h^ran (de) // 
 
 Telegraphe (du) 
 
 Temple (du) /// 
 
 — (boul. du) /// 
 
 — (marche du) .... /// 
 
 — (square du) .... /// 
 
 T^niers 
 
 Tdnon (hopital) 
 
 Ternaux 
 
 Ternes (pi. des) 
 
 — (av., cite, & porte des). 
 Terrage (du) ....... 
 
 Terrasse (de la) 
 
 Terre-Neuve (de) 
 
 Terres-au-Cure (des) . . . 
 
 Tertre (place du) 
 
 Tesson 
 
 Texel (du) 
 
 Thann (de) 
 
 Theatre (du) 
 
 Th. D^jazet Ill 
 
 Th. de rAmbigu . . . /// 
 Th. de la Gaite . . . Ill 
 Th. delaPorte-St-Martin III 
 Theatre de la Renaissance 
 
 III 
 Th. de rOd^on . . . . F 
 Th. de rOpera .... II 
 Th. de rOpera-Comique // 
 Th. desBoufiFes-Parisiens // 
 Th. des Folies-Dramat. /// 
 Th. des Folies-Marigny // 
 Th. des Nouveaut^s . . // 
 Th. des Varietes . . . /// 
 Th. du Chateau d'Eau /// 
 Th. du Chatelet . . . . F 
 Th. du Gymnase . . . /// 
 Th. du Palais-Royal . . / 
 Th. du Vaudeville . . // 
 
 Th. Francais // 
 
 Th^nard F 
 
 Theodule-Ribot 
 
 24 
 
 26 
 
 32 
 
 27 
 
 20 
 
 27 
 
 13 
 
 14 
 
 12
 
 22 
 
 LIST OF THE PRINCIPAL STREETS, 
 
 B. £. Q. 
 
 B.S. O. 
 
 Theophile-Gautier .... 
 
 
 4 
 21 
 
 
 Tronson-Ducoudray . . 77 
 
 18 
 
 
 
 Th^rese // 
 
 
 
 Trousseau (hopital) .... 
 
 
 28 
 
 
 Thermopyles (passage des) 
 
 
 6 
 
 17 
 
 Troyon 
 
 12 
 
 
 
 Th^ry 
 
 
 
 Trudaine (avenue) .... 
 Truflfault 
 
 20 
 
 
 
 Th^venot /// 
 
 
 24 
 
 
 14 
 
 
 
 ThiViaTifl 
 
 
 
 17 
 
 Tuileries(jard., palais,quai, 
 & rue des) 77 
 
 
 
 
 Thibotimery 
 
 
 
 11 
 
 
 17 
 
 
 Thierr^ (passage) 
 
 
 25 
 
 
 Turbigo (de) 777 
 
 
 24 
 
 
 Thionville (de) 
 
 'iy 
 
 
 
 Turenne 777, V 
 
 
 26 
 
 
 Tholoze 
 
 20 
 
 
 
 Turgot (rue & place) . . . 
 
 21 
 
 
 
 Thorel /// 
 
 
 24 
 
 
 Turin (de) 
 
 18 
 
 
 
 Thorigny (de) /// 
 
 
 26 
 
 
 
 
 
 
 Thouin V 
 
 
 
 22 
 
 Ulm (d') V 
 
 
 
 i» 
 
 Tiers 
 
 
 
 ^'^ 
 
 Union (passage de T) . 77 
 Universite (de T) 7, 77, IV 
 
 
 11 
 
 
 Tilleuls (avenue des) . . . 
 
 . 
 
 1 
 
 
 
 17 
 
 
 Tilsitt (de) 
 
 12 
 
 
 
 Ursins (des) V 
 
 
 23 
 
 
 Timbre (hotel da) 77, 777 
 
 
 21 
 
 
 Ursulines (des) V 
 
 
 
 19 
 
 Tiphaine 
 
 
 10 
 
 
 
 
 7 
 
 
 Tiquetonne 777 
 
 • 
 
 24 
 
 
 Uzes (d') 777 
 
 
 21 
 
 
 Tiron V 
 
 • 
 
 23 
 
 9^ 
 
 
 Val-de-Grace (hopital du) . 
 
 
 
 
 Titon 
 
 19 
 
 Tlemcen . ... 
 
 
 30 
 
 
 Valence (de) . 
 
 
 
 00 
 
 Tocqueville (de) 
 
 14 
 
 Valette V 
 
 
 19 
 
 
 Tolbiac (de) 
 
 
 
 'M 
 
 Valhubert (place). . . . F 
 Valmy (quai de) . . . 777 
 Valois (rue & place de) 77 
 
 
 
 ')f> 
 
 
 
 
 Oq 
 
 97 
 
 07 
 
 
 Tombe-Issoire (de la) . . . 
 
 
 
 18 
 
 
 21 
 
 
 Torcy (rue & place) . . . 
 Torricelli 
 
 '^fS 
 
 
 
 Vandal 
 
 
 
 \^ 
 
 12 
 
 19 
 
 
 Vandamme 
 
 
 
 13 
 
 Toullier V 
 
 Van-Dyek (avenue) .... 
 
 12 
 
 
 
 Tonr-d'Auvergne (de la). . 
 
 21 
 
 
 
 Vaneau IV 
 
 
 13 
 
 
 Tour-des-Dames (de la) . . 
 
 18 
 
 
 
 Vannes (de) 777 
 
 
 20 
 
 
 Tonr (de la), Passy ... 7 
 
 Tourelles (des) 
 
 Tourlaque 
 
 
 6 
 
 
 Vanves 
 
 
 
 q 
 
 Sfi 
 
 
 
 — (de) 
 
 
 
 14 
 
 17 
 
 
 
 — (porte de) 
 
 
 
 11 
 
 Tournefort 7 
 
 
 
 22 
 
 Varenne (de) IV 
 
 
 16 
 
 
 Tournelle (qnai &pontdela) 
 
 
 
 
 Vauban (place) . ... IV 
 
 
 13 
 
 
 V 
 
 
 22 
 
 
 Vaucanson 777 
 
 
 24 
 
 
 Tournelles (des). . 777, V 
 
 
 26 
 
 
 Vaucouleurs (passage) . . 
 
 
 30 
 
 
 Tournon(de) IV 
 
 Tourtille (de) 
 
 
 m 
 
 
 
 
 
 H 
 
 
 30 
 
 
 Vaugirard (de) . . . IV, V 
 
 
 16 
 
 13 
 
 Tourville (avenue de) I, IV 
 
 
 13 
 
 
 — (boul. de) IV 
 
 
 
 13 
 
 Toussaint-Feron 
 
 
 94 
 
 24 
 
 (place de) 
 
 
 
 1(1 
 
 Tracy (de) 777 
 
 — (station de) 
 
 
 
 8 
 
 Traktir (de) 7 
 
 Traversiere V 
 
 q 
 
 
 
 
 
 
 iq 
 
 
 25 
 
 
 Vauvilliers 777 
 
 
 20 
 
 
 Treilhard 
 
 15 
 
 
 
 Vavin IV 
 
 
 . 
 
 16 
 
 Tr^moille (de la) .... / 
 
 
 19 
 
 
 V6ga (de la) 
 
 
 
 34 
 
 Trevise (rue et cite) . 777 
 
 21 
 
 
 
 Velasquez (avenue) .... 
 
 15 
 
 
 
 Trezel 
 
 16 
 
 
 
 Velpeau IV 
 
 
 16 
 
 
 Tribunal de Commerce . V 
 
 
 20 
 
 
 Vendome (passage) . . 777 
 
 
 27 
 
 
 Trinity (passage de la) 777 
 
 
 24 
 
 
 — (place) 77 
 
 
 18 
 
 
 — (r. & ^gl. de la) . . . . 
 
 1H 
 
 
 
 Vendrezanne 
 
 
 
 2H 
 
 Trocad^ro (av. du) . . . 7 
 
 
 9 
 
 
 Venise (de) 777 
 
 
 23 
 
 
 — (Stat, de rav. du) . . . 
 
