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THE TRAVELLER'S MANUAL OF CONVERSATION, in English, German, French, and Italian. 3 marks. July 1884. THE LIBRARY UNIVERSITY OF CALIFORNIA LOS ANGELES PARIS. a I 3 I « -i o s ;k a « SSSSSSa I8S9S ISSSS 1S8SR I I 1 Mill -rHC?co-=*<*iojeo-=*io<:o as c9 5i< ?• S> t- ^ c^ ' S>P-3i?j ' roP-3'oj ' SiP-^ci I I I I (c^a:i-5*-=*io«Dr-cooo550-rHCJeo<*u:3!:oc-ooo50-r^o»eo<*iO«t^^OiOgg PARIS AND ENVIRONS WITH ROUTES FROM LONDON TO PARIS AND FROM PARIS TO THE RHINE AND SWITZERLAND. HANDBOOK FOR TRAVELLERS BY K. BAEDEKER. WITH 10 MAPS AND 30 PLANS. EIGHTH REVISED EDITION. LEIPSIC : KARL BAEDEKER. LONDON: DULAU AND CO., 37 SOHO SQUARE, W. 1884. All rights reserved. 'Go, little book, God send thee good passage, And specially let this "be 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 ! ' Chaucer. PEEFACE. STACK ANNa DC The chief object of the ILiudbook for Paris is to render the traveller as nearly as possible 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 imfolding 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 povertj^ 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 Communist 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 government having done its utmost to restore everything as far as possible to its former condition. vi PREFACE. 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 ; and, as many persons who visit Paris are on their way to more distant places , some brief itineraries to the Rhine and to Switzerland will probably be found useful. 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, either from his own experience, or from an examination of the numerous hotel-bills sent him by travellers of different nationalities , believes to be most worthy of commendation are denoted by asterisks. It should, however, be borne in mind that hotels are liable to constant changes, and that the treatment experienced by the traveller often depends on circumstances which can neither be fore- seen 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. To hotel-proprietors, tradesmen, and others the Editor begs to intimate that the commendations in the Handbook cannot be secured by purchase, and that advertisements of every form are strictly excluded. CONTENTS. Introduction. Page I. Language. Money. Expenses. Passports. Custom House xiii II. Railways xiv III. Outline of History xv IV. General Remarks on Paris xxiii V. Weights and Measures xxvi VI. Remarks on Northern France xxvii Remarks on French Art xxix Preliminary Information. 1 . Arrival in Paris 1 2. Hotels 2 3. Restaurants 9 4. Cafe's and Confectioners 17 5. Cabs 19 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, Panoramas, etc 27 10. Concerts and Balls. Sports and Clubs 32 11. Shops and Bazaars 35 12. Booksellers, Reading Rooms, Newspapers 39 13. Baths, Physicians, Maisons de Sante 41 14. Divine Service 43 15. Embassies. Ministerial Offices 44 16. Topography. Preliminary Drive 45 17. Distribution of Time 49 Sights of Paris. P^y^^g Right Bank of the Seine. 1. The Boulevards from the Bastille to the Madeleine . . . 53 I. Place de la Bastille. Colonne de Juillet 55 II. From the Bastille to the Boulevard Montmartre . . 57 Place de la Republique 68 viii CONTENTS. Eoute Page Porte St, Martin. Porte St. Denis 59 The Bourse , 60 III. From the Boulevard Moutmartre to the Madeleine . 61 Kew Opera House 63 2. From the Plane de la Concorde to the Bastille 68 I. Place de la Concorde. Obelisque de Louqsor ... 68 II. From the Place de la Concorde to the Rue du Louvre 71 Colonne Vendome 71 St. Roch 72 Palais-Royal 74 St. Germain TAuxerrois 76 III. From the Rue du Louvre to the H6tel-de-Ville . . 77 Tour St. Jacques 77 Place du Chatelet 79 Sewers 79 St. Merri 80 IV. From the H6tel-de-Ville to the Bastille 83 St. Gervais 83 3. Palace and Galleries of the Louvre. The Tuileries ... 84 I. The Palace of the Louvre 84 II. The Galleries of the Louvre 87 Egyptian Museum 88 Asiatic Museum 92 Ancient Sculptures 93 Mediaeval and Renaissance Sculptures 105 Modern Sculptures 108 Musee de Clialcograpliie Ill Picture Gallery Ill (Supplementary Rooms) 145 Galerie d'Apollon . .' 134 Salle des Bijoux 136 Collection La Gaze 138 Ancient Bronzes 139 Collection of Drawings 139 Smaller Mediaeval and Renaissance Antiquities . . . 140 Collections Timbal and Lenoir 141 Greek Antiquities 142 Musee Campana 142 Muse'e de la Marine 146 3Iusee Ethnographiqu 147 Musee Chinois 147 Salle des Boites 147 III. The Tuileries 148 Arc de Triomphe du Carrousel 148 4. From the Place de la Concorde to the Bois de Boulogne 152 I. From the Place de la Concorde to the Place de I'Etoile 152 Champs-Elyse'es 152 II, From the Place de I'Etoile to the Bois de Boulogne 155 Jardin d'Acclimatation 158 ly'euilly 160 5. From the Place de la Concorde to the Trocadero .... 160 Passv 163 Auteuil 164 6. From the Palais-Royal to Pere-Lachaise 164 CONTENTS. ix Route Page I. From the Palais-Royal to the Halles Centrales. St. Eustache 164 II. From the Halles Centrales to the Place de la Re- publique 167 Conservatoire des Arts et Me'tiers 168 III. From the Place de la Republique to Pere-Lachaise 170 7. From the Palais-Royal to the N.E. Quarters 179 I. From the Palais-Royal to Notre-Dame-de-Lorette . 179 Bibliotheque Rationale 179 11. From Notre-Dame-'de-Lorette to the Gare du Nord and Gare de I'Est 185 St. Viucent-de-Paul 185 St. Laurent 187 III. From the Gare du Nord and Gare de I'Est to the Buttes-Chaumont 187 Market and Abattoirs of La Villette 188 8. From the Palais-Royal to the N.W. Quarters 189 I. From the Palais-Royal to Montmartre Cemetery . . 189 II. From Montmartre Cemetery to the Pare de Mon- ceaux and the Madeleine 192 9. From the Palais-Royal to Yincennes 195 I. From the Palais-Royal to the Archives Nationales and the Bastille 195 II. From the Bastille to Vincennes 199 The Cite. 10. Palais de Justice. Sainte-Chapelle. Notre-Dame . . . 204 I. Palais de Justice and Sainte-Chapelle 204 Tribunal de Commerce 207 Pont-Neuf 208 Prefecture de Police 208 II. Notre-Dame 208 Hotel-Dieu. Morgue 211 He St. Louis 212 Left Bank of the Seine. 11. From the Cite' to the Panthe'on and the Pare Montsouris 213 I. From the Cite to the Mus^e de Cluny 213 Fontaine St. Michel. St. Se'verin 213 Ecole de Medecine 214 II. From the Muse'e de Cluny to the Pantheon . . . 221 College de France. Sorbonne 222 Bibliotheque de Ste. Genevieve 225 St. Etienne du Mont 226 III. From the Panthe'on to the Pare Montsouris .... 227 Val-de-Grace 227 Catacombs 228 12. From the Louvre to the Luxembourg and the Cemetery of Montparnasse 229 I. Institut. Hotel des Monnaies. Ecole des Beaux- Arts 229 it CONTENTS. Boute Page II. From the Ecole des Beaux- Arts to the Luxembourg 235 St. Germain-des-Pres 235 St. ^ulpice 236 III. Palace, Gallery, and Garden of the Luxembourg . 238 1. Palais du Luxembourg 238 2. Musee du Luxembourg 240 3. Jardin du Luxembourg 244 IV. From the Luxembourg to the Cemetery of Mont- parnasse 245 13. From the Louvre to the Jardin des Plantes and the Gobelins 248 I. From the Louvre to the Jardin des Plantes . . . 248 II. From the Jardin des Plantes to the Gobelins . . . 252 14. From the Tuileries to the Invalides and the Trocadero . 255 I. From the Tuileries to the Invalides 255 Chambre des Deputes 256 Ste. Clotilde 258 II. Hotel des Invalides 258 Musee d'Artillerie 260 Eglise des Invalides. Napoleon's Tomb .... 262 III. From the Invalides to the Trocadero 264 Ecole Militaire. Champ-de-Mars 264 Environs of Paris. 15. From Paris to Versailles 266 16. From Paris to St. Cloud, Sevres, and Meudon 289 17. From Paris to St. Germain-en-Laye 292 18. From Paris to St. Denis. Enghien. Montmorency . . . 296 19. Sceaux and the Valley of the Bievre 307 20. From Paris to Fontainebleau 311 21. From Paris to Chantilly, Compiegne, and Pierrefonds . 317 Routes to and from Paris. A. Routes from London to Paris. 22. By Folkestone, Boulogne, and Amiens 323 23. By Dover, Calais, and Amiens 328 24. By Newhaven, Dieppe, and Rouen 329 25. By Southampton, Havre, and Rouen 338 B. Routes from Paris to the Rhine and Switzerland. 26. From Paris to Cologne, by Namur und Liege 341 27. From Paris to Brussels, by Maubeiigc and Mons .... 343 28. From Paris to Strassburg, by Chalons and Nancy .... 344 CONTENTS. xi Route Page 29. From Paris to Metz 349 a. By Chalons and Verdun 349 b. By Frouard and Pagny 350 30. From Paris to Bale, by Troyes, Belfort, and Miilhausen 350 31. From Paris to Neuchatel by Dijon 353 32. From Paris to Geneva, by Macon, Amberieu, and Culoz 357 List of Artists 359 Index 367 List of Maps and Plans. A. Maps. 1. Railway Map of France, at the end of the book. 2. General Map of N. France, before the title-page. 3. Immediate Environs of Paris, p. 266. 4. Remoter Environs of Paris, p. 310. 5. Vincennes and its Environs, p. 200. 6. Asnieres and Mont Valerien, p. 267. 7. St. Cloud and Sevres, p. 290. 8. Environs of St. Germain-en-Laye, p. 296. 9. Forest of Fontainebleau, p. 316. 10. Compiegne and Pierrefonds, p. 320. 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 -Elysees, W. Boulevards, and Louvre. 5. „ „ ,, „ E. Boulevards. 6. „ „ „ „ Hotel deslnvalides andPalais 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. Plan of the Bois de Boulogne, p. 154. 14. Conservatoire des Arts et Metiers, p. 168. 15. Pere-Lachaise, p. 170. 16. Muse'e de Cluny, p. 216. 17. Ecole des Beaux-Arts, p. 232. 18. Muse'e du Luxembourg, p. 241. xii CONTENTS. 19. Jardin des Plantes, p. 249. 20. Muse'e d'Artillerie, p. 260. 21. Town and Park of Versailles, p. 268. 22. 23. Muse'e de Versailles, gronnd, first, and second floors, pp. 272, 273. 24. St. Germain-en-Laye, p. 294. 25. Cathedral of St. Denis, p. 299. 26. Boulogne, p. 323. 27. Dieppe, p. 330. 28. Rouen, p. 332. 29. Le Havre, p. 338. 30. Nancy, p. 346. 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. ; R. = room; B. = hreakfast: 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. Passports. Custom House. Language. 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 acquaintance 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 5000, 1000, 500, 200, 100, 50, 25, and 20 francs. The French Gold coins are of the value of 100, 50, 20, 10, and 5 francs; Silver coins of 5, 2, 1, 72? ^^^ Vs^^^^^i 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, 72^1". = 10 sous. Italian, Belgian, Swiss, and Greek gold and silver 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. The only foreign copper coins current in France are those of Italy, and occasionally the English penny and halfpenny, which nearly correspond to the 10 and 5 centime piece respectively. 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', partakes of wine of good though not extravagant quality, visits the ^iv II. RAILWAYS. theatres, drives in the parks and environs, and finally indulges in suppers a 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. It need hardly be observed, that, in a city where luxury is raised to a science, and where temptations to extravagance meet one at every step, each traveller must be his own mentor. Passports. These documents are now dispensed with in France, but they are often useful in proving the traveller's identity, pro- curing admission to museums on days when they are not open to the public, etc., and they must be shown in order to obtain delivery of registered letters. The v^sa of a French ambassador or consul is un- necessary. Application for passports may be made to W. J. Adams, 59 Fleet Street; Lee and Carter, 440 W. Strand; Dorrell & Son, 15 Charing Cross; or E. Stanford, 55 Charing Cross. 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 16«., on the latter to 7-lls. 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. n. Railways. The network of railways by which France is now overspread consists of lines of an aggregate length of 17,500 M. The fares per English mile are approximately: 1st cl. 18 c, 2nd cl. 131/2 c., 3rd cl. 101/2 c. , to which a tax of ten per cent on each ticket has been added since the late war. The express trains (^trains express') generally convey first-class passengers only. The carriages are in- ferior 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. 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 station to take leave of friends without special permission. Tickets for intermediate stations are usually collected at the 'sortie'; those for termini, before the station is entered. 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 III. HISTORY. XV the railway-stations there is a consigne, 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 employes 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. Return-tickets (Billets driller et retourj are issued by all the railway-companies at a reduction of 15-25 per cent. ; those issued on Sat. and on the eves of great festivals are available for three days. The custom of raising the fares on the suburban railways on Sundays and holidays has fallen almost entirely into desuetude. The most trustworthy information as to the departure of trains is contained in the Indicateur des Chemins de Fer, published weekly, and sold at all the stations (60 c). There are also separate and less bulky time-tables for the diff"erent lines ('Livrets Chaix') : du Nord, de I'Est, de I'Ouest, etc. (40 c). Railway time is always that of Paris, which differs considerably from that of the adjacent countries. Thus the Belgian time is 8 min., the German 22 min., and the Swiss 26 min. in advance of French railway time. III. Outline of History. 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 town was Lutetia, situated on the present island of La Cite (comp. p. 204). The first event in the town's history worthy of mention was the introduction of Christianity by St. Denis, who , according to tra- dition, suffered martyrdom on Montmartre about the year 250. — Constantius Chlorus is said to have founded the Palais des Thermes (p. 221) between 292 and 306. — Julian resided at Lutetia in 360. The name of the town was then changed to Parisii, and the political franchise bestowed upon it. — In the vicinity of Paris, Gratian was defeated and slain by Maximus in 383. Merovingians. Clovis, son of Childeric, king of Tournay, finally expelled the Romans about the year 496, embraced Christi- anity, and became the founder of the Merovingian Dynasty. He erected a church to St. Peter and St. Paul, which he subsequently dedicated to Ste. Genevieve, who died in his reign. Few of the monarchs of this or the subsequent dynasty resided at Paris. Carlo vingians. Pepin (Le Bref), who became king of France in 752 , was the founder of the second or Carlovingian Dynasty. Chablemagxe, 768. Louis I. (Le Debonnaire), 814. Charles II. (Le Chauve), SAO. Paris sacked by the Normans, 857. — The subsequent monarchs neglected the city, and, when xvi III. HISTORY. it was again attacked by the Normans in 885, left it to its own resources. The dynasty was deposed in consequence, and the crown given to Count Odd, or Eudes, who had been instrumental in repel- ling the Normans, and who was the ancestor of the Capetian family. Capetians. Hugh Capet, 987, was the founder of the third or Capetian Dynasty. The city now increased rapidly, and a palace on the site of the present Palais de Justice was begun. Robert II, (Le Pieux)^ 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 Oros) , 1108, founded a palace on the site of the Louvre. Louis VII. (Le Jeune), 1137. His divorced wife, Eleanor of Guienne and Poitou, married Henry Plantagenet, afterwards Henry II. of England. Foundation-stone of Notre -Dame laid by Pope Alexander III. in 1163. Suger, abbot of St. Denis, the king's minister. Philip II. (Auguste), 1180, extended the city considerably, and surrounded it with a wall and turrets. Undertakes the third Crusade, in company with Richard Caur 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. Louis IX. (St. Louis) , 1226. Crusades to Egypt and Tunis. Paris obtains various municipal privileges. The University of the Sorbonne founded by Robert Sorbon, the king's ehaplain, 1250. Philip III. (Le Hardi), 1270. Philip IV. (Le Bel), 1285, founded several courts of justice. He caused the papal residence to be transferred to Avignon, and in 1307 abolished the order of Knights Templar. Louis X. (Le Hutin), 1314. Philip V. (Le Long), 1316. Charles IV. (LeBel), 1322, died without issue. House of Valois. Philip VI. , 1328. War with England, 1339 ('Guerre de Cent Ans', 1339-1453). Battle of Crecy, 1346. John (Le Bon), 1350; defeated and taken prisoner by the English at Maupertuis , 1356. Peace of Bretigny , 1360. Charles V. (LeSage), 1364, founder of the Royal Library, the Bastille, and the Palais des Tournelles. The city extended and re-fortifled. The English expelled by Bertrand du Guesclin. Charles VI., 1380; became insane twelve years afterwards. Defeat of the Flemings under Artevelde at Rosbeck, 1382. War of the Armagnacs. The French under the Constable d'Albret de- feated by Henry V. of England at Agincourt, 1415. Paris occupied by the English, 1421. III. HISTORY. xvii Charlbs VII., 