 
 6 
 
 
 Ventadour 77 
 
 
 21 
 
 
 — (pal. & pi. du). . . .7 
 
 
 8 
 
 
 Ventes (hot. des) ... 777 
 
 21 
 
 
 
 Trois-Bornes (des) 
 
 
 27 
 30 
 
 
 Vercingetorix 
 
 Vernet 7 
 
 
 12 
 
 13 
 
 — Couronnes (des) .... 
 
 
 
 — Freres (des) 
 
 20 
 
 
 
 Verneuil (de) IV 
 
 
 17 
 
 
 — Fortes (des) V 
 
 Tronchet 77 
 
 
 ')') 
 
 
 
 8 
 
 
 
 18 
 
 18 
 
 
 Vero-Dodat (passage) 77, 777 
 
 
 20 
 
 
 Trone (aveutie du) .... 
 
 . 
 
 ^1 
 
 
 Veron 
 
 i) 
 

 
 SQUARES, PUBLIC BUILDINGS, etc. 
 
 23 
 
 B. B,. G. 
 
 B.S. O. 
 
 Verrerie (de la) . ///, F 
 Versailles (avenue de). . . 
 
 — (porte de) 
 
 Versigny 
 
 Vertbois (du) Ill 
 
 Verte (all^e) /// 
 
 Vertus (des) /// 
 
 V^zelay 
 
 Viala 
 
 Viarmea (de) /// 
 
 Vicq-d'Azir 
 
 Victoire (de la) 
 
 Victoires (place des) . /// 
 Victor (boulevard) .... 
 
 — Cousin 7 
 
 — Hugo (av.) / 
 
 (place) 
 
 (lyc^e) y 
 
 Victoria (av!) ! . ". ///, F 
 Vieille-du-Temple ///, F 
 
 Vienne (de) 
 
 Viete 
 
 Vieux-Colombier (du) . lY 
 Vigan (passage du) . . /// 
 
 Vignes (des) 
 
 Vignolles (des) 
 
 Vignon // 
 
 — (passage) 
 
 Vilin 
 
 Villa-des-Fleurs (cit^) . . . 
 Villars (avenue de) . . IV 
 
 Villedo // 
 
 Ville-Hardouin . ... Ill 
 
 Villejuif (de) 
 
 Villejust (de) / 
 
 Ville-rEveque (rue & place 
 
 de la) // 
 
 Villeneuve (de la). . . /// 
 Villersexel (de) . . . . /F 
 Villette (de la) 
 
 — (bassin de la) 
 
 — (boul. de la) 
 
 — (porte de la) 
 
 Villiers (av. de) 
 
 — (porte de) 
 
 Villiot 
 
 23 
 
 28 
 
 /// 
 
 Vinaigriers (des) . 
 Vincennes (bois de) .... 
 
 — (cours <fe porte de) . . . 
 
 — (gare de) (Bastille) . . F 
 
 Vincent 
 
 Vineuse / 
 
 Vingt-Neuf-Juillet (du) // 
 Vintimille (rue & place) . 
 Violet (passage) . . . /// 
 
 — (rue & pi.), Grenelle . . 
 Virginie, Grenelle .... 
 
 Visconti IV 
 
 Vistule (de la) 
 
 Vital 
 
 Vitruve 
 
 Vitry (porte de) 
 
 Vivienne (r. (fepass.)//, /// 
 
 Voie-Industrielle 
 
 Voie-Verte (de la) .... 
 
 Volney // 
 
 Volontaire (ruelle) .... 
 
 Volontaires (des) 
 
 Volta /// 
 
 Voltaire (boul. & place) /// 
 
 (quai) IV 
 
 Vosges (pi. & rue des) . . F 
 
 Vouill^ (de) 
 
 Voute (de la) 
 
 Vrillifere (de la) . //, /// 
 
 Wagram (av. de) 
 
 — (pl. de) 
 
 Washington / 
 
 et Lafayette (monument 
 
 de) / 
 
 Watt 
 
 Watteau 
 
 Wattiaux (passage) .... 
 
 Wattignies (de) 
 
 Wilhem 
 
 Xaintrailles 
 
 Yvette (de 1') . . 
 Yvon-Villarceau. 
 
 Zacharie F 
 
 27 
 
 35 
 
 30 
 
 24 
 
 21 
 
 28
 
 24 
 
 List of the Stations of the Chemin de Fer de Ceinture. 
 
 (Comp. the annexed Plans and p. 24 of the Handbook.) 
 
 Miles 
 
 1 
 
 PU 
 
 21/2 
 
 3V4 
 
 33/4 
 
 4 
 5 
 
 53/4 
 6V4 
 
 7V4 
 
 73/4 
 
 9 
 
 93/4 
 
 101/2 
 IIV4 
 
 12 
 
 123/4 
 
 131/2 
 141/4 
 151/4 
 
 I6I/2 
 
 17 
 171/2 
 
 I81/4 
 
 19 
 
 193/4 
 201/2 
 21 
 
 Gave St. Lazare (p. 24). Place de PEurope (p. 199). Tunnel. 
 
 Les Batignolles , where the St. Germain , Normandy, and Ver- 
 sailles lines diverge. 
 
 Courcelles- Ceinture (PI. B, 11). At this station the two ends of the 
 line encircling the city nnite. Passengers from Belleville, Clichy, 
 etc. for St. Lazare change here. 
 
 Courcelles-Levallois. Passengers for Clichy or Belleville change here, 
 ascending the staircase opposite the exit. No time to lose. 
 
 Neuilly- Porte- Maillot, the station for Neuilly (p. 155). Tunnels. 
 
 Avenue du Bois de Boulogne, at the Porte Danphine (p. 156). 
 
 Avenue du Trocad&ro (Henri-Martin), 1/2 M. from the Palais du 
 Trocadero (p. 165) and near the Bois (p. 156). Two short tunnels. 
 
 Pa$ay (p. 16S). To the right Xh.(t Ranelagh (p. 169). Handsome villas. 
 
 Auteuil, at the S. end of the Bois de Boulogne, near the race- 
 course (p. 158). Then the "Viaduct mentioned at p. 169. On 
 the right are the Bois de Boulogne, St. Cloud (p. 296), the 
 wooded heights of Sevres and Meudon (p. 301), the viaducts of 
 the Versailles lines. Issy (p. 298), etc. On the left the city 
 itself with the Eiffel Tower, Champ de Mars, Trocadero, etc. 
 
 Point-du-Jour. *View still more picturesque. The Seine is now 
 crossed by an imposing ''Viaduct (p. 169). 
 
 Grenelle, where a branch diverges to the champ de Mars and an- 
 other to Les Moulineaux (p. 300). Embankment. View. 
 
 Vaugirard-lssy. To the left, a former Jesuit college. Tunnel. 
 
 Quest- Ceinture ^ where the line passes under the Rive Gauche 
 railway; carriages changed for Versailles (see p. 298). 
 
 Montrouge. The next tunnel intersects the Catacombs. 
 
 La Glaciere-Gentilli/, where passengers for the Sceaux railway alight 
 (p. 354). To the left is the Pare Montsouris. Goods station. 
 
 La Maison Blanche. To fixeri^htiathe Hospice de Bicetre,ioT olAvaen. 
 
 OrUans-Ceinture, junction for the Orleans railway. The train 
 now crosses the Seine by the Pont National. To the left the 
 Halle aux Vins. 
 
 La Rapie-Bercy. The train crosses the Lyons line and the Aven. 
 Daumesnil by a viaduct. To the right, the Bois de Vincennes 
 (p. 306) and the Lac Daumesnil. 
 
 Bel-Air, where carriages are changed for Vincennes. St. Mande, 
 to the right, see p. 303. 
 
 Avenue de Vincennes. On the left lies the Place de la Nation (p. 302). 
 