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. Introduction of printing, and establishment of post-office. Charles VIII., 1483; conquers Naples, 1495. Paris devas- tated by famine and plague. Battle of St. Jacques near Bale against the Swiss, 1444. Louis XII. , 'Lc pere 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 was defeated by them on the Garigliano in 1503, on which occasion Bayard was 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 city was more considerably altered and improved in this than in any of the preceding reigns. Many new edifices were erected, churches repaired, and the fortifications extended. Palace of the Louvre and Hotel de Ville begnn. Henri II., 1547, husband of Catherine de Medicis, accidentally killed at a tournament (p. 82). Metz, Toul, and Verdun annexed to France, 1556. Final expulsion of the English. Francis II., 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. The Tuileries erected. Massacre of St. Bartholomeiv , 24th August, 1572. Henri HI., 1574, brother of his two predecessors; flies from Paris, where a rebellion had broken out , by the advice of his mother, Catherine de Medicis (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. Henry, divorced from Margaret of Valois in 1599, marries Marie de Medicis the following year; assassinated by Ravaillac in 1610. The metropolis greatly embellished during this reign. The Pont-Neuf completed, additions made to the Louvre and Tuileries. Baedeker. Paris. Sth Edit. \, xviii III. HISTORY. Louis XIII., 1610; Ms mother Marie de Me dicis, regent; she is banished to Cologne, where she dies in 1642. Richelieu, his minister (d. 1642). English fleet defeated at B/te, 1627; La Ro- chelle taken from the Huguenots. France takes part in the Thirty Years' War against Austria. The Palais-Cardinal (now 'Royal') begun by Richelieu, and the Luxembourg by Marie deMedicis. Newbridges, quays, and streets constructed. Jardin des Plantes laid out. Louis XIV. , 1643 , under the regency of his mother, Anne of Austria. Ministers: Mazarin (d. 1661), Louvois (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 1645. Turenne defeats the Bavarians at Freiburg and at Nordlingen, 1644. Submission of the Fronde. Peace of the Pyrenees, with Spain, 1659. Death of Mazarin, 1661. The king governs alone. Louis marries Maria Theresa, 1660. After the death of his father-in-law, Louis lays claim to the Low Countries. Turenne conquers Hainault and part of Flanders, 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, Mulhausen (1674), and Turkheim (1675). Death of Turenne at Sassbach, 1675. Admiral Duquesne defeats the Dutch fleet near Syracuse, 1676. Marshal Luxembourg defeats William of Orange at Mont- cassel, 1677. Peace of Nymwegen, 1678. Strassburg occupied, 1681. Occupation of Luxembourg. Revocation of the Edict of Nantes, 1685. Devastation of the Palatinate, 1688. Marshal Luxembourg defeats the Imperial troops at Fleurus (1690) and Steenkerke (1692), and William of Orange at Neerwinden, 1693. The French fleet under Admiral Tourville defeated by the English at La Hogue, 1692. Peace of Ryswyk, 1697. Spanish war of succession, 1701. Victory of Vendome at Luz- zara (1702), and of Tallard at Speyer (1702). Taking of Landau, 1702. Victory at Hoc/isia(i«( 1703); defeat at ^oc/is^ad^, or Blen- heim (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 Ramillies (1709), Oudenarde (1708), and Malplaquet (1709). Peace of Utrecht and Rastadt, 1714. During this reign upwards of eighty new streets and thirty- three churches were constructed. Hotel des Invalides, Observatory, and the colonnade of the Louvre completed. College Mazarin, Gobelins, etc., begun. Fortifications converted into boulevards. III. HISTORY. xix Louis XV., 1715; teji years' regency oi the Duke of Orleans. Marries Marie Lesczynska of Poland. Austrian war of succession (1740-48). Defeat at Bettingen 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 Lae/felt ( Law f eld) in 1746. Taking of Maastricht and Peace of Aix-la-Chapelle, 1748. Naval war against England. 8even 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- bach, and in 1758 at Crefeld, by the Duke of Brunswick. The latter defeated by Marshal Broglie at Bergen, 1790. The French defeated at Minden (1759), etc. The Pantheon , Ecole Militaire , Palais du Corps Legislatif, Hotel des Monnaies, and many other important buildings were erected during this reign. Jardin des Plantes extended. 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. Revolution. Assembly of the States General at Ver- sailles, 5th May. Their transformation into a National Assembly, 17th June. Storming of the Bastille, 14th July. The 'Femmes de la Halle' at Versailles, 5th Oct. Confiscation of ecclesiastical property, 2nd Nov. 1790. National fete in the Champ-de-Mars. 1791. The Emigration. The royal family escape from Paris, but are intercepted at Varennes, 20th 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, 13th Aug. Massacres in Sept. Cannonade of Valmy against the Prussians, 20th Sept. The Na- tional Convention opened, and royalty abolished, 21st Sept. Republic proclaimed, 22nd Sept. Custine enters Mayence, 21st Oct. Battle of Jemappes against the Austrians, 9th Nov. Conquest of Belgium. 1793. Louis XVI. beheaded, 21st Jan. Republican reckoning of time introduced, 22nd Sept.-|-. Reign of Terror. The queen + The year bad 12 months : Vendemiaire (month of the vendangc, or vintage) from 22nd Sept. to 21st Oct., Bruma-ive {bi-ume, fog) 22nd Oct. to 20th Nov., and Frimaire (frimas, hoar-frost) 21st Nov. to 20th Dec, -were the three autumn-months ; — Nivose ineige , snow) 21st Dec. to 19th Jan., Pluviose (pliiie , rain) 20th Jan. to 18th Feb., and Ventose {vent, wind) 19th Feb. to 20th March, winter - months ; — Germinal (ger-nie, germ), 21st March to 19th April , Flore'al (fleur , flower) 20th April to 19th May, and Prairial (prairie, meadow) 20th May to 18th June , spring-months ; — Messidor (moisson, harvest) 19th June to 18th July , Thermidor (therme, b* XX III. HISTORY. beheaded, 16th Oct. Worship of Reason introduced, 10th Nov, Loss of Belgium. 1794. Robespierre's fall and execution, 28th July. Jourdan's victory at Fleurus. Belgium reconquered. 1795. Conquest of Holland by Pichegru. Bonaparte commander of the troops of the Convention against the Royalists under Da- nican , 3rd Oct. Directory established , 28th Oct. 1796. Bonaparte's successes in Italy ( Montenotte , Millesimo, Lodi, Milan^ Mantiig, Castiglione, Bassano, and Arcole). 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. 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 defended by Sir Sidney Smith. Victory of Aboukir, 25th July. Fall of the Directory, 9th Nov. Establishment of the Consulate, 25th Dec. Bona- parte First Consul. 1800. Bonaparte's passage of the St. Bernard, 13th May. Vic- tories at Piacenza, MontebeUo. Marengo, and Hohenlinden. Attempt to assassinate Napoleon at Paris, 24th 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. 1804. First Empire. Napoleon I. proclaimed Emperor by the Senate, 18th May; crowned by Pope Pius VII., 2nd Dec. 1805. Renewal of war with Austria. Capitulation of JJbn, 17th 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. Entry into Berlin. 27th Oct. Continental blockade. 1807. War with Russia and Prussia. BaAtles oi Eylau ?ind Fried- land. Treaty of Tilsit, 8th July. 1808. War in Spain , in order to maintain Joseph Bonaparte on the throne. 1809. Conquest of Saragossa. Renewed war with Austria. Battle of Eckmiihl. 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. warmth) 19th July to ITth Aug., and Fructidor (fruity 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 5 Jours compUmentaires , 17th Sept. to 21st. — The republican calendar was discontinued by a decree of 9th Sept., 1805. III. HISTORY. xxi 1812. Renewed war with Russia. Battles of Smolensk and the Moskowa. Moscow entered, 15th Sept. Retreat begun^ i9th Oct. Passage of the Beresina. — Wellington's victory at Salamanca. 1813. Battles of Lwisen, Bautzen, Grossbeeren, Dresden, Katz- bach, Kulm, Leipsic (16th and 18th Oct), Hanau, etc. 1814. Battles of Brienne, La Rothiere, Montmirail, Laon, Arcis- sur-Aube, and Paris. Entrance of the allies into Paris, 31st March. Abdication of the Emperor, 11th April. His departure for Elba, 4th xMay. First Treaty of Paris, 30th May. The frightful scenes of devastation enacted during the Revolution, 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. Under the Directory the museum of the Louvre was begun. Vast improvements were effected under Napoleon ; the mean buildings which formerly occupied the Place du Carrousel were demolished; the N. gallery between the Louvre and the Tuileries and the handsome Rue de Rivoli were begun ; new streets, spacious markets, three bridges, several quays, canals, etc. constructed; numerous fountains and monuments erected; churches restored and embellished ; the Bourse and other public edifices founded. 1814. Restoration. Louis XVHL proclaimed King. 1815. Napoleon's return from Elba; at Cannes on 1st, and at Paris on 20th March. Battles of Ligmj and Waterloo, 16th and 18th June. Second entrance of the allies into Paris, 7th July. Napoleon banished to St. Helena, where he died [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. 1830. Reyolutiox of July (27th-29th). Louis Philippe elected King, 7th Aug. Continued war in Africa; consolidation of the French colony of Algeria. Civic improvements progressed comparatively slowly under Louis XVIU. and Charles X. Under Louis Philippe they were resumed with fresh vigour. Many handsome new streets were opened , churches and public edifices completed, vast works un- dertaken for the drainage of the city , new bridges and quays con- structed, gardens and squares laid out, etc., at an outlay exceed- ing 100 million francs. 1848. Rk volution of February (23rd and 24th). 1848. Republic. 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. 1852. Second Empire. Napoleon III., elected emperor hy ple- biscite, 2nd Dec. xnM III. HISTORY. 1854. War with Riissia. Crimean campaign. — 1859. War with Austria. Battle of Solferino. Peace of Villafranca. — 1861. Mexi- can expedition. 1870. War with Prussia. Declaration of war, 19th July. Battles in August : Weissenburg [4th), Worth (6th), Spichern (6th), Bomy^ Rezonville^ and Gravelotte {iAth , 16th, 18th), Beaumont (30th). Battle of Sedan, 1st Sept. Surrender of Napoleon III. Republic proclaimed, 4th Sept. Capitulation of Strassburg, 27th Sept., and of Metz, '27th Oct. Battles near Orleans, 2nd-4th Dec. 1871. Battle oi St. Quentin, 19th Jan. Capitulation of Paris, 28th Jan. The Germans enter Paris, 1st March. The siege of Paris in 1870-71 ranks among the most remarkable oc- currences in the annals of modern warfare. After the decisive battle of Sedan the victorious German troops pushed forward to Paris with- out delay, while the Government of the National Defence under Ge- neral Trochti 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. 15(3^ 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 60,000 or 70.000 only 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 Saxonv, 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. Georges (p. 311). 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. 269). 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 ineffectual effort to break the German lines at Villejuif, to the S. of Paris. A second attempt in the direction of Clamart (p. 267) on 13th Oct., and a third on Malmaison and Buzanval (pp. 293. 290) on 21st 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. The Germans, how- ever , succeeded in recapturing it on the 31st, after prolonged fighting aud 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 on the S.E. of Paris. For three days the 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 Dee. 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 Ger- 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 , biit a final sortie was undertaken in deference to jmblic f>pinion. The National Guards, Til. HISTORY. xxiii who had hitherto been spared active service , took part in this sally, V7hich was directed against Versailles , under cover of the guns of Mont Valirien. The French were once more driven back, with immense loss, on l9th January. Resistance was now at an end. On 23rd Jan. Jules Favre came 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 Mar., but was withdrawn in two days on the prompt ratification of the treaty of peace by the National Assembly at Bordeaux. 1871. Communist Insurrkction , 18th March. Second siege of Paris, 2nd April. Peace of Frankfort^ lOth May. Paris occupied by the Government troops, 25th May. The Communist insur- rection finally quelled, 28th May. — M. Thiers, who had been chief of the executive since 17th Feb., appointed President of the Republic. 1873. Death of Napoleon III., 9th Jan. — Marshal Macmahon appointed President instead of M. Thiers, 24th 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 from Ver- sailles to Paris. Paris underwent immense improvements during the second em- pire. Dense masses of houses and numbers of tortuous streets were replaced by broad boulevards, spacious squares, and palatial edifices. Public works of vast magnitude were undertaken , and those begun in former reigns successfully completed. The Bois de Boulogne and the Buttes-Chaumont were for the first time laid out as public parks ; several other promenades and pleasure-grounds were either brought into existence or greatly embellished ; and, what is of in- calculable importance, the city was thoroughly well drained, lighted, paved, and supplied with water. For several years after the war many of the public works were necessarily suspended, but the municipal authorities have done their utmost to remove all traces of the Communist outrages. IV. General Remarks on Paris. Paris, the capital and by far the largest town of France, covers an area of nearly 30 sq. M. and contained in 1881 a population of 2,269,033 souls. As early as the end of the 13th cent, the num- ber 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; and in 1870, 1,825,274. The defence of this huge city is provided for by an elaborate system of fortifications, described at p. 156, and by a garri- son of nearly 50,000 men. Its administration is shared between a xxiv IV. GENERAL REMARKS. Prefect of the Seine, appointed by government, and a Town Council, elected by the citizens. The annual budget amounts to 300,000,000 fr. (upwards of 10,000.000^.). Each Arrondissement (see p. 46) is governed by a mayor and two councillors. Paris is not only the political metropolis of France , but also the centre of the artistic, scientitic, 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 there have been periods when it was more generally admitted to be justifiable than at the present day. An idea of the importance of Paris so early as the 12th cent, is afforded by the mediaeval poems which treat of the traditional twelve 'Masters of Paris', who seem to have somewhat resembled the Seven Wise Men of Greece. For its cosmopolitan character, however, the city is chiefly indebted to its University, to which students of all nationalities flocked in order to be initiated into the mysteries of the scholasticism which was taught here by its most accomplished professors. At the same time in- dustrial and commercial pursuits made rapid strides under the fostering care of the monarchs and owing to the favourable situation of the city. The great annual fair which took place in the extensive plain between Paris and St. Denis (Foire du Lend it ) SiUd the famous Commercial Code drawn up by Etienne Boileau in 1258 afi"ord addi- tional proof of the early commercial importance of Paris, in con- sequence of which the population increased rapidly, and an exten- sion of the municipal boundaries was repeatedly rendered necessary. The building enterprise of the 12th and 13th centuries, though but few traces of it now remain, also bears testimony to the energy of the citizens at that period. During the subsequent centuries of the middle ages Paris was indeed deprived of the patronage of her kings, whose adverse fortunes frequently compelled them to give up their residence in the capital; but the municipal element which thenceforward predominated, and which has found expression in the national literature and poetry, continued steadily to develop itself, and at the present day forms the chief characteristic of the city. The triumphant position of the French monarchy in the reign of Louis XIV. also contributed to the growth and embellishment of the city, and from that period dated many of the public buildings which adorned Paris down to the dawn of the new era in 1848. The decorative arts in particular received a great impulse, and now be- gan to extend their influence over the whole of Europe. As the IV. GENERAL REMARKS. xxv monarchy engrossed the whole of the political power of the nation, so Paris gradually attracted to herself the skill and talent of the whole country. During the