 Charonne. Long tunnel on the E. side of Pere-Lachaise (p. 179). 
 
 Minilmontant. A long tunnel passes under part of Belleville, and 
 a cutting intersects a corner of the Buttes-Chaumont (p. 204). 
 
 Belleville- Villette. To the right, the cattle-market and 'abattoirs' of 
 La Villette (p. 205) We cross the Canal de VOurcq (p. 204). 
 
 Pont-de-Flandre, the station for the 'abattoirs'. Docks. Gas-works. 
 
 Est- Ceinture. Exclusively for passengers by the Ligne de TEst. 
 
 La Chapelle-St. Denit, the junction of the Ligne du Nord. To the 
 left, Montmartre. 
 
 Boulevard Ornano, near the cemetery of St. Ouen. 
 
 Avenue de St. Ouen. St. Ouen village. Adjacent is a race-course (p. 212). 
 
 Avenue de Clichy. Open view. The train passes under the Ouest line. 
 
 Courcelles- Ceinture. Passengers returning to St. Lazare alight 
 here (no time to lose), and enter the St. Lazare train at the adjacent 
 Courcelles-Levallois station (see above). 
 
 Les Batignolles (see above). 
 I Oare St. Lazare (see above).
 
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 Omnibus and Tramway Routes with their Correspon- 
 dances. 
 
 (Comp. the following Tables and Plan, and p. 21 of the Handbook.) 
 
 List of the OmnibnB Lines. 
 
 The letters in the first column, printed in heavy type (B, C, etc.), indi- 
 cate the large omnibuses, the top of which is accessible to ladies. 
 
 Lines 
 
 Offices ('Correspondances', see p. 30). 
 
 A. Auteuil-Madeleine (s. PI. A 
 3-4 & C 2-3). Will be 
 replaced by a tramway. 
 
 Abis (later A). Place Clichy- 
 Carrefour des FeuiUantines 
 (PI. C 1 & D 5). 
 
 B. Troeadiro-Oare de VEtt 
 (PI. A 3 & E 2). — 33/4 M. 
 
 C. Porte Maillot-Edtel de Ville 
 (PI. A 2 & E 4). — 31/2 M. 
 
 Cbis. Etoile-Palais Royal (PI. 
 A 2 & D 3). — 21/2 M. 
 
 D. Le$ Ternes-Boul. des Fil- 
 les-du-Calv. (PI. A2&F3). 
 — 41/2 M. 
 
 Dbis, as D from the Place des 
 T ernes. 
 
 E. Madeleine - BattiUe (PI. C 
 2-3 & F 4). - 23/4 M. 
 
 F. Place Wagram - Bastille 
 (PI. B 1 & F 4). — 41/2 M. 
 
 G. Square des Batignollet- 
 Jcv'din des Plantet (PL C 1 
 & E 5). — 41/4 31. 
 
 H. Batignolles-Clichy-Odion 
 (PI. C 1 & D 6). — 4>/4 M. 
 
 I. Place Pigalle- Ealle aux 
 Vins (PI. D 1 & E5; Boul. 
 St-Germain 14). — 3i 4 M. 
 
 J. Mont martre- Place St- Jac- 
 ques (PI. D 1 (fe D 6). — 
 43/4 M. 
 
 'K.Xotre-Dame-de-Lorette-Boul. 
 St-Marcel (PI. E 1 <fe E 6). — 
 43/4 M. 
 
 Auteuil (station), Place de Passy, Trocad^ro, 
 Place de TAlma, Madeleine. 
 
 Place Clichy and thence to the Ode'on as in 
 Line H (below); then Boul. St. Michel 
 (Rue Soufflot), Rue Gay-Lussac, Carrefour 
 des FeuiUantines. 
 
 Trocadero, Ghamps-Elysdes, 62; St-Philippe- 
 du-Roule, St-Augustin, St-Lazare, Trinite, 
 R. de Chateaudun, Square Montholon, Gare 
 de lEst. 
 
 Porte Maillot, Place de I'Etoile, Champs-Ely- 
 se'es, 62; Palais Royal, Louvre, Chatelet, 
 Hotel de Ville. 
 
 From the Etoile as line 0, with detour via 
 Rue Francois I. 
 
 Les Ternes, beyond the railway. Place des 
 Ternes, Boul. Haussmann, 175 ; St. Philippe- 
 du-Roule, Madeleine, Palais Royal, Louvre, 
 Halles Centrales , Boul. Scbastopol, and 
 Boul. des Filles-du-Calvaire. 
 
 Madeleine, Boulevard des Italiens, Porte St- 
 Denis, Boul. St-Denis, Place de la R^pub- 
 lique, Boul. des Filles-du-Calvaire, Bastille. 
 
 Place Wagram, R. Legendre, Boul. des Bati- 
 gnolles, St-Lazare, Bourse, PI. de.-iVictoires, 
 Halles Centrales, R. Rambuteau, 36 ; Bastille. 
 
 Square des Batignolles, PI. Clichy, Trinity, 
 Palais Royal, Louvre, Chatelet, Halle aux 
 Vins, Jardin des Plantes. 
 
 Av. de Clichy, 143; PL Clichy, R. de Chateau- 
 dun, Boul. des Italiens, 8; Palais Royal 
 (Th. Francais), Quai des Tuileries (Pont 
 desSts. Peres), St-Germain-des-Pres,St-Sul- 
 pice, Ode'on. 
 
 PL Pigalle, R. de Chateaudun, Boul. des Ita- 
 liens, 8; Bourse, PL des Victoires, Louvre, 
 PL St. Michel, PL Maubert, Halle aux Vins. 
 
 Rue Ordener, 72; Boul. Rochechouart, Sq. 
 Montliolon, Halles Centrales. Chatelet, PL 
 St-3Iichel, Square de Cluny, R. Soufflot, 
 Boul. St-Jaoques. 
 
 Rue de Chateaudun, Halles Centrales, Chatelet, 
 Halle aux Vins, Boul. St-Marcel.
 
 26 
 
 OMNIBUS ROUTES. 
 
 Lines 
 
 Offices (*Correspondances', see p. 31). 
 
 L. La Vaiette-St-Sulpice (PI. 
 F 1 & D 4). — 43/4 M. 
 
 M. Buttes - Chaumont - Palais 
 Royal (PL H 1 & D 3). — 
 41/4 M. 
 
 N. Belleville- Louvre (PI. G 2 
 & D 3). — 21/2 M. 
 
 0. Minilmontant-Oare Mont- 
 parnasse (PI. G 3 & C 5). — 
 41/2 M. 
 
 P. Charonne-Pl. d'ltalie (PI. 
 H3 & E6). — 4 M. 
 
 ft. Plaisance- Hdtel de Ville 
 (PI. B 6 & E 4). — 31/2 M. 
 
 R. Gare de Lpon-St-Philippe- 
 du -Route (PL G 5 & B 2). 
 
 — 4 M. 
 
 S (S3,S3bi8, S4). 
 
 T. Boul. de VHdpital- Square 
 Montholon (PL F 6 & E 2). 
 
 — 31,4 M. 
 
 U. Montsouris-Pl. delaRipuh- 
 
 lique (PL D E 6 & F 8). — 
 
 33/4 M. 
 V. Place du Maine-Oare du 
 
 Nord (PL B C 6 & E 1). — 
 
 43/4 M. 
 X. Vaugirard-Oare St-Lazare 
 
 (PL A 6 & C 2). — 33/4 M. 
 Y. Orene lie -Porte St-Martin 
 
 CPLA5&E2-3). — 4V2M. 
 
 Z. GrenelU-Bastille (PL A 5 
 & F 4). — 41/4 M. 
 
 AB. Pasty-la Bourse (PL A 2 
 & D 3). — 4 M. 
 
 AC. Gare du Nord -Place de 
 VAVma (PL G H 1 & B 3). — 
 3 M. 
 
 AD. Quai de Valmy- Champ 
 de Mart (PL F 2 & B 4). — 
 41/4 M. 
 
 AE. Montrouge-Gare de Pasty 
 (PL A6 &A5). — 4M. 
 
 AF. Pantheon- Place Cour- 
 cellet (PL D E 5 & A 1). — 
 43/4 M. 
 
 AG. Porte deVersailles-Louvre 
 (PL A6 & D3). — 33/4M. 
 
 R. de Flandre (Abattoirs), BouL de la Vil- 
 lette, Gare de LEst, BouL & Porte St-Martin, 
 PL St-MicheL Squ. de Cluny, St-Sulpice. 
 
 R. Manin, R. Bolivar, R. de Strasbourg, Porte 
 St-Denis, Bourse, Palais Royal. 
 
 R. de Belleville, 294; R. Bolivar, Boul. de 
 Belleville, PL de la Republique, Boul. St- 
 Denis, PL des Victoires, Louvre. 
 
 PL Gambetta, Boul. Voltaire, 38; Boul. des 
 Filles - du-Calvaire, Sq. St-Jacques, St-Ger- 
 main-des-Pr^s, Gare Montparnasse. 
 
 R. de Bagnolet, 158 & 159; Pere-Lachaise, 
 PL Voltaire, Bastille, Gare d'Orl^ans, PL 
 dltalie. 
 
 Hotel de Ville, Chatelet, PL St-Michel, Squ. 
 de Cluny, St-Sulpice, Gare Montparnasse, 
 R. de Vanves 198 (Plaisance). 
 
 Gare de Lyon, Bastille, R. Bourg-Tibourg, 
 Chatelet, Louvre, Palais Royal, St-Philippe- 
 du-Roule. 
 
 Supplementary lines; see p. 27. 
 
 R. Jenner (Boulevard), Gare d'Orleans, Halle 
 aux Vins, Quai de l'H6tel-de- Ville, R. du 
 Bourg-Tibourg, R. de Rambuteau, Boul. 
 & Porte St-Denis, Sq. Montholon. 
 
 Station de Gentilly, R. Claude- Bernard 5 (R. 
 Pascal); Halle aux \ ins, PL de la Repub- 
 lique. 
 
 PL du Maine, R. de Sevres, 65; R. des Sts- 
 Peres, 78 ; St-Germain-des-Pre's, Louvre, PL 
 des Victoires, Bourse, Gare du Nord. 
 
 R. Blomet, 108; R. de Sevres, 65; Boul. St- 
 Germain, 207; Madeleine, Gare St-Lazare. 
 
 R. du Theatre, Av. Duquesne, Boul. St. 
 Germain, 225; Quai des Tuileries (Pont des 
 Sts-Peres). Palais Royal, Boul. St-Denis. 
 
 Eglise de Grenelle, PL Cambronne, R. de 
 Vaugirard, 162; Gare Montparnasse, Odeon, 
 Sq. Monge, Halle aux Vins, Bastille. 
 
 PL d. Passy, Av. Henri-Martin, PL de lEtoile, 
 Boul. Haussmann, 175; St - Philippe - du- 
 Roule, Madeleine, Bourse. 
 
 R. Lafayette, 158; Gare du Nord, Sq. Mon- 
 tholon, R. de Chateaudun, Madeleine, PL 
 de la Concorde. 
 
 Quai de Valmy, PL de la Republique, Sq. 
 St-Jacques, St- Germain -des-Pr^s, R. des 
 Sts-Peres, 78; Av. Duquesne, Av. Bapp. 
 
 Montrouge (Eglise), Pont de Grenelle, Gare 
 de Passy. 
 
 Pantheon, R. Soufflot, Od^on, St-Sulpice, R. 
 des Sts-Peres, 78; Boul. St-Germain, 207 
 & 226; Concorde, Madeleine, St-Augustin, 
 BouL de Courcelles. 
 
 R. de Vaugirard, 162; R. de Sevres, 65; R. 
 des Sts-Peres, 78; St- Germain-des-Pres, 
 Quai des Tuileries, Palais Royal, Louvre.
 
 OMNIBUS ROUTES. 
 
 27 
 
 Lines 
 
 Offices ('Correspondances', see p. 31). 
 
 AH. Grenelle (Javel, Oare 
 
 St-Lazare (PI. A5 <fe C2). — 
 
 4 M. 
 AI. Oare St-Lazare-Place St- 
 
 Michel (PI. C 2 & D 4). — 
 
 2 31. 
 A J. Pare Monceau-La VilUtte 
 
 (PI. B2 & Gl). —33/4 M. 
 
 AK. Gave St-Lazare-Gare de 
 
 Lyon (PI. C 2 & G 5). - 
 
 33/4 M. 
 AL. Gave des Batignolles- Gare 
 
 Montpamasse (PI. C 1 & 05). 
 
 — 3^3 M. 
 AM. Montmartre- St- Germain- 
 
 des-Pr^s (PI. A 1 & D 4). — 
 
 31/2 M. 
 AN. Riie des Morillons-les- 
 
 Halles (PI. B 6 & E 3). — 
 
 31/2 M. 
 AO. Boulevard de la Villette- 
 
 BouUvard de Bercy (PI. F 1 
 
 & H 6). — 4 M. 
 
 Rond-point St-Charles, Av. Dnquesne, Palais 
 Bourbon, Concorde, Madeleine, Gare St- 
 Lazare. 
 
 Gare St-Lazare, Palais Eoyal, Louvre, Chatelet 
 PL St-Micliel. 
 
 Pare Monceau, R. Legendre, PI. des Batig- 
 noUes, R. Ordener, 72; BouL Barbes, R. de 
 la Chapelle, 55; R. de Flandre. 
 
 Gare St-Lazare, Boul. des Italiens, 8; Boul. 
 & Porte St-Denis, PI. de la Republique, 
 Boul. Voltaire, 38; Bastille, Gare de Lyon. 
 
 Gare St-Lazare, Madeleine, Concorde, Palais 
 Bourbon, Boul. St- Germain, 225; R. de 
 Sevres, 65: Gare Montpamasse. 
 
 R. Ordener, 72 ; PI. Clichy, St - Lazare, Palais 
 Royal, Quai des Tuileries (Pont des Sts- 
 Peres), St-Germain-des-Pres. 
 
 St -Germain- des -Pres, Quai des Tuileries, 
 Louvre, les Halles. 
 
 Boul. de la Villette, on Canal and the Rue 
 deMeaux; Boul. Voltaire, 130 (PI. Voltaire), 
 Bastille, Boul. de Bercy. 
 
 Supplementary Lines of Omnibuses ply during part of tbe afternoon and 
 evening as follows : S^. Madeleine- Avenue des femes, on week-days only. — S^his. 
 Palais Roijcd-Porte Maillot, on Sun. and holidays. — S*. Chatelet- Menilmontant. 
 
 Extra Omnibuses ('•Qrnnibvs Rabatteurs'' ) : from La Villette to tbe Cem- 
 etery of Pantin; from the Bastille to tbe Porte d'lvrp; and from the Porte 
 di'OrUans to the Cemetery of Bagneux. 
 
 List of the Tramway Lines. 
 
 Comp. the Plan, p. 21 of the Handbook, and pp. 25, 30 of tbe Appendix. 
 Tramways belonging to the Compagnie des Omnibus. 
 
 TA. Louvre -Point-du- Jour (s. 
 PI. D4& A4). — 6V4 M. 
 
 TO. Louvre -Vineennes (PL D4 
 
 & H 5). — 51/4 M. — 40 
 
 & 20 c. 
 TD. Etoile-la Villette (PL A 2 
 
 & F 1). — 33/4 M. — For a 
 
 part the same line as TP 
 
 and TPbis. 
 TE. La Villette -Place de la 
 
 Nation (PL F 1 & H 5). — 
 
 3 M. 
 TF. Court de Vincennes- Louvre 
 
 (PL H5 & D4). — 4 M. 
 