Revolution and the period immediately succeeding it, this system of centralisation, which had now reached its highest pitch, received a temporary check from the political dis- organisation of the day; but under the Directory, and particularly during the first empire, the city speedily regained its pre-eminence. During the somewhat inglorious period of the Restoration the city enjoyed a golden era of prosperity, and the inhabitants reaped the benefits of the Revolution and the Napoleonic laurels without participating in the terrible sacrifices through which they had been attained. Persons of the more enlightened classes began to aspire to the higher ideals of liberty, whereby their energy and enthusiasm were stimulated, and the long lost blessings of peace now seemed to them doubly desirable. It was at this period 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 period Benjamin Constant and Royer-CoUard exer- cised very great influence on public opinion; Thiers and Mignet^ Victor Hugo and Lamartine began their respective careers; the -Ro- mantic School' attained high importance ; and Paris became the re- cognised headquarters of Oriental studies and a number of other important sciences. What had been begun in the period of the Restoration was continued, though hardly with the same success, during the years which followed the July Revolution , until at length by the outbreak of a new Revolution in 1848 the municipal machine was again thrown completely out of gear. Under the sec- ond empire the city speedily regained her ancient prestige and underwent an almost entire transformation, on a scale of magniti- cence hitherto unparalleled. At the close of that period (^1870-71) she was overtaken by appalling disasters, which indeed threatened her very existence ; but with her wonted buoyancy she has again almost entirely recovered from the shock, and has seldom or never presented a gayer and more prosperous appearance than on the oc- casion of the opening of the Exhibition of 1878. Persons well ac- quainted with the Paris of the earlier part of the present century sometimes declare that the former spirit of French society is well- nigh extinct ; but whether it has really lost a degree of its character- istic sprightliness, or is merely superficially obscured by the ever- increasing anxieties of so populous a city, is a question which we need not here attempt to decide. V. Weights and Measures. (In use since 1799.) The English equivalents of the French weights and measures are given approximately. Millier = 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 (^lo kilogramme) = 10 decagrammes = 100 gr. = 1000 decigrammes. (100 grammes = 31/5 oz.; 15 gr. = V2 oz. ; 10 gr. = 1/3 oz. ; 71/2 gr. = V4 oz.) Myriametre = 10,000 metres = 61/5 Engl, miles.' Kilometre = 1000 metres = 5 furlongs = about ^/g Engl. mile. Hectometre = 10 decametres =100 metres. Metre, the unit of length, the ten-millionth part of the sphe- rical distance from the equator to the pole = 3,0784 Paris feet = 3,281 Engl, feet = 1 yd. 31/3 in. Decimetre (i/^o metre) = 10 centimetres = 100 millimetres. Hectare (square hectometre) =: 100 ares = 10,000 sq. metres = 21/2 acres. Are (square decametre) = 100 sq. metres. Declare = 1/10 ^^e = 10 sq. metres. Centiare = Yjqq are = 1 sq. metre. Hectolitre = i/jq cubic metre = 100 litres = 22 gallons. Decalitre = 1/100 cubic metre =: 10 litres = 21/5 gals. Litre, unit of capacity, =; 1^/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 1^- Pied = '/s niHre = 13 in. Aune = 11/5 metre = 1 yd. 11 in. Toise = 19/io metre = 2 yds. 4 in. Lieue = 21/2 miles. Arpent = IY25 acre. Setier = II/2 hectolitre = 33 gals. The thermometers commonly used in France are the Centi- grade and Reaumur's. The freezing point on both of these is marked 0°, the boiling-point of the former 100°, of the latter 80°, while Fahrenheit's boiling-point is 212° and his freezing-point 32°. It may easily be remembered that 5° Centigrade = 4° Reaumur VI. GENERAL REMARKS ON N. FRANCE. xxvU = 9° Fahrenheit, to which last 32° must be added for tempera- tures above freezing. For temperatures below freezing the number of degrees obtained by converting those of Centigrade or Reaumur into those of Fahrenheit must be subtracted from 32. Thus 5" C = 4° R. = 9 + 32 = 4i«F. ; 20°C = 16° R. = 36 + 32 = 68°F. Again . - 5« C = - 4° R. = 32 - 9 = 23° F. ; - 20° C = - 16° R. = 32 _ 36 = — 4° F. 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 manifested 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 demol- ished , and large , regular squares taking their place ; while ramparts of ancient fortifications are converted into boulevards, faintly resembling those at Paris. Admirably adapted as these utilitarian changes doubtless are to the requirements of the 19th century, it cannot but be deeply regretted that the few charac- teristic remnants 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 painfully 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 n.odern 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 xxviii VI. GENERAL REMARKS ON N. FRANCE. 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 charges are quite on a Parisian scale. In other places the inns generally retain their primitive provincial characteristics, which, were it not for their frequent want of cleanliness, might prove rather 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 de'jeuner (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 cafe's also the waiters expect a trifling gratuity, but the obnoxious system is not carried to such an extent as in the metropolis. The Churches, 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 day or afternoon the most favourable time for visiting them. The attendance of the sacristan, or 'Suisse', is seldom necessary; the usual gratuity is V2 franc. 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 fl fr.). Catalogues may be borrowed from the concierge. Remarks on French Art by Prof. Anton Springbr. 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 w^ere in the department of architecture so far back as the r2th and 13th 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 xxx FRENCH ART. architects, on the other hand . adopted the new style more readily, incorporating it with their own in a series of baronial chateaux, particularly in Touraine , and thus unconsciously , but effectually establishing the Frekch Renaissance Auchitecture, 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. Thu 6 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 he- lougei Nicolas Pous 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 Gelee, or Claude Lorrain (1600-82), does not properly belong to the French school, his style having been formed and matured in Italy. Claude and Gaspar 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 C/iampaiywc (1612-74) 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 (16i9-90) theatri- cal heroism, unless it be remembered that he was merely a showy decorator and the 'Directeui des Gobelins' ; and even Jouvenefs FRENCH ART. xxxi (1644-1717) able and vigorously-colouxed works in Poussin's style will now interest "but few spectators; whereas the portraits by Mignard, LargiUiere, Eigaud, and others still delight us with their lifelike freshness and reflned 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 enjoyment in incognito 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 'Indiffe'reut' 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 FranQois JBoac/icr (171 3-70), 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 Dinner', the 'Industrious Mother', and the 'Card House', which derive their themes from the picturesque features of humble society. The chief illustrator of xxxii FRENCH ART. domestic drama, liowever, was Jean Baptiste Greuze (1734-1805), -whose style occasionally borders on the sentimental , and at other times degenerates into triviality. His 'Marriage Contract', 'Pater- nal Curse', and 'Broken Jar' are so cleverly conceived and so full of meaning as to rivet the attention of all beholders and suggest to them the vrhole 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 become the fashion and to influence social life , ar- tists 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 (1767-1824) 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 (?emrd (1770-1837), G'ros (1771-1835), and Gwerm (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 modern French art properly begins with the period of the Restoration, and its dawn may be said to have been inau- FRENCH ART. xxxiii gurated by the exhibition of Theodore GericauWa (1791-1824) 'Shipwreck of the Medusa' in the year 1819. Gericault 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 School, 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 pron^oted 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 mediceval 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 now gradually subsided , and differences were smoothed over. The Romanticists used their victory with moderation, and 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 Scheffer, 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 (1799-1833) appeared for the first time in the Salon of Paris (p. 153) in 1822, when he exhibited his 'Dante and Virgil'. Two years later he produced his 'Massacre of Chios', which aw'akened 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 a massacre of all academic rules, of all sacred traditions : drawing and grouping seemed alike objectionable. Baedekek. Paris. 8th Edit. C xxxiv FRENCH ART. Delacroix, however, persevered in his course and proceeded to develop his 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 Morocco' 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 ChapeUe des Anges in the church of St. Sulpice. Greatly inferior to Delacroix was his contemporary Aby Schefper (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 weU-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 feelings. 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 types, while the technical details of his battles are depicted with FRENCH ART. xxxv the utmost spirit. His works, however, can boast of none of the 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 trenching on Horace Yernet's fame during the 'July Monarchy', was that of Paul Delaroche (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 an 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 'Sons of Edward'. 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 (lTSO-1867) survived them all. His labours extended over a period of sixty years. He began his career as an artist as a pupil 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 xxxvi FRENCH ART. 'CEdipus with the Sphinx', works which vie with those of his later life, and to the style of which 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 by his apotheoses of Homer and Napoleon, his 'Francesca da Rimini', 'Pope Pius VII. in the Sixtine Chapel', 'The Spring', and 'The Vow of Louis XIII.'! Even his portraits of Cheruhini, Bertin, and Mad. Devaugay 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 FlandTin{^iS09-&A'), 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 be confidently 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 ; and very effective historical genre-pieces have been produced by Robert- Fleury, Steuben, Deveria, Charles Comte, and Coignet. The last-named has 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 afterwards succeeded admirably in themes drawn from Italian life and character. His compositions are vigorous and impressive, and the individual figures very attractive. He introduces us, indeed, merely to fishermen, rustics, and reapers ; yet they seem endowed with a slumbering heroism of character reminiscent of the mighty past of their nation. — Towards the middle of the century Diaz excelled in the art of depicting female charms in their most captivating form, thus fore- shadowing the taste of a somewhat later period. So, too. Couture' s '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 effectively to adapt the colouring to the subject. — On the other hand several more recent painters have clung to the style of their predecessors, FRENCH ART. xxxvii such as Chenavard and Gleyre, a master rarely appreciated as he deserves, both of whom belong to the Idealistic School ; Hebert,yv\\o 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 Empirb 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 his 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 success, 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- naty P. Baudry, Ricard, and Mile. Nelie Jacquemart. Of the masters of the new school Louis Ernest Meissonier (b. 1813) 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 tlie 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- xxxviii FRENCH ART. ful as a painter of battle-scenes containing numerous figures. Meissonier's graceful costumes and correspondingly pleasing fig- ures rarely date from an earlier period than the 18th century, but a number of his contemporaries seek to attract admirers by the quaintness and uncommonness of their scenes. Fromentin 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. Bnudry, whose paintings in the New Opera House bear magnificent testimony to the fertility of his ima- gination. Next in order may be mentioned Cabanel, who has also distinguished himself as a portrait-painter and a decorator, and among others Gust. Moreau, Amaury-Duval, and Em. Levy. Strongly contrasting with these refined idealists, Gustave Courbet, 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 illustrate 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 FranQois Millet, the well-known delinea- tor of peasant-life, whose works are distinguished by their admir- able 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 FRENCH ART. xxxix signalised himself as a painter of Italian scenes. — Landscape- 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 subjerts, taken directly from nature, and rendered attractive by sedulous attention to light and shade. It was long before Theodore Rousseau, Cabal, Dupre, FrariQais, and Daubigny , the most distinguished modern landscape-painters in France, attained the reputation due to their merits ; but, like their contemporaries 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 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 Troyon, who will even bear comparison 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 the '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 (^1790-1852), 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 'Neapolitan Fisherman', DureVs 'Tarantella Dancer' , and Jouffroys 'Young Girl'. Most of the latest sculptors, while inclin- xl FRENCH ART. ing to idealistic principles , have also admitted naturalistic ele- ments; they show a preference for the poiirtrayal 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 Guillaume, Cavelier, and Dumont are now the most distinguished seniors, while Perraud, Bourgeois, Barrias ('Oath of Spartacus'). Moreau, Mercie ('Gloria Victis'). Maindrorij Chapu^ and Carpeaux are also names of high repute. In the special department of animal-sculpture the most marked suc- cess has been achieved by Barye. In the execution of his 'Floren- tine Singer' Paul Dubois has recently taken 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 (p. 253) by Colbert in 1666. PARIS. PRELIMINARY INFORMATION. 1. Arrival in Paris. 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 Bagayes. This interval should be employed in engaging one of the tiacres 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 and telling him to wait for the luggage (Westez pour attendre les hngages'). the traveller may pro- ceed 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 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, 25-50c.), telling him the number of the fiacre engaged. The fare from the station into the town during the day is II/.2 fr. for a cab with seats for two , and 2 fr. for one with seats for four persons ; at night the fares are 2^4 and 21/9 fr. respectively. The charge for each trunk or other large article of luggage is 25c. (see also p. 19). When the driver has had to wait more than 1/4 hr. the fare per hour is charged (p. 19). The Omnibus de Famille is a comfortable conveyance for families or large parties, and may be ordered by letter the day before arrival, cither from a hotel or from the Chef du Bureau des Omnibus at the station where the traveller is to alight. The charge varies according to the sta- tion and the size of the omnibtis required (usually with 7 or 12 seats). Detailed information may be found in the 'Renseignements Ge'ne'raux' of the various lines in the Indicaieur des Chemins de Fer (p. 23). The ordinary omnibuses are not available for travellers with luggage, and considerable acquaintance with Paris is moreover necessary to under- stand the various lines (comp. p. 21). Travellers arriving late at night, and not wishing to put up at one of the large hotels mentioned on 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. The following hotels may be mentioned f : — Near the Gakb + 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. Baedekek. Paris. 