 TG. Montrouge-Qare de VEtt 
 (PL CD6&E2). — 4 M. 
 
 Louvre, Quai des Tuileries, PL de la Con- 
 corde, Pont de FAlma, Pont de Grenelle, 
 Point-du-Jour. 
 
 Louvre, Chatelet, Quai de THotel-de-Ville, 
 Bastille, PL de la Nation, Vincennes. 
 
 PL de TEtoile, PL des Ternes, Boul. de Cour- 
 celles, 98; Pare Monceau, BouL des Bati- 
 gnolles, 5; PL Clichy, Boul. Magenta, PL 
 
 > de la Chapelle, Boul. de la Villette. 
 
 Boul. de la Villette, Boul. de Belleville, BouL 
 de M^nilmont, 150; Pere-Lachaise, PL de 
 la Nation. 
 
 PL de la Nation, PL Voltaire, Boul. Vol- 
 taire, 38; PL de la Republique, BouL Se- 
 bastopol, 77; Halles Centrales, Louvre. 
 
 Av. d'Orl^ans, Observatoire, R. Soufrtot, Sq. 
 de Cluny, PL St -Michel, Chatelet, Boul. 
 Sebastopol, BouL St-Denis, Gare de TEst.
 
 28 
 
 TRAMWAY ROUTES. 
 
 Lines 
 
 Offices ('Correspondances', see p. 31). 
 
 TH. La Chapelle- Square 
 Monge (PI. E 1 & E 5). — 
 4M. 
 
 TI. Porte de Clignancourt- 
 BattiUe (PI. El &F4). - 
 41/4 M. 
 
 TJ. Louvre- Paitp (PI. D 4 
 & A 4). — 5 M. 
 
 TK. Louvre- Char enton (PI. D 4 
 
 & G 6). — 51/4 M. 
 TL. Bastille-Porte Rapp 
 
 (Champ de Mars; PI. F 4 
 
 & B 3). — 31/2 M. 
 TM. Gare de Liion-Plaee de 
 
 VAlma (PI. G 5 <fe B 3). — 
 
 4M. 
 TN. Rue Taitbout-la Muette 
 
 (PI. D2 & A 4). — 31/2 M. 
 
 TO. Auteuil-Boulogne. 
 
 TP. Trocad^ro-la ViUette (PI. 
 
 A 3 & F 1). 
 TPbiB, Trocad4ro-Pl. Pigalle. 
 
 — 31/4 M. 
 
 TQ. ffalles -Porte d'lvry 
 (omnib. ; PI. E 3 & E F 6). 
 
 — 31/2 M. 
 
 TR. Boulogne-let Moulineaux. 
 
 TS. Charenton-Criteil. 
 TTI. Gare de Sceaux-Place de 
 la Nation (PI. D 6 <fe H 4). 
 
 TV. Opira-Pantin (PI. CD 2 
 
 & GH 1). — 41/2 M. — 45 
 
 & 25 c. 
 TX. Chdtelet-Montreuil (Pl.E 4 
 
 & H 4). — 2V2 M. — 45 
 
 & 40 c. 
 TT. Place de la Ripublique- 
 
 Gharenton (PI. F 4 <fe H 6). 
 
 — 41/2 M. — 40 & 20 c. , 
 TZ. Chdtelet-St-Denis (Pl.E 4 
 
 & E 1). — ca. 51/2 M. — 60 
 
 & 30 c. 
 TAB. Louvre- St- Cloud or 
 
 Sevres a«i"fl Versailles. 
 TAG. AweHd-Si-Sulpice (PI. 
 
 A 5 & D 4). — 4 M. 
 
 TAD. Court de Vincennes- St- 
 Augvstin (PL H5 & C 2). 
 
 — 51/2 M. 
 
 R. de la Chapelle, Tobis; pi. de la Chapelle, 
 R. Lafayette. Gare de TEst, Boul. St-Denis, 
 Boul. Se'bastopol. Chatelet, PL St-Michel, 
 Sq. de Cluny, Sq. Monge. 
 
 Porte de Clignancourt, R. Ordener, 72; Boul. 
 de la Chapelle, Gare du Xord, Gare de 
 TEst, PL de la Re'publique, Bastille. 
 
 Louvre, Quai des Tuileries (Pont des Sts- 
 Peres), Place de la Concorde, PL de TAlma, 
 PL de Passy, la Muette. 
 
 Louvre, Chatelet, R. du Bourg-Tibourg, Bas- 
 tille, PL Mazas, Pont de Bercv. 
 
 Bastille, PL Maubert, Sq. de Cluny, 8t-Ger- 
 main-des-Pre's, Boul. St- Germain, 207 & 
 225; Palais-Bourbon, Porte Rapp. 
 
 Gare de Lyon , PL Mazas, Gare d'Orle'ans, 
 then as TL, and PL de la Concorde, PL 
 de TAlma. 
 
 R. Taitbout, Opera, R. deRome, St-Augustin, 
 Boul. Haussmann, 175; PL de LEtoile, 
 Trocade'ro. Av. St-Martin, la Muette. 
 
 13/4 M. — 15 & 10 c. — Auteuil (Gare), Eglise 
 and Rond-point, Egl. de Boulogne. 
 
 43/4 M. — Trocadero, PL de lEtoile, thence 
 as TD. 
 
 As TP as far as PL Pigalle (PL D 1). 
 
 Halles Centrales, PL du Chatelet, PL St-Michel, 
 
 Sq. de Cluny, R. Soufflot, R. CI. -Bernard, 
 
 Boul. St-Marcel, PL d'ltalie. 
 13/4 M, — 15 & 10 c. — Egl. de Boulogne, les 
 
 Moulineaux. 
 3 M. — 15 & 10 c. 
 41/2 M. — Boul. St - Jacques, PL dltalie, 
 
 Pont de Bercy, E. de Charenton, PL de la 
 
 Nation. 
 Opera, Sq. Montholon , Gare dn !Nord , R. 
 
 Lafayette, 158; Boul. de la Villette, Pantin. 
 
 Chatelet (Av. Victoria), R. du Bourg-Tibourg, 
 Bastille, R. Crozatier, PL de la Nation, 
 Montreuil. 
 
 PL de la Republique, Boul. des Filles-du- 
 Calvaire, Bastille, R- Crozatier, R. de 
 Charenton, PL des Ecoles in Charenton. 
 
 Chatelet, Boul. Se'bastopol, and St-Denis, 
 Gare de FEst, R. Lafayette, 153; PL & R. 
 de la Chapelle, St-Denis. 
 
 61/4, 7, or 113/4 M. — The same as TA to the 
 Point-du-Jour. 
 
 Auteuil (Gare), Pont de Grenelle, PL Cam- 
 bronne, R. de Sevres, 65; R. des Sts-Peres, 
 78; St. Sulpice 
 
 Cours de Vincennes (R. des Pyre'ne'es), R d'Av- 
 ron & de Bagnolet, PL Gambetta, R. Boli- 
 var, Boul. de la Villette, R. Lafayette, 158; 
 Gare duNord, Sq. Montholon, R. de Chateau- 
 dun, Trinite, St-Lazare, St-Augustin.
 
 TRAMWAY ROUTES. 29 
 
 Tramways North and Tramways South. 
 
 Lines 
 
 Offices ('Correspondances', see p. 31). 
 
 TNA. Etoile-Courbevoie. — 
 2 M. — 40 & 20 c. 
 
 TNAB. Madeleine - Courhe- 
 voie (Pont de Neuilly). — 
 4 M. — 50 & 25 c., Sun. & 
 holidays 15 & 10 c. more. 
 
 TNB. Madeleine - Courbevoie 
 (Neuilly, Pout de la Jatte). J 
 
 — 3 M. — 55 & 30 c, ^ 
 TNBA. Madeleine -Neuilly 
 
 (Boul. du Chateau). — 45 
 & 25 c. 
 TNC. Mad. -Levallois -Ferret. 
 
 — 21/2 M. — 50 & 25 c. 
 TNBE. Porte Maillot- St. Own- 
 
 St. Denis. — 50 & 30 c. 
 TND. Madeleine- Ainiiret-Qen- 
 
 nevilliers. — 4V2 M. — 50 
 
 & 25, 60 & 30 c. 
 TNDa. Madeleine- Asnikres. — 
 
 50 & 25 c. 
 TNE. Madeleine - St - Ouen - St- 
 
 Denis. — 40 & 20, 60 & 30 c. 
 
 to St. Denis. 
 TNF. Opira - St - Denis. — 
 
 51/.^ M. — 60 A: 30 c. 
 TNG & H. Place de la Ripuhl.- 
 
 Aubervilliers <t Pantin. 
 
 PI. de TEtoile, Pont de "Neuilly. — From Courbe- 
 voie to Suresnes: 1^/4 M. : 20 & lU c. 
 
 Madeleine, St-Augustin, Pare Monceaux. 
 
 Line outside the fortifications, via the Route 
 
 de la Revolte, etc. (PI. 9, 8, 10, 13). 
 Madeleine, R. de Rome, PI. Clichy, etc. 
 
 Same 'correspondances' as TND as far as 
 
 the Boul. Haussmann. 
 Offices in Paris as TND. — Small Tramway 
 
 in St- Ouen, 5 c. 
 
 R. d. Chateaudun, PL de la Chapelle, etc. 
 
 PL de la R^publique, Gare de TEst, R. La- 
 fayette, 15^; Boul. de la Villette. 50<fe 25 c. 
 
 TBI & 2. St. Oerm.-des-Pris- 
 Montrouge- ChdUllon-Fonte- 
 nay-aux- Rotes- Clamart. — 
 5V'.; & 6 M. 
 
 TS3. Etoile-Montparnasse. — 
 2V'i M. - 30 & 15 c. 
 
 TS4. Montparnasse- Basil lie 
 
 — 3 M. — 30 & 15 c. 
 TS5. Avenue d'Antin-Vanves. 
 
 — 41/2 M. — 40 & 20 c. 
 TS6. Chdtelet-Vitry-Choisy le 
 
 Roi.- ca. 5V3M.— 50&30, 
 65 & 40 c. 
 TS7. Chdtelet-Ivry. - 5 M. 
 
 — 50 & 25 c. 
 
 TSS. Cbdtelet-Villejuif-Bicetre. 
 
 —5 M. — 40 & 25, 50 & 30 c. 
 TS9. Oare d^OrUans-Place de 
 
 la Nation. — 30 & 15 c. 
 TSIO. Bastille- Char enton. — 
 
 33/4 M. — 50 & 25 c. 
 
 St. Germain-des-Pres, Gare Montparnasse, Av. 
 d'Orlcans, etc. — 1 : 40 & 20, 60 & 35 c. — 
 2: 60 & 30 c. 
 
 PI. de TEtoile, PI. de TAlma, Av. Duquesne 
 (Ecole Milit.), Gare Montparnasse. 
 
 Gare Montparnasse, Observatoire, Boul. St- 
 Marcel, Gare d'Urk'aus, Bastille. 
 
 Av. d'Autin,Av.Duquesne (Ecole Militaire), etc. 
 
 Chatelet, PI. Maubert, Boul. St-Marcel, PL 
 d'ltalie, etc. 
 
 Same 'correspondances'' as the preceding 
 
 line. 
 21/2 M. — Gare d'Orleans, PL Daumesnil, 
 
 PI. de la Nation. 
 Bastille, PL Daumesnil, Charenton (Rue de 
 
 St-Mando). 
 
 Tramway d'Arpajon. 
 17 M. 
 
 R. de Mi'dicis, 13 (Odcon, PI. 1>5); R. Suufllot, 
 Av. de. robsers-atoire, PI. l>enfert-Roche- 
 reau, Porte d'Orloans, etc. 
 Other Tramways., see p. 31.
 
 30 
 
 Gorrespondances of the Omnibuses and Tramways. 
 
 See p. 21 of the Handbook. Lines running in the same direction have, 
 of course, no 'correspondances' with each other. 
 
 In the following table the single letters and AB to AO indicate Om- 
 nibuses; letters or series of letters preceded by T indicate Tramicays. The 
 series TNA to TNH indicate the Tramways de Paris et du Dipartemmt de 
 la Seine (formerly called Tramways Xord)\ and the series TSl to TSIO the 
 Tramways Sud or those of the Compagnie Ginirale Parisienne de Tramways. 
 Finally T.Arp. is the Tramway dArpajon. 
 
 Offices and Gorrespondances. 
 
 Offices and Gorrespondances. 
 
 Alma (Place deV): A, AC 5 TA, A J, 
 
 TM, TAB, TS3. 
 Autmil (Oare): A; TO, TAG. 
 Avron (Rue d'): TX, TAD. 
 Bagnolet (Rue de) 149: P; TAD. 
 BarUs (Boul.): AJ; TI. 
 Bastille (Place de la): E, F, P, R, Z, 
 
 AK, AO; TC, TI, TK, TL, TX, 
 
 TY, TS4, 10. 
 Batignolles (Boul. des) 51: F:TD, 
 
 TP, TPbis. 
 Batignolles (Square des): G, AJ. 
 Belleville (Boul. de): M; TE. 
 Bercy (Boul. de): AO ; TU, TY. 
 Bercy (Bridge of): TK, TU. 
 Bolivar (Rue) (R. de Belleville) : M, N. 
 Boulogne (Church of): TO, TR. 
 Bourg-Tihourg (Rue du): R, T; TK. 
 Bourse (The): F, I. M, V, AB. 
 Cambronne (Place):' Z; TAG. 
 Champ de Mars (Avenue Rapp) : AD ; 
 
 TL. 
 Champs-Ely sies 62: B, C, Gbis. 
 Chapelle (Place de la): TD, TH, TI, 
 
 TP, TZ, TNF. 
 Chapelle ( Rue de la) 75bis : AJ ; TH, TZ. 
 Charenton (Rue de): TU, TY. 
 Chdieaudun (Rue de): A^^s^ b, H, I, 
 
 TAD, TNF. 
 Chdtelet (Place du) (several offices) 
 
 and Rue St. Denis : C, G, J, K, 0. 
 
 Q, R, AD, AI; TC, TG, TH, TK, 
 
 TQ, TX, TZ, TS6, 7, 8. 
 Claude- Bernard (Rue) (R. Pascal): 
 
 U; TQ. 
 Clichy (Place): A^is, G, H, AM 5 TD, 
 
 TP, TPbis, TND, TNE. 
 Cluny (Square de): J, L, Q5 TG, TH, 
 
 TL, TM, TQ. 
 Concorde (Place de la): Ct>is^ AC, 
 
 AF, AH, AL; TA, TJ, TAB. 
 Courcelles (Boul. de) 98: AF; TD, 
 
 TP, TP^Js. 
 Crozatier (Rue) (Boul. Diderot): TX, 
 
 TY. 
 Daumesnil (Place): TS9, 10. 
 Denfert-Roehereau (Place) ; TG, TSl, 
 
 T.Arp. 
 Diderot (Place) or Place Mazas: TK,TM. 
 