8th Edit. 1 2 1. ARRIVAL IN PARIS. Preliminary uu NoED (Plan, Brown, 23, 24) : Grand Hotel du Chemin de Fer du Nord, opposite the exit from the station, at the corner of the Bou- levard Denain ; Hotel Cailleux, a little farther on, at the corner of the Rue de Dunquerque and the Rue St. Quentin ; Hotel Beige, Rue St. Quentin 35t»is; Hotel de la Gare du Nord, Rue St. Quen- tin 31. Near the Gake db l'Est (Plan B, 24): Grand Hotel St. Lau- rent (R. from 2 fr.). Rue de Metz 4, to the left on leaving the sta- tion ; Hotel de Bale , same street, 6; then, in the Boulevard de Strasbourg: Grand Hotel de Strasiourg (78; R. from 2^/0 fr.'); *Hdttl de V Europe (74), Hotel de Paris (72 ; R. from 2 fr.). Nearer the station: Hotel du Chemin de Fer (R. from 2^1 -i ft.'), Rue de Strasbourg 11 ; Hotel Frangais, with restaurant, same street, 13 (R. from 31/2 fr.). Near the Garb St. Lazae,b (Ouest, Rive Droite; Plan B, 18): Hotel de Londres if de New York, Rue du Havre 15, opposite the station; adjacent. Hotel Anglo - Amir icain, Rue St. Lazare 113; small hotels in the Rue d' Amsterdam , at the exit from the station, Nos. 24, 22, 20, 16, and 4. Near the Garb Montparnasse {Oue&t, Rive Gauche; Plan, Gray, 16): Grand Hotel de France (^^ de Bretagne, Rue du Depart 1, with restaurant; Hotel de la Marine ^' des Colonies, Boulevard Mont- parnasse 59. Near the Garb db Lyon (Plan G, 28) : Grand Hotel t^"- Restau- rant du Chemin de Fer de Lyon, Boulevard Diderot 19 & 21 (R, 21/2-0 fr.); Hotel de I'Univers, Rue de Chalon 46, on the side for starting (R. from 2 fr.). Near the Garb d'Orleans (Plan G, 25) : Hotel du Chemin de Fer, Boulevard de THopital 8, opposite the side of arrival. 2. Hotels. Alphabetical list at the end of the Book, after the Index. The traveller has ample latitude in the selection of a hotel in Paris, and his choice must generally be determined by the price he is willing to pay for accommodation. Travellers for pleasure, with whom economy is of no serious moment, will naturally prefer either the Boulevards or their immediate vicinity, 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. Charges for rooms vary from 2 to 30 fr. according to their size, tloor, and comfort, and according to the situation of the hotel and the style of its accommodation, which in some of the older houses is far from in\-iting. Charges are also influenced by the season of the year, by the length of the visitor's stay, and by the demand for accommodation. The charge for a room does not include light or attendance. In the hotels in the Boulevards ilontmartre , des Italians, des Capu- cines, and de la Madeleine, in the Avenue de lOpe'ra, Rue de la Paix, Place Vendome, Rue Castiglione, and Rue de Rivoli, rooms on the third Information. 2. HOTELS. 3 or fourth floor (i. e. 'au-deasus de Tentre-sor, and consequently the fourth or fifth above the 'rez-de-chauss^e"' or ground-floor) are let at 5 fr. at least, while the lowest charge for those on the first or second floors is 10 fr. per day. The charges are somewhat more moderate (third or fourth floor 3 fr., first and second floors 5-7 fr.) in the Eues St. Honore', de Richelieu, Vivi- enne, des Petits-Charaps, Daunou, and other streets lying between the Rue de Rivoli and the Boulevards, and in the Rues du Helder, Taitbout, Laffitte, Le Peletier, Drouot, and other streets between the Boulevards and the Rue de Lafayette. In the third-rate streets in the same localities or in the more remote and less convenient quarters on the other bank of the Seine, such as the Rues des Saints-Peres, Bonaparte, de Lille, de TUni- versite , and Jacob , rooms may be obtained for 2V2-3 fr., but apartments at these charges are of very modest pretensions. Enquiry as to prices should always be made on the day of arrival or the day following, to prevent unwelcome surprises. This is quite custom- ary even when the visit is to be of a night's duration only. The charge for the first breakfast (tea or cofiFee with bread and butter), which it is better to take in the hotel than at a cafe' (see p. 17), varies from I1/4 to 2 fr. The second breakfast or luncheon (dejevner; about noon) and dinner (from 5. 30 to 7 p.m.) may be taken where the traveller pleases, it being by no means necessary to return to the hotel for these meals. When a prolonged stay is contemplated the bill should be obtained every two or three days, in order that errors, whether accidental or de- signed, 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, as overcharges are apt to escape detection in the hurry and con- fusion of departure. Attendance is almost always an item in the hotel- bill, but 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 ac- cording to the length of the sojourn in the hotel. When, as is often the case at the maisons meiibl(^es, the payment for service is discretionary, a sum at the rate of V2-I fr. per day should be distributed among the ser- vants at the end of the traveller's stay, besides which an additional gra- tuity may occasionally be given to ensure civility. Articles of Valve should never be kept in the drawers or cupboards 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. 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 may generally be regarded as determining this point (p. 2). When ladies are of the party an unmistakably first-class hotel should always be selected. Eight Bank of the Seine. The three largest hotels in Paris are : the *H6TEii Continental, Rue de Castiglione 3, and Rue de Ri- voli (Plan, Red, 18; speciel plan //), opposite the Garden of the Tuileries. — The *Grand Hotel, Boulevard des Capucines 12, ad- joining the new Opera House (Plan, R, 18; //), with dependance (Hotel Scribe). — The *Geand Hotel r>u Lot vre, Rue de Rivoli,, opposite the N. side of the Louvre, adjoining the Palais Royal (comp. Plan, R, 20 ; //) ; on the ground-floor are the Grands Magasins du Louvre mentioned at p. 37. These three hotels, magnificent edifices occupying whole blocks of streets, and each containing 600-700 rooms, are managed some- what in the same style as the large American hotels, and are replete 1* 4 2. HOTELS. Preliminary with every comfort. 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 necessary to take any meals in the house. As a rule articles are paid for as consumed, but arrangements may also be made to pay a fixed sum per day (see below}. In favourable seasons about 300 guests, including many from other hotels, fre- quently dine at the tables d'hote. The amount given away in gratuities is generally smaller in these houses than in other hotels, as fees to the waiters are less usual. The 'boots' and chambermaid each expect 1-2 fr., while the porter who conveys the luggage from the room to the cab receives 1 fr. The ordinary charges in the Hotel Continental are : R. 4 to 35 fr., L. 1, A. 1-1 '/o fr., first breakfast 1-21/.2 fr., dej. 5fr., table-d'hote with wine Tfr., D. a la carte 8 fr. (wine extra), in the traveller's room 10 fr. — At the Grand Hotel: R. 4-40 fr., L. 1 fr., B. 1-1 1/2 &., first breakfast 2 fr., dej. (11-1) 5fr., D. 8fr., in a private room 12 fr., 'pension' from 20 fr. per day. — At the Hotel du Louvre : R. 4-22 fr., L. 1 fr., A. 1 fr., first breakfast i^/2 iT. in dining-room , 2 fr, in private room ; de- jeuner, ^ la carte; table-d'hote 6 fr. , wine included, dinner h part 8 fr. in dining-room, 10 fr. in private room. 'Pension' in winter 15 fr. per day. Next to these enormous hotels rank the following : — In the Rue de Rivoli: 170, Hotel de la Place du Palais Royal (R. 4-6 fr., A. 1 fr., L. 75 c, D. 5 fr.); 172, Hotel du Pavillon de Rohak ; 206 , *H6tel du Jakdin des Tuileries ; 228, *Meurice; 226, *Wixdsor; 218, ^Brighton; 208, *Wa- GRAM ; 202, *RiY0Li. The last five , opposite the garden of the Tuileries (Plan , R, 18 ; //) , are much frequented by English tra- vellers. — Rue de Rivoli 83, farther E., *H6tel Ste. Marie. In the Rue St. Honore (PL R, 18 ; //), first-class : Choiseul, 241 ; Hotel de France et de IBath, 239 ; Hotel de Lille bt d'Albion, 223 (R. from 4 and 5, D. 5 fr.) ; Grand Hotel St. Jambs, 211. Less pretending : Hotel d'Oxford et Cambridge, 221, en- trance Rue d' Alger 13 ; de Londres et de Brighton, 300, entrance in Rue St. Roch (R. 3-8 fr.). Good second-class hotels in the streets lying between the Rues de Rivoli and St. Honors' (PL R, 18 ; //) : in the Rue St. Roch , DE Paris et d'Osborne (4 & 6), de la Couronne (3), St. RoMAiN (5 & 7), DU Dauphin (12) ; — de la Tamise, Rue d' Al- ger 4 ; — DU NoRD & DU Midi, Rue du Bouloy 24 ; — Metropo- litan, Rue Cambon 8 ; Appartements Meubles, same street, 37, Near the Champs Elysees: Hotel Vouillbmont, Rue Boissy d'Anglas 15 (PL R, 18; //); Percy, Cite' du Retiro 5 (entr. Rue Boissy d'Anglas 35 and Faubourg St. Honore 30), near the Made- Information. 2. HOTELS. 5 leine, well spoken of (R. & A. 4-5, B. l'/2 fr.); Miromi:nil, Rue Mirom^nil 41, to the N. of the Palais de I'Elysee (PI. B, R, 15), moderate and well spoken of. — Lord Derby's Pension de Famille. Rue Montaigne 34, near the Rond Points des Champs Elysees (PI. R, 15), R. 4-5, B. 1, 'pens.' 10 fr. ; Pension Villa Chateaubriand^ Rue Chateaubriand 16, to the p]. of the Arc de Triomphe (PI. B, 12;/). In the Place Vendome (F\. R, 18; II), first-class: ^Bristol, Nos. 3 & 5 ; *Du Rhin, Nos. 4 & 6 ; Vendome, No. 1, In the Rue Castiglione , a handsome street leading southwards from the Place Vendome, are tlie following large hotels : Continen- tal, No. 3 (seep. 3); Balmoral, No. 4; Londres, 5; Anglo- Francais, 6; DoMiNici, 7 and 9 ; Liverpool. 11 ; Castiglione, 12. In the Rue de la Paix, leading northwards from the Place Ven- dome: *MiRABEAu, 8; Westminster, 11 & 13; Hollande , 20; Iles Britanniques, 22; Splendide Hotel, 24 (also Place de rOpe'ra 1, and Avenue de I'Opera 49; R. 4-25 fr.). In the Avenue de V Optra (PI. R. 18, 21 ; //); Bellevue, 39 ; *DEs Deux Mondes, 22 (R. 2-4, D. 5 fr.). — Adjacent: Hotel Normandy, Rue de I'Echelle 7 (R. from 4, A. 1, L. 1, D. 6 fr.); Hotel Binda. Rue de I'Echelle 11 (view of the Avenue de I'Opera) ; Hotel Theresb, Rue 8te. Anne llbis. In the Rue Daunou (PI. R, 18; 7/) are a few comparatively moderate houses : *Chatham, 17; *de l'Empire, 7; dbRastadt, 4; DE l'Amiraute , 5; d'Orient, 6 (R. from 5fr.); de Choisbul et d'Egypte, 1. To the AV. of the Rue de la Paix: Rue des Capucines , No. 5, *DE Calais (R. 3-10 fr.); in the Rue Volney, No. 11, de l'Alma. In the Rue des Petits-Champs (PL R, 18, 21), the prolonga- tion of the Rue des Capucines : Trois Princes, 78, moderate. h\ the Rue Louis-le- Grand (PL R, 18; //), leading southwards from the Boulevard des Capucines and intersected by the Avenue de I'Opera: de Boston. 22 (R. from 3-4 fr.) ; Louis-le-Grand, 2. In the Rue d' Antin : des Etats-Unis, 16; d'Antin, 18, these two second-class ; Maisons Meublees, 20 and 22. — In the Rue de Port-Mahon : Grand Hotel de Port-Mahon, 9. In the Boulevard des Capucines (PL R, 18; /i) : Hotel de l'Opera, 5; DES Capucines, 37 (R. from 3 fr.); two large Maisons Meublees, 25 and 29. Near the Madeleine (PL R, 18; II): Hotel Lartisien, Passage de la Madeleine 4, unpretending; Maison Meublee Pfeiffer, Passage de la Madeleine 6. To the W. of the Madeleine, in the Rue de V Arcade: Bedford, 17, office of the omnibuses of the Ligne du Nord; Newton, 13, unpretending; db l'Arcade, 7. — In the Rue Pasquier: Bucking- ham, 32. — In the Rue d'Anjou: Hotel du Prince de Gallbs, Nos. 24, 26. — Boulevard Malesherbes : Hotel Maleshbrkes, 26. 6 2. HOTELS. Preliminary More moderate hotels in the conveniently-situated streets to the S. of the Boulevard de la Madeleine : Rue Richepanse, 11, Hotel du Danubb (E. from 3 fr.}; Ricitbpanse, 14; Maison Meublee, 13. — Rue Duphot: Bkitannique, 22; de l'Amirautb, 20; Burgundy, 8 ; DB LA Mayenne, 6. Nearer the Opera , to the N. of the Boulevard : Rue Caumar- tin, 14, Grande Bretagne (R. 3-6 fr.); 33, 35, de St. Peters- BOURG. — Rue Scribe, 15, adjoining the Opera, de l'Athbnee (R. 4-20 fr.). — Rue de la Bienfaisance 7, 9, & 11 , to the N. of the Boul. Haussmann, American Home, boarding-house ('pens'. 9-15 fr. per day). Boulevard des Italiens (PI. R, 21 ; //) : 32, and Rue du Helder 6, *H6tel de Bade (R. 4-6 fr.) ; same Boulevard, 2, and Rue Drouot 1, *H6tel de Russie (R. 3-25 fr.). To the N. of the Boulevard des Italiens, in the Rue du Helder: DU TiBRE, 8, inexpensive; Hotel du Helder, 9 (R. from 4 fr.); DU Nil, 10; *Richmond, 11 (good family-hotel); *du Bresil et d'Orient, 16 (R. 3-6 fr.); Maisons Meublees, 2, 13. — In the ad- jacent Rue Taitbout: *d'Espagne et de Hongrie , 4&6; Tait- BOUT, 12 (R. from 3fr.). In the Rue Laffitte, also issuing from the Boulevard des Italiens (PL B, 21 ; //): *Byrox, 20 (R. 4-6 fr.j; des Pays-Bas, 32; de France , 33, beyond the Rue de Lafayette ; de l'Amiral , 26 ; Mecklembourg, 38; d'Alexandrie (Laffltte), 34. In the Rue Le Peletier, parallel to the Rue Laffltte : de l'Eu- ROPE, 5; DE Nelson, 13 & 15 (R. from 2 fr.). — In adjacent streets: Rue Rossini, 22, Grand Hotel Victoria ; 16, Rossini, moderate. — Rue de la Grange Bateliere: de Jersey, 3 ; du Lib an, 4, moderate. In the Rue de Lafayette, parallel to the Boulevards on the N (PL B, 21) : Suisse, 5, near the Opera (R. 4 fr.) — Adjoining the last, in the Cite d'Antin : Victoria et de Famillb, 10 ; du Midi et de Pbrnambuco, 8, both third-class. Farther on in the Rue de Lafayette : Lafolie, 52 ; Central, 56 ; D'AnGLETERRB et DBS ANTILLES, 60. More remote, Rue de Chdteaudun 31 (PL B, 21), Grand Hotel DB Chateaudun. To the S. of the Boulevard des Italiens (PL R , 21 ; 77), well situated : Rue de la Michodiere, 9, Hotel de Gand et de Germanie ; 27, DE Paris, unpretending; 25, de Bade et de Florence. — Rue de Choiseul, 23, Hotel du Canada bt db Choiseul (R. from 3, B. 272, D. 4 fr.). — Rue Monsigny, opposite the Bouffes Pa- risiens: 9, de la Neva (R. 4-8 fr.); Monsigny (R. 2-4 fr.) — Rue Marivaux: 9, Richelieu (R. 3-5 fr.) ; 5, Favart. — Rue de Gram- mont : 2, de Perigord (R. 4 fr.) ; 1, de Manchester ; 22, de Gram- MONT, plain. Rue d'Amboise, 4, Hotel des Princes, plain. Information. 2. HOTELS. 7 In the Rue de Richelieu (PI. R, 21 ; //, /// ), to the S. of tlie Eonl. des Italiens and the Boiil. Montmartre : d'Orleaxs, 17; de Maltk, 63 (R. 3-10 fr.); de Valois, 69, these two opposite the National Library; de Strasbourg, 50; des Hautes Alpes, 12. — In the Square Richelieu, Grand Hotel Louyois (R. from 4 fr.). Rue Vivienne (PI. R, 21; //) : 40, Vivienne (R. from 2fr.); 41 & 43, Fra.scati (R. 2-8 fr.), near the boulevard. — Place de la Bourse (PL R, 21 ; ///) : 13, Claise. Rue Notre-Dame des Victoires (PL R, 21 ; 7/7), at the back of the Bourse : de Nice , 36 (R. from 3 fr.) ; de la Bourse et des Ambassadeurs, 17 (R. from 2 fr.); Suisse, 23, near the Rue Mont- martre ; DE Rouen. 13; National, 11. — Rue du Mail 33, Hotel DE Bruxellbs (R. from 2 fr.). — Rue Feydeau 3, Hotel des Etrangers-Fbydeau. Rue Croix-des-Petits- Champs (PL R, 20, 21 ; 77, 777), near the Palais Royal: de la Marine Francaise, 48; *du Levant, 27 (R. from3fr.); de l'Univers et du Portugal, 10 (expensive); du Globe, 4. Between this street and the Palais-Royal : Rue Montesquieu, 5, Hotel Montesquieu ; 6, Duval . in the large Etablissement de Bouillon (p. 16). — Rue Radzivill, 31, * Grand Hotel de Hol- lande (another entrance Rue de Valois 46). — Rue de Valois 4, Hotel de l'Europe (R. 2^/2 fr-)- In Rue Beaujolais , Palais Royal, No. 15: Hotel Beaujolais, unpretending. In the same neighbourhood (PL R, 20, 21 ; 777) are many small hotels of the second and third class, conveniently situated near the principal sights (R. 2-4 fr.). Rue Rousseau: Rhone, 5; de la Martinique, 15; des Empereurs. 20; de Bordeaux, 33. — Rue Coquillere, 21 : Hotel Coquillere. Rue Montmartre (PL R. 21 ; 777). near the Bourse: *H6tel db France et de Champagne, 132; d'Angleterre, 56 (R. IW^fr-)' Boulevard Montmartre (PL R, 21 ; 777): No. 3, Grand^Hotel DORE ET DES PANORAMAS (R. from 3 fr.) ; 10, DE LA TeRRASSE JouFFROY, Passage Jouffroy. Boulevard Poissonniere (PL R. 21 ; 777): *Beau-Sejour, 30, with fine view (R. 3-20 fr.); St. Phar, 32; Rougemont, 16. In the Cite Bergere, to the N. of the last-named boulevard, are some cheaper houses: de France, 2bi3 ; du Rhin, 3; Bbr- NAUD, 4; Lacombe, 6; DES Arts, 7 ; de la Haute Vienne , 8; DE Moscou, 10; DBS Deux Cites, 12. — Rue du Faubourg -Mont- martre: ViLLE DE LoNDREs, IG. — Rue Bergere : *Bergere, 30- 34, old-established house (R. from 3 fr.). Rue Richer (PL R, 21 ;"777): Richer, 60, corner of the Rue du Faubourg-Montmartre (R. from 2 fr.); Bresilien, 3. — Rue de Maubeuge 2, corner of the Faubourg Montmartre, Grand Hotel db Chantilly. 8 2. HOTELS. Preliminary Rue de Trevise (PI. R, 21 ; III^, a quiet street : de Belgique et DE HoLLANDE, 7; *!)£ CoLOGNE, 10 and 12 (R. 2-6 fr.) ; DE Tre- vise, 18; *de la Havane, 44 (R. 3-6 fr.). Rue du Conservatoire (PL R, 21 ; IIT), parallel to the last : *de Baviere, 17 (R. froDi 2 fr. 50 c.) ; de Lyon, 7. To the N. of the Boul. Boime-Nouvelle (PL R, 24; III) , Rue Mazagran: Mazagran, 4; de Nice et de Savoie, 12. At Impasse Mazagran 4 is Wienrich's Maison Meublee (R. 4, B. 1^4 fr.). — Farther N., Rue de I'Echiquier, 36, at the corner of the Rue d'Hauteville , which leads to the boulevard: *du Pavillon de l'Echiquier (R. 2-10 fr.). — Passage Violet, 4-10, between the Rues dii Faubourg-Poissonniere and d'Hauteville: *Violet, a block of seven houses (R. from 3 fr.). The hotels in the Rue St. Denis , Boul. de Sebastopol , Boul, de Strasbourg, and that neighbourhood, are somewhat distant from the principal sights, but well situated for business purposes. Rue du Croissant. 10: *H6tel de Mars et de Normandie, near the Rue Montmartre. — Rue St. Denis, 155: *i)E Rouen, unpre- tending. — Rue du Caire, 4 : de France, near the Square des Arts et Metiers. — Rue Salomon de Cans, 6: Vauban, adjoining the square just named. — Boulevard de Sebastopol, 112: de France ET d'Algerie. — Rue de Turbigo : Europeen, 67 ; Turgot, 76, near the Boulevards. — Boulevard Voltaire, 10, des Etrangers, near the Place de la Republique. — Boul. du Temple, 20, Inter- national. — Rue Meslay , 4 : Hotel de la Place du Chateau d'Eau. — Boulevard des Filles du Calvaire, 11 : du Calvaire. — Boulevard de Strasbourg, 20: de Sebastopol. — Others in this neighbourhood, see p. 2. 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 is short. Quai Voltaire, 19 (PL R, 17; IV), near the Pont des Sts. Peres : Hotel Voltaire (R. from 3 fr.). — Rue de Seine, 63 : du Mont Blanc. — Rue de Lille: des Ambassadeurs, 45; de Bearn, 38. — Rue de I'Vniversite: des Ministres, 32; de l'Universite, 22. — Rue Jacob : d'Isly , 29 , corner of the Rue Bonaparte ; d'Angleterre , 22. — Rue des Saints-Peres , 65 : des Saints- Peres (R. 21/2 and fr.). — Rue de Varenne, 42 : des Missions Etrangeres (R. 2-4 fr.). — Rue de Orenelle , 16 & 18: du Bon Lafontaine. The last three hotels are frequented by the clergy. — Rue Bonaparte , 3 : de Londres , near the Ecole des Beaux- Arts (PL R, 17, 20; IV), patronised by visitors prosecuting art- studies; 27, DBS Belgbs. — Rue de Tournon: du Senat, 7, near the Palais du Luxembourg; Foyot, 33. The following are in the Quartier Latin (comp. p. 213). Boule- vard St. Michel: d'Harcourt, 3 (R. from 4 fr.); des Americains, Information. 3. RESTAURANTS. 9 14; \)V MusBE DB Cluny, 18; DE SuBz , 31 (d^j. 11/2-'^, I^- 2-21/2, pens. 90-110 fr. monthly); St. Michel, 32; -Sf. Louis, 43, unpre- tentious. — Rue Eacine , close to the Boulevard St. Michel : uks Etrangers, 2 [R. 2-4 fr. daily, 30-60 fr. monthly) ; des Facul- tes, 1. — Rue de L'Ecole de Medecine, 4: St. Pierre, unassuming (pens. 100-110 fr. a month). — Rue Casimir-Delavigne , 7: St. SuLPiCE ; DES Balcons, 3. — Rue Corneille, 5 : Corneille, ad- joining the Odeon , unpretending. — Rue de Vaugirard, 54 : du Luxembourg. — To the E. of the Boul. St. Michel : Rue des Car- me,s, 5 (PL R, 22; F), Hotel des Carmes (R. 2-3 fr, , monthly 25-60 fr.). Furnished Apartments are easily obtained in all the principal quar- ters of Paris. A yelloio ticket on the door indicates furnished, a white unfurnished rooms. In winter a furnished room in the vicinity of the Boulevards costs 80-120 fr. per month, a small house 250-500 fr. ; in summer prices are much lower. 3. Sestaurants. Alphabetical list at the end of the Book, after the Index. Paris is indisputably the cradle of high culinary art. As the ordinary tables d'hote convey but a slender idea of the perfection to which the art is carried , the 'chefs d'ceuvre' must be sought lor in the first-class restaurants, where, however, the connoisseur must be prepared to pay 10-15 fr. for his dinner, exclusive of wine. We shall enumerate a few of the best restaurants , especially those in the most frequented situations (Palais -Royal, Boule- vards, etc.). The least expensive are those at some distance from the most fashionable streets ; and at such establishments the cui- sine is often as good as in the more showy houses. The charges are stated approximately, but, like those of the hotels, they gene- rally have an upward tendency. Hours. The Parisian's first breakfast generally consists of a cup of coffee and a roll at an early hour. The second breakfast, or Dejeuner h la Fourehette is a substantial meal , resembling dinner, and is served at the restaurants between 10 and 1 o'clock. Most Parisians dine between 5 and 8 o'clock. As the principal restaurants are generally crowded between 6 and 8, strangers will find it pleasanter to dine between 5 and 6. Most of the restaurants on the Grands-Boulevards are kept open almost the whole night. 'G'arfon, I'addition, s'il vous plait!' 'Waiter, the bill!" The waiter then brings the account from the '■dame de comptoir\ and on receiving payment expects a ^pourhoire of 5 or 6 sous (3-4 in the inferior restaurants). When three persons dine together, it is sufficient to double the above pourboire. Restaurants a la Carte. At these restaurants (p. 12 & follg.) the portions are generally so ample, that one portion suffices for two persons, or two portions for three. The visitor should there- fore avoid dining alone. It is even allowable to order one portion to 3. RESTAURANTS. Preliminary 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 se- parate entrances and a distinct staff of servants, where the charges are much higher than in the pnhlic rooms. 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. 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 boeut", and in the preparation of 'fri- candeaus', 'mayonnaises', and sauces. 1. PoTAGEs (Soups). Potage au vennicelle. vermicelli soup. Pate d''Iialie, soup with maccaroni. Potage a la Julienne, soup containing finely-cut vegetables. Potage a la piir4e anx croutons, a kind of pea-soup with dice of toast. Consomme aux oeufs pccliis , broth with eggs. Tapioca, a kind of sago soup. 2. Hoes d'ceuvre. Huitres, oysters. Edties, pieces of toast. Saucisson, sliced sausage. Cornichons. pickled cucumbers. Tourte, pate with lish or meat. Vol au Vent, light pastry. Escargots. snails. Grenouilles, legs of frogs. 3. B(ECF (beef). Boeuf au naturel, boiled beef. Boeuf sauce tomate, beef with tomato sauce. Beefsteak, or bi/fek aux pommes, beef- steak with potatoes (Men cw't, . well-done ; saignant, underdone). Chateaubriand, a kind of steak. Filet aux truffes. fillet of beef with truffles. Filet au Jus, fillet with gravy. 4. MoL"TON (mutton). Cdtelette panie , cutlets with bread- crumbs. Blanquette d''agneau,iTicaiSsee of lamb. Gigot de mouton, leg of miitton. RagoQt de mouton or Navarin aux pommes, mutton with potatoes and onion-sauce. 5. Veac (veal). Ris de veau, sweetbreads. Fricandeau 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, calfs-liver. Rognons de veau. veal kidneys. Veau roti, roast veal. 6. PoEC (pork). Pieds de cochon a la St. Menehould, pig's pettitoes seasoned. Pore roti, 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. (faile ou la cuisse/ the wing or the leg? the former being rather dearer). Croquette de volatile, baked fowl. Canard aux navels, duck with young turnips. Caneton. duckling. Die, goose. Dindon. turkey. Pigeon, pigeon. 8. GiBiEE (game). Perdrix. partridge (aux cJioux, with cabbage and sausages). Perdreaux, young partridges. Information. 3. RESTAURANTS. 11 Caille au yrali/i, qtiail with bread- crumbs. Filet de chevreuil, roast venison. Civet de lievre^ ragout of hare. 9. Patisserie. Pali an jus, meat-pie. Pdti de foie gras aux tvuffes, a kind of paste of goose-liver and truffles. 10. PoissoN ffish). Saumon, salmon. Sole au gratin, baked sole. Limande, a kind of flat fish. Brocket^ pike. Carpe, carp. Anguille, eel. Turbot. turbot. Raie , roach (au beurre noiv , with brown sauce). Maqueveau, mackerel. Truiie, trout ; truite saumonie , sal- mon-trout. Matelote, ragout of lish. Monie, cod. Monies, mussels. Ecrevisses. crabs. Ilomavd, lobster. Crevettes, shrimps. 11. Sal.\des (salads). Salade suivant la saison , salad ac- cording to the season. Laitue (pammee), lettuce-salad. CMcoree, endive-salad. 12. Entkemets or Legumes (vegetables). Lentilles, lentils. Asperges, asparagus. Artichauts, Artichokes. Petits pois.^&Qn peas(fl« ^ewj're,with butter-sauce; puree de pois, mash- ed peas). Haricots verts , green beans ; flageo- lets or haricots blancs, white beans. Choux, cabbages; c//oeb Boulogne. Near the entrance, close to the Porte Mail- lot : Oillet. Near the Jardin d'Acclimatation : Pavilion d'Armenon- 14 3. RESTAURANTS. Preliminary ville. beautifully situated. There is also a restaurant in the Jardin d'Acclimatation. — The Restaurants de la Cascade (p. 157), near the Cascade and the race-course, and de Madrid (p. 158), at the gate of that name, are also well situated. Bois DE YixcEXXBS. On the small island in the Lac des Minimes. Restaurant de la Porte Jaune (p. 200). Cheap Rbstaxjraxts a la Carte abound. Besides the Etab- lissements de Bouillon afterwards mentioned (p. 16), the follow- ing may be named: Besson, Rue Bergere 17; Constant, RueMaza- gran 7 ^ A la Ville de Corinthe, Rue de la Chaussee d'Antin 52. Restaurants a la Carte on the Left Bank. Rue de Lille. 33 : *Blot. Rue des Saints-Peres, 20, corner of the Rue Jacob : Caron. Rue Mazet 3, first street diverging from the Rue Dauphine to the right when approached from the Pont-Neuf (PI. R, 20): *Magny. — On the adjacent Quai des Grands-Augustins , 51 : *Laperouse. Restaurants of every kind abound in the QuartibrLatix. One of the best is Foyot-Lesserteur, Rue de Tournon 33, near the Lux- embourg (PL R, 19). — Quai de la Tournelle 15, and Boul. St. Germain 6: Tour d' Argent. Restaurants with Special Cuisine. English : Richard- Lucas, Place de la Madeleine 9, and Rue Boissy d'Anglas 28 ; Hill , Boulevard des Capucines 39 : Weber, Rue Royale 21 ; Taverne de Londres, Place Bo'ieldieu, opposite the Ope'ra Comique. Italian : Beretta , Passage des Panoramas , Galerie Mont- martre (second on the left side) 12. Jewish Restaurants : Rue Mazagran 12 ; Rue Geoffrey Marie 5, 1st floor. D. 3^2 fr., well spoken of. Restaurants a Frix-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 fr.; 40, 41, Bouvier, de'j. 1 fr. 15, D. 1 fr. 25 , 1 fr. 60 c, or 2 fr. ; 65, Aux Cinq Arcades, de'j. 2, D. 21/2 or 3 fr. Galerie Beaujolais (N. side): 88, *Tissot, dej. 2, D. 2^/2 fr. Galerie de Valois (E. side), returning towards the Louvre: No. 116, Rest, de la Rotonde,' dej. 1 fr. 10, D. 1 fr. 20 c. ; 137, Richard, de'j. 2, D. 21/2-3 fr. ; 142, 145, Tavernier Ame , dej. 2, D. 21/2 fr.; 160, i?es«. HenrilV., de'j. I3/4, D. 2fr.; 167, '^Richefeu, de'j. 2, D. 21/2-23/4 fr. ; 173, *Dtner National (Catelain Aine'), de'j. 3, D. 5 fr. (paid on entering). Information. 3. RESTAURANTS. 15 Passage Vivieniie 18, at the back of the Palais-Koyal, between the Rues Vivienne and de la Banque : Restaurant des GaUries, d4j. 1 Ir. 15, D. 1 fr. 25 or 1 fr. 60 c. Rue de Rivoli 184 , Grande Brasserie des Finances , de'j. 1^/^, D. 3 fr. Rue Croix-des-Petits-Charaps 5, near the Louvre : Grand Re- staurant de I'Univers, de'j. 1 fr. 10, 1 fr. 30, or 1 fr. 50 c, D. 1 fr. 20, Ifr. 60 c., or2fr. Restaurants a Prix-fixe in the Boulevards and Vicinity. Boulevard des Capucines 43, Restaurant du Frogres, de'j. 2^ 2> D. 31/2 fr. — Boulevard Montmartrc 12 , *I)1ner de Paris , an old- established house, dej. 3, D. 5 fr. Payment is made on entering, — Passage Joufifroy : 10, Restaurant de la Terrasse Jouffroy, dej. 3. D. 5 fr. ; 16, *mner du Rocker, dej. 21/4, D. 31/4 fr.. open till 10 p.m. Boulevard des Italiens 14, and Rue Le Peletier 2 : Diner Euro- peen, dej. 3, D. 5fr. — Boulevard des Italiens 27: Diner Fran(,ais, dej. 3, D. 4 fr. — Passage de TOpera (ancien), Galerie de I'llor- loge 21 : ^Restaurant Gamy, de'j. 1 fr. 75 c, D. 21/4 fr. — Rue Montmartre 158, near the Boulevard, Restaurant Loyette, dej. 1 fr. 60, D. 2 fr. — Galerie Montmartre 12 (Passage des Panoramas), nearly opposite the last: Table d'hote Bouillod, dej. 2, D. 3 fr. — Rue du Faubourg Montmartre 17: Blond, dej. 1 fr. 50, D. 2 fr. Boulevard Poissonniere 24: Bruneaux, dej. 3, D. 4 fr. Boulevard St. Martin 55 : Grand Restaurant de la Porte St. Martin, de'j. 1 fr. 50 or 1 fr. 60 c, D. 1V4-2 fr. ; 15, Restaurant du Cercle, de'j. I3/4, D. 21/2 fr. Kestaurants a Prix-fixe in Other Quarters. Avenue de I'Ope'ra 28: Grand Cafe Restaurant , dej. 2'/2, D. 23/4 fr. ■ — Near the Madeleine, Rue Royale, corner of the Rue St. Honore': Darras, dej. 3, D. 5 fr. Rue de la Bourse 3 : Au Rosbif, unpretending, but frequented by a very respectable class, dej. or I). 1 fr. 40 c. Near the Tour St. Jacques, Rue St. Denis 4, on the first tloor: Restaurant Chaaveau, de'j. 1^/4, D. 2 fr. Avenue des Champs Elyse'es 71 : Suffren, de'j. 3'/2, D. 5 fr. Left Bank. Place de I'Ode'on 2, opposite the theatre : *JIupet, de'j. 1 fr. 50 c, D. I3/4 or 2 fr. 10 c. — Rue Jacob 23 : Taverne Al- sacienne, dej. or D. 21/2 fr., cooking plain but good. Boulevard St. Michel 10: Baucour jeune, dej. 1 fr., I). 1 fr 20 or 1 fr. 60 c. Tables d'Hotb. Visitors are generally admitted to the tables d'hote of the hotels even though not staying in the house, but in some instances previous notice is required. The dinners of the three large hotels mentioned at p. 3 are patronised by numerous 16 3. RESTAURANTS. Preliminary outsiders. — The following tables d'hote may also be mentioned : *Excoffier, Rue et Galerie de Valois, Palais Royal, and Boulevard des Italiens 27, dej. 1 fr. 60, D. 2 fr. 10 c. ; Grande Table d'Hote Vivienne, Rue Vivienne 2, same prices ; *Richardot, Rue du Mail 6 and Rue du Faubourg St. Denis 19, dej. 1 fr. 60, D. 2 fr. 10 c. ; Lecoeur, Rue Notre Dame des Yictoires 16, de'j. 1 fr. 60, D. 2 fr. 19 c. — On the left bank: Rue Jacob 27, dej. 2, D. 21/2 fr. ; pens. 110 fr. per month. — In the Quartier Latin, Maison Laveur, Rue des Poitevins 6, dej. 1 fr. 15, D. 1 fr. 55 c, bottle of wine 1 fr. Etablissements de Bouillon. These are restaurants of a peculiar kind, founded originally by a butcher named Duval. As in the case of the 'diners a prix- lixe', the number of dishes to choose from is very limited. The meat is generally good, but the portions are 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 2-21/2 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 largest of these houses is in the Rue Montesquieu, No. 6, to the E. of the Palais-Royal. The following, among many others , are some of the principal branch-establishments : Rue de Rivoli 194 [Tuileries) and 47, Avenue de I'Opera 31 , Boulevard de la Madeleine 27 and Place de la Madeleine 10, Boulevard Pois- sonniere 11, Boul. Montmartre 21 , Rue Montmartre 50 , Rue du Faubourg Montmartre 48 , Rue de Turbigo 45 (corner of Rue St. Martin) and 3, Boul. de Se'bastopol 141 (corner of Boul. St. Denis), Boulevard St. Denis 26, Rue de Lafayette 63 (Place Cadet), Boul. de Magenta 101 (near the Gare du Nord), Rue des Filles St. Tho- mas 7, Rue du Quatre-Septembre 1 (near the Bourse), Rue St, An- toine 234, Boul. St. Michel 26 (at the corner of Rue de I'Ecole de Medecine), Rue du Pont-Neuf 10. Beer Houses. English, Bavarian, Strassburg, Vienna, and other beer may be obtained at most of the cafes (p. 17) 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 wains- coting and furniture. Most of the following are also restaurants. Information. 4. CAFES. 17 A small glass of beer (un quart) costs 30-35 c, a large glass (un demi) 50-60 c. On the Boulevards: Brasserie de Munich, Boul. Poisson- niere 7; Gruber, Boul. Poissonniere 13 and Boul. St. Denis 15 (Strassburg beer); Midler, Boul. Bonne Nouvelle 35; Taveme du Gymnase, Boul. Bonne Nouvelle 31 ; Fritz, Boul. Bonne Nouvelle 23 and Boul. St. Martin ; Schwarz , Boul. St. Denis 4 ; * Taveme FLamande, Boul. de Sebastopol 137, tastefully fitted up; Toumier, Boul. de Sebastopol 135; Eden Brasserie, Boul. de Seljastopol 17 (concerts in the evening) ; Grande Brasserie Rhenane, Boul. Richard Lenoir 3, Place de la Bastille. In other Quarters: Weber, Rue Royale 21 , near the Made- leine (English ale); *Tacerne Montmartre , tastefully decorated, Rue du Faubourg Montmartre 61 ; Debts , Rue du Faubourg Pois- sonniere 4; Melgian, Rue d'Oberkampf 14; Ziesel, Rue Malher 5; Brasserie Dreher , Rue St. Denis 1 ; Cabaret du Lion Rouge, Rue de Rivoli 30, fine rooms. On the Left Bank: Lipp, Boul. St. Germain 151; Midler, Rue Soufflot 19; Aux Escholiers, Rue Soufflot 10. 4. Cafes and Confectioners. Cafes 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 cafes 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 cafes, where they partake of coffee, liqueurs, and ices, meet their friends, read the newspapers, or play at cards or billiards. Most of the cafes are open until 1 a.m., some even longer. 