 Duquesne (Avenue) (Ecole Militaire) : 
 
 Y, AD, AH; TS3, 5. 
 Est (Gare de V): B, L, M; TG, TH, 
 
 TI, TZ, TNG, TKH. 
 Etoile (Place de C): C, Gbis, AB; TD, 
 
 TN, TP, TPbis, TKA, TS3. 
 Faubourg -St. Honors (B'.ul. Hauss- 
 
 mann) : D, D^is^ AB ; TN. 
 Filles-du-Calvaire (Boul. des): D, Dbis, 
 
 E, O; TY. 
 Gambetta (Place) (Place des Pyrenees) : 
 
 ; TAD. 
 Gay-Lussac (Rue): Abis. TQ. 
 Qvenelle (Bridge of) : AE ; TA, TAB, 
 
 TAG. 
 Halle aux Vins (Boul. St. Germain 14) 
 
 G, I, K. T, U, Z TL, TM. 
 Halles (Centrales): D, Dbis, F, J, K 
 
 AN; TF, TQ. 
 Haufsmann (Boul.) 175 (Rue du Fau- 
 
 bourg-St. Honore) : D,Dbis, AB : TN. 
 Henri-Martin (Avenue): AB; TN. 
 Hotel de Ville (Quai): C, Q; TG. 
 Italie (Place d'): P ; TU, TQ, T.>^6, 7, 8. 
 Italiens (Boul. des) 8: Abis, E, H, I, 
 
 AG, AK. 
 Lafayette (Rue) 158 (Rue du Fau- 
 
 bourg-St. Denis) : V, AC ; TH, TV 
 
 TZ, TAD, TNG, TNH. 
 Legendre (Rue) : F, A J. 
 Louvre (three oftices, Rue and Qua 
 
 du) : C, D, Dbis, G, I, N, R, V, AG, 
 
 AI, AN ; TA, TG, TF, TJ, TK, TAB. 
 Lyon (Gare de) : R, AK ; TM. 
 Madeleine (Place de la)., to the right 
 
 and left of the church : A, D, Dbis, 
 
 E, X, AB, AG, AF, AH, AL; TNAB, 
 
 T.N'B, TNG. TND, TND*, TNE. 
 Magenta (Boul.) and Rochechouart: 
 
 TD, TI. 
 Maubert (Place): I, TL, TM, TS6,7, 8. 
 Mazas (Place) or Place Diderot : TK, 
 
 TM. 
 Minilmontant (Boul. de) 150: 0; TE. 
 Monceau (Pare) : AJ ; TD, TP, TPbis, 
 
 TNAB, TNB, TNG. 
 Monge (Square): Z; TH. 
 Montholon (Square) : B, J, T, AG ; TV, 
 
 TAD.
 
 OMNIBUSES AND TRAMWAYS. 
 
 31 
 
 Offices and Correspondances. I Offices and Correspondances. 
 
 Montpamasse (Oare): O, Q, Z, AL : 
 
 TSl, 2, 3, 4. 
 Monirouge ( Church) : AE ; TG. 
 Muetie (La): AE; TJ, TN. 
 Nation (Place de la): TC, TE, TF, 
 
 TU, TX, TS9. 
 Nord ( Gave du) : V, AC; TI, TV, TAD. 
 Observatoire (Avenue de l) : TG, TS4, 
 
 T.Arp. 
 Oddon: Abis, H, Z, AF; T.Arp. 
 Ordenei^ (Rue) 72: J, AS, A3I; TI. 
 Orleans (Avenue d^): TG, TSl, T.Arp. 
 Orleans (Gare d) (Place Valhubert) : 
 
 P, T; TM, TS4, 9. 
 Palais Bourbon ( Quai) : AF, AH, AL ; 
 
 TL, TM. 
 Palais Royal (three offices) : A^is, C, 
 
 CbiSj D, Dbis, G, H, M, R, Y, AG, 
 
 AI, AM. 
 Passy (Place de): A. AB ; TJ. 
 Pere-Lachaise : P; TE. 
 Pigalle (Place): I; TD, TP, TPbis. 
 Rambuteau (Rue de) 36: F, T. 
 Rapp (Avenue) (Champ-de-Mars) : AD ; 
 
 DL. 
 Ripublique (Place de la) (several of- 
 fices): E, N, V. AD, AK: TF, TI, 
 
 TY. TNG, TNH. 
 Rochechouart (Boul. de): J; TD, TP. 
 Rome (Rue de) (Boul. Haussmann): 
 
 TN, TND, TNDa, TNE. 
 St. Augustin : D, AF; TN, TAD, TNAB, 
 
 TNB, TNC. 
 St. Z>e7mCJ5ow^) and Boul. Sebastopol : 
 
 E, L, M, N, T, Y, AK ; TG, TH, TZ. 
 St. Denis (Porte): E, N, T. 
 St. Germain (Boul.) 207 (Rue du Bac) : 
 
 X, AF, AL; TL, TM. —225 (Rue de 
 
 Bellechasse): Y, AF, AL; TL, TM. 
 St. Germain-des-Pr6s: A^is, H, L, 0, 
 
 V, AD, AG, AM, AN; TL, TM, 
 
 TSl, 2. 
 St. Jacques (Boul.): J, T, U. 
 
 at. Jacques (Square): 0, G, J, K, O, Q, 
 
 R, AD, AI; TC, TG, TH, TK, TQ, 
 
 TX, TZ, T36, 7, 8. 
 St. Lazare C G'are) (Place deRome): B, 
 
 F, X, AH, AI, AK, AL, AM; TAD 
 
 TND, TNE. 
 St. Marcel (5omZ.; (Avenue des Gobe- 
 lins): K; TQ, TS4, 6, 7, 8. 
 ,Si!. Martin (Porte): E. L, N, T, Y; 
 
 TG, TH. 
 St. Michel (Boul.) 65, .'=ee Rue SouflTlot. 
 St. Michel (Place): I, J, L, Q, AI; TG, 
 
 TH, TQ. 
 St.Philippe-du-Roule: B, D.Db's, B,AB, 
 St. Sulpice: Abis^ H, L, (j, AF; TAG 
 Sts. Peres (Rue des) 78 : V,AD, AF, AG 
 
 TAG. — Bridge^ see Tuileries. 
 Sebastopol (Boul.) (Rue Turbigo): D, 
 
 Dbis. TF, TG, TH, TZ. 
 Sevres (Rue de) 65: V, X, AG, AL; 
 
 TAC. 
 Souflot (Rue) (Boul. St. Michel): J, 
 
 AF; TG, TQ, T.Arp. 
 Ternes (Avenue det): D. 
 Ternes (Place des): D, Db''s; TD, TP, 
 
 TPbis, 
 ThMtre (Rue du): Y, AH. 
 Trinity (La): B, G; TAD. 
 Trocad^ro (Place du): A, B ; TN, TP. 
 Tuileries (Quai des) (Pont du Carrousel 
 
 or des Sts. Pere") : A^'s, H, Y, AG, 
 
 AM, AN; TA, TJ, TAB. 
 Vaugirard (Rite de) 162: Z, AG. 
 Victoires (Place des) (Rue Croix-des- 
 
 Petits-Champs) : F, I, N, V. . 
 Villette (Bonl. de la) (Canal) : L, AG ; 
 
 TD, TE, TP, TV, TAD, TNG. TNH. 
 Villette (Boul. de la) (Rue de Meaux) : 
 
 M, AG; TE. 
 Voltaire (Boul.) 38 (Rue Oberkampf): 
 
 0, AK; TF. TI. 
 Voltaire (Boul.) 130 (Place Voltaire) : 
 
 P, AG; TF. 
 
 Other Tramways 
 
 (without 'correspondance' with the above-mentioned tramways 
 and omnibuses). 
 Funiculaire de Belleville., a cable-tramway from the Place de la Re'pub- 
 lique (PI. F, 3) to the church of St. Jean-Baptiste (PI. H, 2). — 10 c. 
 Tramway de St. Oer main-en- Lay e., see p. 332. 
 
 Tramway Electriqtie de Romainville ., frcan the Place de la Ropubli^iue 
 (PI. F, 3) via the Avenue de la Ropublique and Avenue Gambetta, and 
 thence via Les Lilas (pp. 206, 306); about 4V2 M. Fares 20 and 10c. within 
 Paris; 10 and 5c. per section outside the walls. 
 
 Tramways in the Suburbs outside the fortifications, see the various route.^ ; 
 Vincennes^ p. 302, VersailU's, p. 294, etc. — Tramway cFArpajon, pp. 359, 360.
 