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-li/2fr-, waiter's fee 10 c). In the afternoon the same order produces a demi-tasse of cafe noir, which costs 30-60 c. (waiter 10 c). A petit verre of Cognac or Kirsch costs 30-40 c. Some- times a bottle of cognac is placed on the table 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; un Capucin is a glass of cafe au lait. Tea is generally sold in portions only (the complet) , costing 1-1 1/2 fr. Dejeuner may be obtained at nearly all the cafe's for 274-2Y2 fr- 5 and cold meat for supper. Beer may also be procured at most of the cafe's, ^un bock\ costing 30-40 c, 'une canette', 50-80 c. Baedeker. Paris. 8th Edit. 2 18 4. CAFES. Preliminary Liqueurs, diluted with water, largely consumed in warm weather are: Absinthe, Vermouth, Cognac, Bitters, Cura<;ao, Sirop de Gro- seille, de Framboise, Orgeat (prepared from almonds), and Sorbet. Smoking is generally prohibited at the cafe's until the evening, unless there be chairs outside. The best cafe's may with propriety be visited by ladies, but those on the N. side of the Boulevards Mont- martre and des Italiens should be avoided, as the society there is far from select. — Cafes Chantants, see p. 33. Cafes in and near the Palais-Royal. Galerie Beaujolais (N. side): 89-92, *Cafe de la Rotonde, well supplied with French journals. — Galerie d'Orleans (S. side): Cafe d' Orleans (see p. 12). Rue St. Honore': No. 161, *Cafe de la Regence, opposite the Palais Royal, a famous rendezvous of chess-players. Cafes in the Boulevards. Place de la Madeleine 2, corner of the Rue Royale : CafeDurand, also a restaurant, like many others of the under-mentioned. Boulevard de la Madeleine: 25, de Londres. Boulevard des Capucines. N. side: No. 14, Grand Cafe, ele- gantly fitted up ;. 12, de la Paix , on the ground-floor of the Grand Hotel; 4, Cafe Americain. — S. side: No. 43, du Congres; 1, Glacier Napolitain, noted for ices (see below). Avenue de I'Ope'ra : 41, Cafe de Paris; 31, Cafe St. Roch; 28, Grand Cafe-Restaurant ; 16, Nouveau Cafe. Boulevard des Italiens. N. side: No. 38, Cafe Bignon; 16, *Riche. — S. side: No. 29, *du Helder ; 13, Anglais, principally a restaurant, expensive; 1-3, Cardinal. Boulevard Montmartre. N. side : No. 16 , Cafe Mazarin (may be visited by ladies); 14, du Cercle; 12, Garen; 10, des Princes ; 8, de Madrid. — S. side: No. 13, Veron; 9, des Varietes ; 5, de Suede; 1, de la Porte Montmartre (foreign newspapers). Boulevard Poissonniere : No. 6, Cafe Frontin. Boulevard Bonne-Nouvelle. N. side: No. 44, *Cafe Fran^ais ; 30, *Cafe de la Terrasse (Chauvet), well supplied with newspapers, recommended for dejeuner. — S. side: No. 39, Dejeuner de Riche- lieu, 'demi-tasse" of coffee 50, excellent chocolate 75, cup of tea 60 c. Boulevard St. Martin. S. side : 55, Cafe de Malte. — N. side: Renaissance, at the theatre of that name. Place de la Re'publique : 16, Grand Cafe Central. Cafes on the Left Bank of the Seine. Cafe d'Orsay, opposite the Pont Royal; *Procope, Rue de I'An- cienne Come'die 13 (PI. R, 19; IV, V) , the oldest cafe' in Paris, once frequented by Voltaire, Rousseau, and Diderot; Voltaire, Place de rOdeon 1. The numerous cafe's in the Boul. St. Michel are Information. 5. CABS. 19 chiefly frequented by students and 'etudiantes': 47, d'Harcourt; 27, Vachette; 25, Soufflet, corner of the Rue des Ecoles ; 20, du Musee de Cluny., at the corner of the Boul. St. Germain. Ices. Ices (glacesj are to he had at most of the cafes in summer. The best places are the following: Tortoni, Boul. des Italiens 22; Imoda, No. 3, and Rouze, No. 25, Rue Royale, opposite the Made- leine; * Cafi- Glacier NapoUtain, Boul. des Capucines 1, fruit-ices (li/4fr.), etc. — Sorbet is half-frozen syrup or punch. Confectioners. There are two classes of confectioners at Paris , the Pdtissiers (pastry-cooks) and the Confiseurs (sellers of sweetmeats ; see p. 36). The best patissiers are: Guerre., Rue de Castiglione 2, and Rue de Rivoli 232, opposite the garden of the Tuileries ; Mignot, Rue Vivienne 27; Julien Freres, Rue de la Bourse 3; Favart, Boul. des Italiens 9; Jourlet, Avenue de I'Opera 14; Frascati, Boul. Mont- martre 23; Chiboust, Rue St. Honore 163. 5. Cabs. The ordinary cabs or fiacres, distinguished by yellow numbers, have lately been almost entirely replaced by the Voitures de Eemise, which are somewhat superior vehicles with red numbers. The car- riage-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 be- longing to the Popincourt-Belleville depot (N.E.) have blue lamps; Poissonniere-Montmartre (central), yellow; Passy-Batignolles (W.), red; Invalides - Observatoire (S.), green. The number of cabs in Paris is about 15,000. Some have seats for two, others for four persons , besides the vacant seat on the box. Only those with four inside seats are provided with a railing on the top for luggage. There are also small omnibuses, with 6 seats, which ply for hire like cabs. Une Course is a single drive ; h 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 con- sists of 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. — The Tariff printed on the ticket handed to the passenger is as follows: — 20 5. CABS. Preliminary Within the City. From 6 a.m. in summer From 12.30 at night (olst March to 1st Oct.), till 6 a.m. in summer and from 7a.m. in winter C5isi March to 1st Oct.), (1st Oct. to 31st March), and till 7 a.m. in winter till 12.30 at night: (1st Oct. to 31st March): Cab hired in street: Ordinary Cabs for 2 pers. Ordinary Cabs for 4 pers. Omnibus for 6 pers Cab from a remise: Ordinary Cabs for 2 pers. Ordinary Cabs fur 4 pers. Omnibus for 6 pers. . . . Per Drive \ fr. c. 1 50 2 2 50 1 SO 2 25 2 50 Per Hour fr. c. 2 — 2 50 3 - 2 25 2 75 3 - /' er Drive fr. c. 2 25 2 50 3 — \ 1 3 - 1 3 - 1 Per Hour fr. c. 2 50 2 75 3 50 3 — 3 50 Beyond the Fortifications. Fi'oni 6 a.m. till 12.30 at night in summer or from 6 a.m. till 10 p.m. in winter. When the hirer returns to the town in the same cab : When the hirer does not return, he must make additional payment of: Cab hired in street: Ordinary Cabs for 2 pers. Ordinary Cabs for 4 pers. Omnibus for 6 pers. . . . Cab from a remise: OrdinaryCabs for 2 or 4 pers. Omnibus for 6 pers Per Hour fr. c. 2 50 2 75 3 — 3 - Return Money fr. c. 1 — 1 — 2 — In hiring by time, the whole of the first hour must always be paid for, after which the time may be reckoned by spaces of 5 minutes. Qlinutes : 10 I 15 , 20 I 25 35 40 45 50 i 55 2 fr. . . 2 fr. 25 2 fr. 50 2 fr. 75 3 fr. . . 3 fr. 50 fr.c. -20 -20 -25 -25 -25 -30 fr.c. fr.c. i fr.c. ' fr.c. !fr-C. 'fr.c. j fr.c. fr.c. ' fr.c. fr.c. — 35'— 50'-70'-851 -1 20 1 35 1 50 1 7oll 85 —40: -60! -75 '—95 1 15 1 35 1 50,1 7011 90i2 10 -451—65! -Soil 05 1 251 50 1 70 1 90 2 10:2 30 _50l_70 -95 1 15 1 40 1 60 1 85 2 10 2 30,2 55 —50'— 75 1 - 1 25 1 50 1 7512 — 2 25 2 50,2 75 — 60i-90|l 20|1 50:1 75|2 0512 35|2 65|2 9513 20 The same charge is made for luggage in cabs of every class : for 1 box '25 c, 2 boxes 50, 3 or more 75 c. The driver is bound to place it on. and remove it from, the vehicle. No charge for small articles taken inside. The Bois de Boulogne and Bois de Yincennes are beyond the fortifications. The driver is bound to drive to any of the entrances of either [Porte Maillot, Dauphine, de la Muette, de Passy, d'Au- Information. 0. OMNIBUSES AND TRAMWAYS. 21 teuil ; de Picpus, de Reuilly, de Charenton) without additional pay- ment and without demanding return-money. If a cab is sent for and kept waiting more than V* tr., the driver is entitled to charge by time; if it is sent back at once, half a course, or if after '/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 rt Vheure , 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 nighi-charges must be paid, although the drive be prolonged beyond these limits. Drivers are not bound to convey passengers beyond the fortifications between midnight (or in winter 10 p.m.) and 6 a.m. If the horses are iised 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 reverse case, the in- creased rate is paid from the time when the fortifications are passed. For a drive to a theatre, concert, or ball, the fare must be paid in advance. Gratuities cannot be demanded by the drivers, but it is usual to give 20 c. per drive, or 25-30 c. per hour, in addition to the fare. Those who are desirous of exploring Paris expeditiously and comfortably are recommended to hire a Voiture de Grande Remise (without a number) by the day (40 fr.), or by the week. Appli- cation should be made at the offices of the Compagnie Generale des Voitures, Place du Theatre Fran(;ais 1, or Boul. Montmartre 17. 6. Omnibusei^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 so much time and money, that it will repay him to study the various routes and 'cor- respondances'. 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 Trnmwnys dans Paris ( 1 fr.) at one of the omnibus-offices. Omnibuses and Tramways. Omnibuses and tramways cross the city in every direction from 7 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 34 different lines of Omnibuses, distinguished by the letters of the alphabet (from A to Z, and from AB to AJ). 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 three horses and accommodation for 40 passengers. 22 6. OMNIBUSES AND TRAMWAYS. Preliminary The new omnibuses are provided with a staircase similar to those in the tramway-cars, rendering the outside accessible to ladies. The Tramways, of which there are 39 lines, are divided at present into the Tramways de la Compagnie des Omnibus, the Tramways Nord, and the Tramways Sud, but it is proposed to amalgamate these three companies. The first 19 lines are distin- guished by the letters A to R and AB (preceded by T) , and the others by the names of their termini and their numbers as given in the tables of the Appendix. The tramway-cars of the Compagnie des Omnibus are large and cumbrous vehicles of an antiquated type, with 'imperiales' or outside places, to which ladies are ad- mitted. Those on the other lines resemble the cars of most other towns, but most of them also have imperiales. 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 lanterns. Comp. the tables in the Appendix, pp. 24, 25. 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; when the omnibus is '•compleV 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, 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. One of the most admirable features in the arrangements of the Parisian omnibus-lines is the system of Correspondances, or permission to change from one line to another. Thus , if no omnibus go in the direct route to the passenger's des- tination from the part of Paris in which he is, he may demand from the conductor a correspondance for the line which will convey him thither. He will then receive a ticket, 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. 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. The letters in the second column of the table indicate the lines that correspond with the line denoted by the letter in the first column. It should be noted that the bureau de correspondance is not invari- Information. 7. RAILWAY STATIONS. 23 ably the same as the office at which the passenger alights, but is sometimes a little way olT. This is always the case with a corre- spondance between an omnibus and a tramway. Correspondances are also issued at a small additional charge for places beyond the fortifications. River Steamboats. The Bateaux - Omnibus , or small screw- steamers which ply on the Seine, are recommended to the notice of the traveller in fine weather , as they afford a good view of the i|uays and banks of the river; but being small, they are apt to be crowded and uncomfortable. There are three different services : (1) From the Pont d'Austerlitz to Charenton ; {2) From the Pont de Bercy to Auteuil (Point-du- Jour) ; (3) From the Pont-Royal to St. Cloud and Suresnes. There is no system of correspondance. The steamboats plying within the precincts of the city are commonly known as ^Mouches\ and are painted red; those which ply to the environs, known as ^Hiron- delles\ are white in colour and considerably larger. The fare on the first and second lines, on week-days, for the whole or part of the distance, is 10 c. ; on Sundays and holidays 15 c. on the first line, and 20 c. on the second. The fares on the third line from Paris to any of the stations is 30 c. on week-days and 50 c. on Sundays, but half-fare only is paid for the trip between St. Cloud and Suresnes. 7. Railway Stations. Chemin de Fer de Ceinture. The numerous railways f radiating from Paris start from nine different stations. All the lines have sub-offices {bureaux suc- cursales) in various parts of the city, from which railway-omnibuses run in connection with the trains. Passengers may book their lug- gage, and in some cases even take their tickets, at these sub-offices, which, however, they must generally reach 1 hr. before the depar- ture of the train. The office of the Compagnie Internationale des Wagons-Lits (sleeping-carriages) is on the ground-floor of the Grand Hotel, Rue Scribe 2. The ^Indicateur des Chemins de Fer, which is issued every Sun- day (price 60 c), and may be purchased at the railway-stations and omnibus-offices, gives complete information regarding all trains. Return- Tickets, etc., see p. xv. + Railway- station, la gave (also I'ernbarcadire); booking-office, le guichet or bureau; first, second, or third class ticket, un billet de premiire, de seconde. de troisieme classe; to take a ticket, prendre im billet; to register the luggage , /a«re enregistrer les bagages; luggage-ticket, bulletin de bagage; waiting-room, salle d''attenle; refreshment-room, le buffetiihivd. class refreshment-room, la buvette)\ platform, le qiiai, le iroltoir; railway- carriage, le wagon; compartment, le cojnpartiment, le coupi; smoking com- partment, fumeuvs; ladies' compartment, dames scutes; guard, conducteur ; porter, /aci3 ("for Germany and Russia). 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. : Place du Havre; Rue Boissy d'Anglas 3; Boul. St. Denis 16; Rue des Halles 9 ; Avenue des Champs-Elysees 33 ; Gares du Nord, de Lyon, and d'Orleans; Place de la Re'publique 10. The office at Avenue de TOpera 4 is open to 11.30 p.m. and that at the Grand Hotel till midnight. Telegrams may be sent at any hour of the day or night from the offices at the Bourse (entr. from the boulevardj and Rue de Grenelle 103 (night entr. on the left). For the countries of Europe and for Algeria telegrams are charged for at the following rates per word : for France 5 c. (minimum charge 50 c.); Algeria and Tunis 10 c. (minimum 1 fr.) ; Luxembourg 12'/2 c. ; Belgium 15 c. ; Germany. Netherlands, Italy, and Spain 20 c. ; Great Britain and Portugal 25c.; Austria 30c.; Denmark, Hungary, etc., 35; Sweden and Norway 45; Russia in Europe and Greece 60 c. There is also a system of Pneumatic Tubes ( Telegraphic ■pneu- matique) for the transmission of messages within the Outer Bou- levards (p. 54), at the rate of 30 c. for open cards (cartes tele- grammes ouvertes) and 50 c. for closed cards (cartes telegrammes fermees). These forms may be obtained at the telegraph-offices, to which special letter-boxes for the pneumatic post are also attached. 9. Theatres, Circuses, Panoramas. Paris now possesses upwards of 40, or, including the suburbs, 60 theatres, a number equalled by no other city in the world. As these , from the Opera with its patchouli-scented boxes down to the small theatre providing boisterous farce or exciting melodrama for the artizan of the Faubourg St. Antoine, present a highly char- acteristic phase of Parisian life , the traveller should on no ac- count omit to visit some of them. An intimate acquaintance with colloquial French, such as can be acquired only by prolonged resi- dence in the country, is absolutely necessary for the thorough appre- ciation of the acting ; visitors are therefore strongly recommended to purchase the play (la piece; 1-2 fr.) to be performed, and peruse it beforehand. Dramatic compositions of every kind are sold by Tresse, Palais-Royal, Theatre Fran(;ais 8-11, O^ieJirfor/f, Rue Richelieu 28bi3, and at the Magasin Thedtral, Boul. St. Martin 12. The plays may also be procured in most instances at the theatres themselves. Performances generally begin between 7-30 and 8.30 p.m., and last till nearly midnight. Two or three pieces are as a rule played each evening, the first being the so-called lever rideau, a one-act piece or farce during which the house gradually fills. Play-bills {le programme, le programme detaille). or theatrical newspapers with the programme of the evening (I' Entr e- Act e, VOrchestre, and 28 9. THEATRES. Preliminary others"), may be procured during the day at the Kiosques (p. 54), or at the offices of the theatres , and at night are sold in the theatres. Some of the other newspapers , particularly those published in the afternoon, give lists of the pieces and characters. 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, 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-scines 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 ground-floor of the theatre. At several 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 difficulty in passing in and out. The arrangement and naming of the seats differ in the different theatres, but in all of them the side-seats of the two upper galleries should be avoided. At the Opera the stalles de parterre, behind the fauteuils d'orchestre, are rendered unplea- sant by the presence of the 'claque'. 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 11 to 6), where a plan of the interior is shown. Seats booked in this manner generally cost 1/.2-2 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. The 'Figaro' (see p. 40) has recently opened an office in its Salles des Nouvelles, Rue Drouot 26, where theatre-tickets are sold without extra charge. Visitors are cautioned against pur- chasing their tickets from valets de place. 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 Information. 9. THEATRES. 29 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 f em' lie de location, or list of seats booked for the night, and choose any seats which do not appear on this list. The Claque (Romains\ '■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 or -lustre', and are easily recognised by the obtrusive and simultaneous vigour of their exertions. There are even '•entrepreneurs de succ'es dra- maiiques\ a class of mercantile adventures who furnish theatres with 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. are left at the "Vestiaire' or cloak- room (fee 25 c. each person). Gentlemen take their hats into the theatre, and may wear them during the intervals of the performances. The atten- dants 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. The Opera (PI. B, R, 18 ; //). The admirable performances of the Parisian opera take place Mon., Wed., and Frid., in winter on Sat. also. The ballet and the mise en scene are unsurpassed. Govern- ment allots an annual subvention of 800, 000 fr. towards the support of the Opera. The staff of performers is about 250 in number. A good tenor receives a salary of 100-120,000 fr. Composers and au- thors of new pieces are entitled to 7 per cent of the gross receipts in the first year of performance and 8 per cent in all subsequent years. — The seats are all comfortable. Loges de face and fauteuils d'amphithe'atre 15, fauteuils d'orchestre 13, deuxiemes loges de face 12, stalles de parterre 7, troisiemes de face 8, quatriemes de face 4 fr. Ladies are not admitted to the orchestra seats. Evening-dress de rigueur in the fauteuils d'orchestre and the 1st gallery. The TheS,tre Francais [PI. R, 21 ; /i), or Comedie Franfaise, Place du Theatre Francais, on the S.W. side of 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. This theatre was founded in 1600, and was under the superintendence of jlfo- liere from 1658 down to his death in 1673. The theatre receives a subsidy of 240,000 fr. a year from government. For a description of the edifice itself, see p. 76. — Avant-scenes des premieres loges 10; loges du rez-dc-chaussee premieres (first gallery), avant- scSnes des deuxiemes, and baignoires de face 8; fauteuils de bal- con 7; fauteuils d'orchestre and loges de face de deuxieme rang 5; loges de face de troisieme rang 31/2; parterre 2Y.2fr. — Ladies are not admitted to the orchestra seats. The Opera Comique (PI. R, 21 ; II), Place Boieldieu, is devoted 30 9. THEATRES. Preliminary to the performance of the lesser operas, such as La Dame Blanche, the Postilion de Lonjumeau, Fra Diavolo, etc. It receives an annual subsidy of 300,000 fr. from government. Seats for 1800. — Avant- scenes de balcon and du rez-de-chaussee 10 ; avant-scenes des pre- mieres, premieres loges , fauteuils de balcon , and fauteuils d'or- chestre 8; deuxiemes loges de face 6; avant-scenes des deuxiemes 4 and 3 ; parterre 21/2 fr- — Ladies not admitted to the orchestra seats. The Theatre Italian (Pl.R. 23 ; F), formerly called the Theatre Lyrique and the Theatre Historique, Place du Chatelet, is now de- voted to spectacular pieces. It was founded by Alex. Dumas in 1847 in the Boul. du Temple. Evening-dress prescribed. — The prices at present are nearly twice as high as those of the Grand Opera. The Odeon, Place de TOde'en (PI. R, 19; JV), near the Palais du Luxembourg (see p. 238}, ranks next to the Theatre Fran^ais, and is chiefly devoted to the performance of classical dramas. Annual subvention from government, 100,000 fr. A large propor- tion of the audience consists of students , especially at the Monday performances with reduced prices. Some of the plays of Casi- mir Delavigne, Ponsard, and Georges Sand were performed here for the first time. The Odeon is closed in June, July, and August. — Avant-scenes des premieres and du rez-de-chaussee 12fr.; baignoires d'avant-scene 10 ; premieres loges de face 8 ; fauteuils d'orchestre 5 ; stalles de la deuxieme galerie 4 ; deux, loges de face and parterre 3 fr. The Gymnase (PI. R, 24; III), Boulevard Bonne-Nouvelle 38, for vaudevilles and comedies, deserves commendation, and its pieces are frequently deemed worthy of being performed in the Theatre Fran^ais. Scribe wrote most of his plays for this theatre. Vict. Sar- dou, Alex. Dumas the Younger, Emile Augier, and Octave Feuillet have also achieved great successes here. — Avant-scenes 12 fr. ; loges de balcon , fauteuils d'orchestre and de balcon 8 ; stalles d'orchestre 5 ; deuxieme galerie 2 or 2^/2 fr- — Ladies are admitted to the fauteuils and stalles d'orchestre. The Vaudeville (PL R, 18, 19; //), at the corner of the Rue de la Chausse'e d'Antin and the Boulevard des Capucines, a hand- some new building, completed in 1869, is admirably fitted up. It is chiefly destined for vaudevilles and comedies. — Avant-scenes du rez-de-chausse'e and des premieres 12^2 '■> fauteuils de balcon, premier rang 8; fauteuils d'orchestre or de premiere galerie , and premieres loges de face 7; etc. — Ladies are admitted to the or- chestra stalls. The Varietes (PI. R, 21; III'), Boulevard Montmartre 7, ex- cellent for vaudevilles, farces, and operettas. — Avant-scenes 10; fauteuils d'orchestre 7 ; stalles d'orchestre 4 fr. The&tre du Palais Royal, at the N. W. corner of the Palais Royal, 74, 75 (PI. R, 21; //), a small but very popular theatre, Information. 9. THEATRES. 31 where vaudevilles and farces of broad character are performed. — Avant-scenes 8 fr. ; fauteuils d'orchestre 7; parterre 2 fr. Ladies not admitted to the orchestra places. Bouffes Parisiens (PI. R, '21 ; /i) , a small theatre in the Pas- sage Choiseul near the Italian Opera, the specialty of which is comic operettas and parodies. It was established by Offenbach in 1855. — Avant-scenes 10 ; fauteuils d'orchestre 6 fr. — Ladies not ad- mitted to the orchestra stalls. The&.tre de la Porte St. Martin (PI. R, 24; ///), in the Bou- levard St. Martin, burned down by the Communists in May, 1871, but since rebuilt. Dramas and 'tableaux', such as the 'Tour du Monde', are performed here. — Avant-scenes 14; fauteuils d'or- chestre 8; stalles d'orchestre 5; parterre 3 fr. The&tre de la Renaissance (PI. R, 24; ///), a small, but hand- some edifice, at the corner of the Boulevard St. Martin and Rue de Bondy. Comic operettas and vaudevilles. — Avant-scenes 12; fauteuils d'orchestre 8 ; stalles d'orchestre 5 fr. The&tre dn Chl,telet, Place du Chatelet (PL R, 24; F), a very roomy edifice, specially fitted up for fairy scenes and ballet, lighted by a large reflector. — Loges or fauteuils de balcon de premier rang 6; fauteuils d'orchestre 5; stalles d'orchestre 3; parterre li/o'fr. The&tre de la Gaite (PL R, 24; ///), Square des Arts et Me- tiers, for operas and melodramatic pieces. It has several times changed its name and its specialty. — Avant-scenes 10; fauteuils d'orchestre 5 ; stalles d'orchestre 4 ; stalles de la seconde galerie or parterre 3 fr. The§,tre des Nouveautes (Pl.R, 21), Boulevard des Italiens 28. Comedies, vaudevilles, and operettas. — Avant-scenes 15; fau- teuils d'orchestre 8 and 7; stalles d'orchestre 5 and 4 fr. Ambigu-Comique (PL R", 24; ///), Boulevard St. Martin 2; dramas, melodramas, and fairy pieces. — Avant-scenes 10; fau- teuils d'orchestre 6 ; avant-scenes and fauteuils de deuxiemes 3 fr. Folies Dramatiqnes (PL R, 27; ///), Boulevard St. Martin, or rather Rue de Bondy 40, near the Place de la Republique ; vaude- villes, fairy pieces, and operettas. Seats for 1600. — Avant-scenes 8 ; fauteuils d'orchestre 5 ; stalles de balcon 2 fr. The Opera Populaire (PL R, 27; ///), formerly the Theatre du Chdteaic d'Eau, Rue de Malte 50, is supported by the Municipality for the benefit of the poorer classes. Avant-scenes 6 ; loges de bal- con 5 ; fauteuils d'orchestre 4 ; stalles de premiere 2 fr. Eden-The&tre (PL R, 18 ; //), Rue Boudreau, for pantomimes and ballets. Avant-scenes 12, fauteuils d'orchestre 7, stalles d'or- chestre 5, promenoir (standing-place) 3 fr. Mixed company. Among the best of the other theatres are the following : — TheCitre de Cluny, Boul. St. Germain 71. ■ — Theatre Beau- marchais, Boul. Beaumarchais. — Theatre Dejazet, Boul. du 32 10. CONCERTS AND BALLS. Preliminary Temple 47. — Theatre des Menus Plaisirs , BouL de Strasbourg 14; etc. The Theatre Robert Houdin. Boulevard des Italiens 8, for con- juring of all kinds, may also be mentioned here. Admission 2 to 5 ft. Equbstrian Performances, accompanied by acrobatic feats, pantomime, etc., are exhibited at the following circuses: — Cirque d'Ete (PL R. 15; II). formerly called the Cirque de VImperatrice, near the Rond-Point (PI. R, 15; 7/J, to the right in ascending. Performances every evening from 1st May to 30th Oc- tober. Seats for 3500. Best places 2 fr., second seats 1 fr. — The stables are worthy of a visit. Cirque d'Hiver (PL R; 27; ///), formerly the Cirque Napoleon, Boulevard des Filles du Calvaire. Performances every evening, from 1st Nov. to 30th April. Premieres loges 2; deuxiemes 1, troisiemes The Hippodrome (PL R, 12; 7), between the Avenue del'Alma and the Avenue Maroeau, near the Pont de I'Alma (p. 161), is a vast circus holding 10,000 spectators. Equestrian, acrobatic, and pantomimic performances , races , and ballets on afternoons and evenings in summer. The roof is generally removed in fine weather. Admission. 1 to 5 fr. Cirque Fernando (PL B, 20), Boulevard Rochechouart 63. Admission, 3 fr. to 50 c. Panoramas have again become fashionable in Paris as at the beginning of the century, when there were three in the Passage des Panoramas alone. — ■ ^Panorama of the Defence of Paris (PL R, 15; //), by Philoppoteaux, in the Champs Elysees; adm. 2, on Sun. 1 fr. — Battle of Buzanval (PL R, 15; 77), by Poilpot and Jacob, nearly opposite the first; adm. 2, Sun 1 fr. — Battle of Champigny (PL R, 12; 7), Rue de Berry 5, by Detaille and De Neuville ; adm. 2, Sun. 1 fr. — Battle of Reichshofen or Worth (PL R, 18; 77), Rue St. Honore' 251. by Poilpot and Jacob; adm. 2, Sun. 1 fr. — Storming of the Bastille, by Poilpot and Jacob; Place Contrescarpe , near the Pont d'Austerlitz (PL R, 25; F); adm. 1, Sun. V2 fr. — Panorama du Monde Antediluvien , by Castellani. in the Jardin d'Acclimatation (p. 159). — Grand Pano- rama National (PI. R, 21 ; 77), Rue de Bondy 26. The Musee Grevin, under the management of the well-known draughtsman of that name, BouL Montmartre 8, adjoining the Pas- sage Jouffroy, is a collection of wax figures; adm. 2, S\in. 1 f r. Best by gas-light. 10. Concerts, Balls, Sport and Clubs. Concerts. The concerts of the Conservatoire de Musique . Rue du Faubourg-Poissonniere 15, which enjoy a European celebrity, Information. 10. CONCERTS AND BALLS. 33 take place every Sunday from January to ApriL The highest order of classical music, by Haydn, Beethoven, Mendelssohn, etc., as well as by the most celebrated French and Italian composers, is per- formed with exquisite taste and precision. There are also three sacred concerts given at the Conservatoire during Passion and Easter weeks. 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 Conservatoire 2, open 1-3 p.m. on the day before a concert and 1-2 p.m. on the day itself. Balcon and premieres logos 12 fr.: stalles d'orchestre, loges du rez-de-chaussee, and secondes loges 9 fr. ; troisiemes loges and amphitheatre 5 fr. The Concerts Populaires , or Pasdeloup , instituted in 1861 by M. Pasdeloup with a view to encourage a taste for classical music, are always well attended. Good music, performed by an excellent orchestra. They take place in the Cirque d'Hiver in winter every Sunday at 2 o'clock. Prices 'en location' : parquet 6 fr. ; premieres 5 fr. ; tribunes 3 fr. ; secondes I'/o fr. ; troisiemes 1 fr. Similar to the last are the Concerts du Chdtelet or Colonne, and the Concerts Nouveaux or Lamoreux , which are also held on Sun. afternoons in winter, the former at the Theatre du Chatelet (prices 1 V4-10fr.) and the latter at the Opera Populaire (p. 31 ; I'^-iO fr. ). The Concerts des Charnps-Elysees, or Concerts Besselievre, given in summer in the open air, under the trees at the back of the Palais de rindustrie, are well attended, and the music is good. Ladies alone not admitted. Performances daily from 8 to 11 p.m. (Frid. 8 to 12 p.m.), also Sundays from 2 to 5 p.m. ; adm. 1 fr., Frid. 2 fr. Besides the above regular concerts, others are given occasionally at the concert-rooms of Herz, Rue de la Victoire 38 and Rue Char- ras 4; Erard, Rue du Mail 13; Pleyel, Rue Rochechouart 22; and other places. See bills and newspaper advertisements. Lent is the principal season for concerts in Paris. Open-air concerts are given in summer at the Jardin d' Acclima- tation (p. 158). Military Bands also play frequently in the gardens of the Tuileries, the Palais-Royal , and the Luxembourg (p. 244); the favourite is that of the Garde Republicaine , which performs from 4.45 to 5.45 p.m. (programme in the daily papers). Cafes Chantants. The music and singing at these establish- ments and at the ^spectacles-concerts^ is never of a high class, while the audience is of a very mixed character. The entertain- ments, however, are often amusing, and sometimes consist of vaude- villes, operettas, and farces. Smoking allowed. — The following may be mentioned : Cafe des Ambassadeurs., in the Champs-Elysees, the first on the right, before the circus is reached; Xhe Alcazar d'^'fe , the second on the right ; and the Cafe del' Horloge, on the left. In winter: Eldorado, Boul. de Se'bastopol, near the Boul. St. Denis ; opposite to it , the Scala, with a handsome saloon , un- roofed in summer; the Alcazar d'Hiver , Rue duFaubourg-Poissonni- Baedekfk. Paris. Sth Edit. 3 34 10. CONCERTS AND BALLS. Preliminary ere 10; Grand Concert Parisien , Rue du Faubourg St. Denis 37; Eden Concert^ Boul. de Sebastopol 17 ; Bataclan, Boul. Voltaire 50, a curious structure in tlie Chinese style. The alluring display of the words ^entree lihre outside the cafe's-chantants is a ruse to at- tract the public , as each visitor is obliged to order refreshments (a '■ consormnation^^^ which are generally of inferior quality, at a price of 1-3 fr., according to the reputation of the place. — The Folies-Beryere, Rue Richer 32 (PI. B, 21; HI), is a very popular resort of the same category. Visitors either take seats or promenade in the gallery, while the performances are going on the stage. Smoking allowed. Adm. 2 fr. Balls. The public masked balls given weekly during Lent [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 new Opera House (entrance 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 a Bal des Artistes takes place in the Grand Opera or the Opera Comique (same prices), and masked balls are held every Sat. in winter in the Eden Theatre (gentlemen 10, ladies 5 fr.). Salles db Daxse. 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. Since the discontinuance of the famous Jardin Mabille, the best- known of these places of amusement is the Elysee Montmartre^ Boul. RochechouartSO, where balls are held on Sun., Tues., Thurs., and Sat. (adm. 1 or 2 fr. according to the day ; see advertisements'). — The dances of the Tivoli Vauxhall , Rue de la Douane 12-16, near the Place de la Republique , are also popular (Sun. , Wed., Thurs,, and Sat. ; same charges). At the Bal Bullier , or Closerie des Lilas , in the Carrefour de rObservatoire (PI. G, 19 ; p. 246). in the Quartier Latin, a famous establishment in its way, the dancing of the students and artisans with their 'etudiantes' and 'ouvrieres' is generally of a wild and Bacchanalian character. Here the famous 'cancan' may be seen. Balls on Sat., 'soirees dansantes' on Sun., 'grande fete' on Thurs. ; adm. 1 fr. Masked balls during the Carneval. Horse Eaces (Courses) take place from February to Novem- ber , at Auteuil (p. 157); Longchamp (p. 157), where the Grand Prix, the chief French race, is decided in May; Chantilly (p. 318); Vincennes (p. 202) ; La Marche (p. 267); Le Vesinet (p. 293) ; En- Information. 11. SHiJPS. 35 ghieiiQ). 305"); Maisons-sur-Seine (p. 296); St. Germain (Acheres ; p. 296); St. Ouen (p. 192); Foiitainebleau (p. 312), and the Champ tie Mars (p. 264). — Members of the English Jockey Club are ad- mitted to all the privileges of the French Jockey Club (see below). Boating is a favourite summer-recreation of the youthful Pari- sian, the chief starting-points being Asnieres (p. 266), Argenteuil (p. 307), and Bougival (p. 307) on the Seine, and Joinville-le- Pont (p. 202) and Nogent fp. 202) on the Marne. Regattas are fre- quently held. 