 32 
 
 River Steamboats. 
 
 (Comp. p. 23 of the Handbook and the annexed Plan.) 
 
 Charenton-Auteuil. 
 
 M 
 
 Pont d'Aust.-Aut. 
 
 iA 
 
 Pont-Roy.-Suresnes. 
 
 ^ 
 
 I. 10 or 15c.; II. 10 or 
 
 
 
 (10 c; Sun. and 
 
 a 
 
 (20c.-, Sun. and 
 
 p. 
 
 si 
 
 20c.;I.(kII. 20 or 25c. 
 
 P3 
 
 holidays, 20 c.) 
 
 05 
 
 holidays, 40 c.) 
 
 « 
 
 I. 
 Chaeenton (p. 304) 
 
 r. 
 
 
 
 
 
 Alfortville (p. 304) 
 
 1. 
 
 
 
 
 
 Les Carn^res 
 
 r. 
 
 
 
 
 
 Quai d'lvry 
 
 1. 
 
 
 
 
 
 Magasins Giniraux 
 
 r. 
 
 
 
 
 
 Pont National 
 
 r. 
 
 
 
 
 
 Pont de Tolbiac 
 
 1. 
 
 
 
 
 
 Pont de Bercy 
 
 r. 
 
 
 
 
 
 Pont d'Austerlitz 
 
 r. 
 
 
 
 
 
 II. 
 
 Pont d'Adstehlitz 
 
 r. 
 
 Pont d'Austerlitz 
 
 1. 
 
 
 
 Jardin des Plantes 
 
 1. 
 
 Jardin dea Plantes 
 
 
 
 
 Pont de la Tournelle 
 
 1. 
 
 Pont Sully 
 
 
 
 
 Bonl. St. Germain 
 
 
 Boulev. Henri IV 
 Pont St. Louis 
 
 lie 
 lie 
 
 
 
 HdteldeVillei-p-^^) 
 
 r. 
 
 He St. Louis (p. 229) 
 
 
 
 
 Pont-Neuf (p. 225) 
 
 1. 
 
 Chdtelet 
 
 
 
 
 Pal.de Just. (p. 221) 
 
 
 Quai du Louvre 
 
 r. 
 
 
 
 Pont des Sts. P&res 
 
 1. 
 
 Louvre (p. 85) 
 
 r. 
 
 
 
 Beaux- Arts (p. 249) 
 
 
 
 
 
 
 Pont-Royal (p. 272) 
 
 1. 
 
 Pont-Royal (p. 272) 
 
 r. 
 
 PONT-ROTAL (p.272) 
 Tuileries (p. 147) 
 
 r. 
 
 Rue du Bac (p. 272) 
 
 
 Tuileries (p. 147) 
 
 
 
 Pont de la Concorde 
 
 1. 
 
 Pont de la Concorde 
 
 r. 
 
 Pont de la Concorde 
 
 r. 
 
 Chambre des Dep. 
 
 
 Place de la Cone. 
 
 
 Place de la Cone. 
 
 
 (p. 273) 
 
 
 (p. 80), Champs 
 Elysees (p. 151) 
 
 
 (p. 80) 
 
 
 Pdht des Invalides 
 
 1. 
 
 Pont des Invalides 
 
 r. 
 
 
 
 (pp. 161, 275) 
 
 
 (pp. 161, 275) 
 
 
 
 
 Pont de VAlma 
 
 1. 
 
 Pont de VAlma 
 
 r. 
 
 Pont de VAlma 
 
 r. 
 
 (p. 161) 
 
 
 (p. 161) 
 
 
 (p. 161) 
 
 
 Pont d-Una 
 
 1. 
 
 Trocadiro (p. 165) 
 
 r. 
 
 
 
 Champ de Mars 
 
 ]. 
 
 Quai de Passy 
 
 
 Quai de Passy 
 
 r. 
 
 Passy-Grenelle 
 
 lie 
 
 Trocadero (p. 165) 
 
 r. 
 
 Trocadero (p. 165) 
 
 r. 
 
 Pont de Grenelle 
 
 lie 
 
 Pont de Grenelle 
 
 r. 
 
 
 
 He des Cygnes 
 
 
 He des Cygnes 
 
 
 
 
 (p. 169) 
 
 
 (p. 169) 
 
 
 
 
 Quai de Javel 
 
 1. 
 
 La Qaliote (Auteuil) 
 
 r. 
 
 
 
 Quai d'Auteuil 
 
 r. 
 
 AuTEDiL ( Point- du- 
 
 r. 
 
 Quai d' Auteuil 
 
 
 POINT-DO-JOUB 
 
 
 Jour) 
 
 
 Billancourt 
 
 r. 
 
 (p. 269) 
 
 1. 
 
 
 
 Bas-Meudon (p. 30(J) 
 Bellevue Funiculaire 
 
 (p. 294) 
 Sevres (p. 299) 
 Boulogne (p. 295) 
 St. Cloud (p. 296) 
 Longchamp(on race 
 
 days ; p. 158) 
 Sdbksnes (15 & 25 c. 
 
 1. 
 1. 
 
 1. 
 r. 
 1. 
 
 r. 
 
 
 
 
 
 from St. 01.; p. 294. i 1. 1
 
 33 
 
 Cab Tariff. 
 
 (Comp. also pp. 19-20 of the Handbook.) 
 
 Within the City. 
 
 From 6 a. m. in summer 
 (31st March to let. Oct.), 
 and from 7a.m. in winter 
 (lit Oct. to 31st March), 
 till 12.30 at night: 
 
 From 12.30 at night 
 till 6 a. m. in summer 
 (31st March to 1st Oct.), 
 and till 7 a m. in winter 
 (1st Oct. to 31st March) : 
 
 Cab hired in street or at a 
 
 station : 
 Ordinary Cabs for 2 pers. 
 Ordinary Cabs for 4 pers. 
 Landau for 4 pers. . . . 
 
 Per Drive 
 
 Per Hour 
 
 Per Drive 
 
 Per Hour 
 
 fr. c. 
 
 1 50 
 
 2 - 
 2 50 
 
 fr. c. 
 2 - 
 
 2 50 
 
 3 - 
 
 fr. c. 
 2 25 
 
 2 50 
 
 3 - 
 
 fr. c. 
 2 50 
 
 2 75 
 
 3 50 
 
 Beyond 
 
 From 6 a. m. till 12 at night in summer, or from 6 a.m. 
 till 10 p. m, in winter. 
 
 the 
 Fortifications. 
 
 When the hirer | When the hirer 
 returns to the does not return, he 
 town in the same ; must make addi- 
 cab : tional payment of: 
 
 When the cab is 
 
 hired outside the 
 
 town : 
 
 Ordinary Cabs for 
 2 pers 
 
 Ordinary Cabs for 
 4 pers 
 
 Landau for 4 pers. . 
 
 Per Hour 
 fr. c. 
 
 2 50 
 
 2 75 
 
 3 - 
 
 Return Money 
 fr. c. 
 
 1 - 
 
 1 — 
 
 2 - 
 
 Per Hour 
 fr. c. 
 
 2 - 
 
 2 50 
 
 3 - 
 
 Luggage, one trunk 25 c., two 50 c, three or more 75 c. 
 
 There is no tariff-charge for drives beyond the fortifications at night; a special 
 agreement should be made in each case. 
 
 In engagements by time one hour at least must be paid for; after the first 
 hour the payment is calculated by fractions of five min. ea'-h. Cabmen are bound 
 to drive at tlie rate of not less than 8 kil. (5 M.) per hr. , except when otherwise 
 directed by the hirer. 
 
 Any free cab may be hired in the street or on a cab-rank , no matter what 
 position it occupies on the latter. 
 
 Articles left in cabs should be given up by the cabmen at the Prefecture de 
 Police, where application should be made for them (p. 226). 
 
 Baedeker. Paris. 12th Edit.
 
 Leipsic: Printed by Breitkopf & Hartel.
 
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