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. 158). Clubs. The following are a few of the principal clubs of Paris, to most of which strangers are admitted during their stay on the introduction of a member: Jockey Club , Rue Scribe, l^is; Cercle des Champs-Ely sees, Rue Boissy d'Anglas 5 ; Cercle de la Rue Royale. Place de la Concorde 4 ; Cercle de V Union, Boulevard de la Made- leine 11 ; Cercle Malesherbes, Boul. Malesherbes 1 ; Union Artistique (Cercle des Mirlitons), Place Vendome 18; Cercle Grammont St. Hubert, Rue Halevy 16; Cercle des Beaux- Arts, Cercle Franco- Amir icain , Plai'e de I'Opera 4; Sporting Club, Boul. des Capu- cines 8; Grand Cercle, Boul. Montraartre 16; Cercle du Commerce et de V Industrie, Boul. Poissonnif>re W^'^^ ; Yacht Club, Boul. des Capucines l^'is; Cercle des Eclaireurs, Rue do la Paix 25 ; Cercle Artistique et Litteraire, Rue Voluey 7; Hunting Club, Boul. Mont- martre 21 ; Alpine Club, Rue Bonaparte 31 ; Cercle International, Boul. des Capucines 6; Cercle des Chemins de Fer, Boul. des Ita- liens 29 and Rue de la Michodiere 22. 11. Shops and Eazaars. Shops. With the exception of the houses in the aristocratic Faubourg St. Germain, there are few buildings in Paris which have not shops on the ground-floor. 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'Ope'ra, Rue du Quatre-Septembre, Rue de Richelieu, 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. Alfenide, see Electro-plate. 'Articles de Voyage': Bazar du Voyage, Boul. des Capucines 17, and Place de I'Ope'ra 3, a very attractive shop; Au Depart, Avenue de rOpe'ra 29 ; Dock du Voyage, same street, 5; Au Tou- riste, same street, 36 bis ; and at the Bazaars. Bonnets, Ladies': Virot, Rue de la Paix 12; Mantelet Therlse, Rue Hale'vy 12; Mme. Ode, Boul. des Capucines 7 and Rue du 3* 36 11. SHOPS. Preliminary Qiiatre-Septeiubre 30. Straw hats: Au Palmier, corner of tlie Rues de Richelieu and du Quatre-Septembre. Booksellers (reading-rooms, etc.), see p. 39. Bootmakers f6of tier, cordonnier; boots and shoes, chaussures) : fiocfte, Rue Vivienne 16; Delail, Passage Jouffroy 46 ; Bacquart, Passage Jouffroy 35. — For Ladies: Pinet, Rue de Paradis-Pois- sonniere 44; Viault-Este, Rue de la Paix 20; Jordan, Place de la Madeleine 13; Ferry, Rue Scribe 11 and Rue Auber 2; Chapelle, Rue de Richelieu 85. — Ready-made boots and shoes may be pro cured in almost every street. Broxzes (bronzes d' art) : Barbedienne , Boul. Poissonniere 30; Thibaut, Avenue de TOpera 32 ; Casse et Delpy, Rue Debelleyme 7 ; Colin, Boul. Montmartre 5 ; SusseFreres, Place de la Bourse 31 ; Klein, Boul. des Capucines 6; Societe Generate du Bronze Double^ Avenue de I'Opera 28. Chemists and Druggists : Pharmacie Normale, Rue Drouot 19 ; Favrot, Rue de Richelieu 102 ; Roux, Rue Montmartre 141, and Rue Notre-Dame-des-Victoires 54 ; Pharmacie Homeopathe, Rue St. Honore 352; Beral, Rue de la Paix 14; Hoyg, Rue Castig- lione 2 ; Swann , Rue Gastiglione 12 ; Roberts ^ Co. (Shorthose), Place Vendome 23 (the last four are English ). China, see Glass. Chocolate : Compagnie Coloniale, Aven. de I'Opera 19 ; Compag- nie Fran^aise. Boul. de SebastopollS; Marquis, Passage des Panora- mas 57-59, and Rue Vivienne 44 ; Masson, Boul. de la Madeleine 9, Rue deRivoli91, and Rue du Louvre 8; Suchard's, Menier's, Lom- bart's, and Ibled's chocolates are sold at many other shops. Cigars. The manufacture and sale of tobacco (/caporal ordi- naire' and 'superieur') 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. Good imported cigars (30 c. each, and upwards) can only be purchased at the principal depot, Quai d'Orsay 63, at the Place de la Bourse 15, and at the Grand-Hotel. The home-made cigars usually smoked are the Bordelais at 5 c. each, Etrangers at 10 c, Medianitos at 20 c., Regalias at 25 c, and Londres at 30 c. ; there are also Conchas sold at 1 fr. 60 0., and Londres extra at 2 fr. 10 c. per packet of six. Cigarettes 2-5 c. each. Good Oriental tobacco and cigarettes are to be had at Boul. des Italiens32. Passers-by may avail themselves of the light burning in every tobacco-shop without making any purchase. Clothing, see Tailors, Milliners, etc. Confectioners, see p. 19. CoNFisEURs (comp. p. 19): Boissier, Boul. des Capucines 7; Gouache, Boul. de la Madeleine 17; Charbonnel , Avenue de I'Opera 34; Bonnet, Rue Vivienne 31 ; Seugnot, Rue du Bac 28. See also Preserved Fruits. Delicacies (preserved meats, etc.; comestibles'): Chevet , Pa- Information. 11. SHOPS. 37 lais- Royal (see p. 12); Corcelet , Galerie de Valois . also at the Palais-Koyal, 103, 104; Potel ateliere 16, and the Insiiiut des Langues Etrnngires. Rue Tronchet 32. The addresses of private teachers may be obtained from ^Galignani and the other book- sellers. 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. Charge from 50 0. to 1 fr., an additional charge being made for towels. De la Samaritaine, below the Pont-Neiif, right bank (PI. R, 20; ///); des Tuileries , near the Pont-Royal, same side; Rivoli , Rue de Ri- voli 202; de Diane, Rue Volney 5 ; Vivienne, Rue Vivienne lo ; CantaL, Rue St. Marc 16 ; leydeau, Rue des Colonnes 3, near the Exchange ; deJouvence., Boul. Poissonni^re 30 and Rue du Faubourg Montmartre 4; de la Chaussee d'Antin, Chausse'e d'Antin 46; St. Sulpice, in the place of that name, 12; Racine, Rue Racine 12. 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.); Hammam Monge, Rue Cardinal Lemoine 63, on the left bank (^bath 1^/2-1^/2 tr.)] Goffinon, Boulevard de Strasbourg 85; Ste. Anne, Rue Ste. Anne 63 and Passage Choiseul 58. Cold Baths in the Seine: Deligny , Quai d'Orsay, near the Place de la Concorde (PI. R, 14, 15; /J), 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 statue on the Pont-Neuf ) ; Petit, Quai de Bethune (He St. Louis ; PI. R, 22; F), recommended to ladies also; Bnins des Fleurs, Quai de la Megisserie, 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 ouL-half of each bath is g^enerally very shalU)w, being intended for non-swimmers, while the other Balf is often not more than 0-9 ft. in depth, l^ivers should therefore use great caution. 42 13. PHYSICIANS. Preliminary 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. 36), or at Galignanfs (p. 39]. As changes of address are not infrequent, the ^BoUin\ or Directory, may also be consulted. Usual fee from 10 to 20 fr. per visit or con- sultation. The following may be mentioned : — Dr. Bishop. Rue la Boetie 114; Dr. Boggs, Rue St. Honore 362; Dr. Chapman, Rue de Rivoli 212; Sir John Cormack, Rue St. Honore 364; Dr. Herbert, Rue de Miromenil 21 (the last two are physicians of the Hertford Hospital ; see below) ; Dr. Dreyer-Dufer, Rue Richer 52 ; Dr. James, Rue Cambon 51 ; Dr. Loughnan, Rue de Berri 38 ; Dr. MacC'arthy, Boul. Malesherbes 17; Dr. Macgavin, Rue des Saussaies 10 ; Drs. Sims and Pratt (Americans), Place Vendome 12; Dr. Smith, Rue St. Florentin 11 ; Dr. Warren (American), Rue Caumartin 15 ; Dr. Wakefield, Rue d'Astorg 30, Boul. Malesherbes. Oculists : Dr. Loubrieu , Rue de Rivoli 50 ; Dr. Meyer, Boul. Haussmann 73; Dr. Sichel, Quai Yoltaire 25; Dr. de Weaker, Avenue d'Antin 7. Dentists : Adler, Rue Meyerbeer 4 , near the Opera ; Aubert, Rue St. Honore 279 ; Cumming, Rue Royale 12 ; Hy. Didsbury, Rue Meyerbeer 3; J. Didsbury, Rue de la Paix 10 ; Dugit, Rue du 29 Juillet 6 ; Dorigny. Passage Vero-Dodat 33 ; Duchesne p.ls , Rue Lafayette 45 ; J. Evans, Avenue de I'Opera 19 ; George, Rue de Rivoli 224 ; Luis ^^ Clarke, Boul. des Italiens 25 ; Neech, Rue Basse- du-Rempart 64; Stevens (American), Rue Cambon 42; Reinvillier, Boul. des Italiens 11 ; Rogers, Rue St. Honore 270; Rossi-Hartwick, Rue St. Honore' 390 ; Seymour, Rue Castiglione 10 ; Warde, Boul. Montmartre 2; Weber, RueDuphot25, and Boul. de la Madeleine 25. Chemists and Druggists, see p. 36. 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- rooms, billiard-tables, gardens, etc., as weU 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 4-15 fr. per day, everything included); Etablissement Hydr other apique d'Auteuil, Rue Boileau 12 ; de Passy, Rue Franklin 22 ; de Paris , Rue de la Chausse'e d'Antin 49 ; Villa des Dames, RueNotre-Dame-des-Champs77, near the Luxembourg. The *Hertford British HosriTAii, or Hospice Wallace, is a large Gothic edifice in the Rue de Villiers, at Levallois-Perret, near Neuilly, built and maintained by Sir Richard Wallace. It has ac- Information. 14. DIVINE SERVICE. 43 oommodation for between thirty and forty patients, and is surround- ed by a large garden. — Mention may also be made of the Pro- testant Hospice Suisse (for men; apply at the Swiss Embassy, Rue Blanche 3) and the Maison des Diaconnesses Protestantes (for la- dies), Rue de Reuilly. 14. Divine Service. English Churches. For the latest information , visitors are rei'ommended to consult the Stranger's Diary of the Saturday number of Clalignani's Messenger (p. 39). At present the hours of service are as follows : — Episcopal Church : — English Church , Rue d'Aguesseau 5, Faubourg St. Honore, near the English Embassy ; services at 11.30, 3.30, and 8. — Church of England (Old Embassy Chapel), Avenue Marbeuf 1, Champs Elysees; services at 8, 11, 4, and 8. — Christ Church, Boul. Eugene 33 and Boul. Bineau 49, Neullly; service at 10.30 a.m. — American Episcopal Church, Rue Bayard 17; services at 9, 11, and 4. — Church of the Holy Trinity (Amer.). Avenue d'Alma (now buildiiig). English Congregational Chapel, St. Honore 404; services at 11.30 and 7.30. English Roman Catholic Church : Eglise St. Joseph , 50 Avenue Hoche or de la Reine Hortense, mass at 7, 8, 9, and 10, on Sundays ; sermons at 10 and 3. American Chapel, Rue de Berry 21 ; services at 11 and 3.30. Church of Scotland : Chapel of the Oratoire, Rue de Rivoli 162 ; services at 11 and 3. Free Church of Scotland : Eglise Evangelique de I'Etoile, Avenue de la Grande Armee 54; service at 10. Wesleyan Methodist Church: Rue Roquepine4, adjoining No. 41 Boulevard Malesherbes. near the Madeleine. Service on Sun- days at 11.30 a.m. and 7.30 p.m., on Wednesdays at 7.30 p.m. — Also at Asnieres, near the railway-station. Baptist Chapel: Rue de Lille 48; service at 11.30. French Protestant Churches (Temples Protestants). Calvinist : L'Oratoire, Rue St. Honore 147; service in French at noon, in English at 2 p.m. — Ste. Marie. Rue St. Antoine 216, near the Bastille; service at noon. — Pentemont , Rue de Grenelle St. Ger- main 106 (noon). — St. Esprit, Rue Roquepine 5 (noon). — Temple de Passy, Rue des Sablons 65 (10.30 a.m.). Lutheran (Confession d'Augsbourg): Temple des Billettes. Rue des Billettes 18, to the N. of the Hotel de Ville ; service at 12 in French, at 2 in German. — Temple de la Redemption, Rue Chauchat 16; service in German at 10, in French at 12. Free (Litres): Eglise Taitbout. Rue de Provence 42; service at 12. — Eglise du Nord, Rue des Petits-Hotels 17 ; service at 12. — 44 15. EMBASSIES. Preliminary Chapelle St. Honore , Rue Royale 23; services at 10 and 3. — Eglise de I'EtoiLe, Avenue de la Grande Armee (10a.m. aTid 4p.ni.). Synagogues: Rue Notre -Dame -de -Nazareth 15; Rue de la Victoire 44 (a handsome edifice); Rue des Tournelles 21, near the Place des Yosges ; Rue Buffault 28 (Portuguese). Missions. For those interested in Lome mission work the following notes may be of service. The M<^All JJission has now between 30 and 40 stations, of which the most important are at Eue de Rivoli 37 and Rue St. Honore 404; meetings every week-dav at 8 p.m. Sunday meetings at 8.15 p.m. at Rue du Faubourg" St. Antoiiie 142 and Rue de Belleville 102. Mr. McAirs address is Rue Pierre Gnerin 32, Auteuil. — Miss de Broen''s Mission, Rue Bolivar, Belleville, and Rue Clavel 25 ; meetings every even- ing and on Sun. at 3.30 and 8.30 p.m. This is the oldest mi.s.sion of the kind in Paris. — Miss Leiglt^s Home for English Girls, Avenue de Wagram 77, is a most, deserving and interesting institution. — Mission IntMeure ; see., Mr. G. Meyer, Place Jussieu 8. 15. Embassies. Ministerial Offices. Embassies. The following are the present addresses . but a change of residence sometimes takes place : — Austria, Rue Las Cases 7 and 9 (office-hours 1-3 o'clock). — Con- sulate, Rothschild's, Rue Laffitte 21. Belgium, Rue du Faubourg St. Honore' 153 (12-2). Brazil, Rue de Te'heran 17 (^12-2). Denmark, Rue de Courcelles 29 (1-3). — Consulate, Rue d'Haute- ville 53. Germany, Rue de LUle 78 (12-1 1/2). Great Britain, Rue du Faubourg St. Honore 39 (11-3). Greece, Boul. Haussmaun 127. — Consulate. Rue Taitbout 20. Italy, Rue de TElysee 14(11-2). — Consulate. Rue de Lisbonne 66. Netherlands, Avenue Bosquet 2 (1-4). Russia. Rue de Grenelle 79 (12-2). Spain, Rue St. Dominique 51 & 53 (1-4). Sweden and Norway, Avenue Montaigne 29 (12-2). — Consulate, Rue de Surene 15. Switzerland, Rue Blanche 3 (10-3). United States of N. America, Place des Etats-Unis 3 (10-3). — Consulate, Rue Scribe 3. Turkey, Rue Laffitte 17 (1-4). Ministerial Offices. Affaires Etrangeres, Rue deTUniversite 130. Agriculture et Commerce, Boulevard St. Germain 244 and Rue de Varennes 78. Finances , at the Louvre, Rue de Rivoli. Guerre, Rue St. Dominique 10 & 14. Instruction Publique et Beaux- Arts, Rue de Grenelle 110. Interieur et Cultes, Rue Cambaceres 7 & 9 ; Rue de Grenelle 103 ; Rue de Varennes 78bis. Justice, Place Yendome 11 and 13; office at the back, Rue Cambon 36. The Bureau des Legislations is open daily, 12-2. Information. 16. TOPOGRAPHY. 45 Marine et Colonies, Kue Koyale 2. Posies et Telegraphiques, Rue de Grenelle 99-103. Travaux FubLics, Rue de Grenelle 244 & 248. Some of these offices are open to the public , but the hours of admission are frequently changed. 16. Topography. Preliminary Drive. Nothing is better fitted to make the traveller feel at home in the labyrinths of a great city like Paris, than a good general idea of its topography, derived from a careful description , the study of a good plan, and a preliminary drive through the principal streets. In this section an endeavour is made to supply such a description, and to indicate a suitable course for such a drive, while for all otlier needful information the reader is referred to the plans at the end of the Handbook. Paris is situated in 48"50'N. lat., and 2" 20' E. long., and lies on the river Seine, which flows through it from S.E. to S.W., forming a bold curve towards the N. The city occupies a basin of tertiary formation, the borders of which are about 100-130 ft. above the level of the river and 215 ft. above that of the sea. The most elevated points in or adjoining the city are the heights ol Charonne, Mcnilmontant, Belleville, la Villette, and Montmartre on the right bank of the Seine, and those of la Maison Blanche., the Butte-aux-Cailles, and Ste. Genevieve on the left. The length of the part of the Seine within the city is about 7 M. It contains two islands of considerable 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. 53). It should be noted, however, that on the left bank the old city of Paris extended as fax 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 Outei Boulevards (^Boulevards Exterieurs, p. 54). The Faubourgs them- selves are generally named after the corresponding district of the 46 16. TOPOGRAPHY. Preliminary 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 headquarters of the manufacturers of furniture, the makers of tlie various fancy- articles classed together as -articles de Paris", and of numerous other industries. The Faubourgs of St. Martin, St. Denis, and Poissonniere are rather commercial than industrial . and form the centre of the wholesale and export trade of the great capital. The streets near the centre of the town, 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 Opera are the financial quarters of the town, and also contain nearly all that is necessary for the comfort and entertainment of visitors 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 tlie aristocracy of blood, and contains most of the embassies and ministerial of- fices. The Quarticr Latin, which adjoins the Faubourg St. Germain on the E., owes its name to the fact of its being the seat of the uni- versity and of many of the scientific institutions of Paris. It also contains several of the chief libraries. The principal Communes Annexbes, or outlying districts within the fortifications, but not incorporated with the city till 1861, arc the following, enumerated from E. to W. : Percy, carrying on an ex- tensive wine and export trade; Charonne, Menilmontant, Belleville, La Chapelle, and Montmartre, the principal quarter? of the work- ing classes and the seat of the largest workshops ; Les Batignolles. with the studios of numerous artists and many handsome private houses (on the side next the Park of Mongeau): Passy and Auieuil, with their villas ; Grenelle. Vaugirard, Montrouge. etc., inhabited by persons of moderate means, small shopkeepers, and artisans, and containing numerous large market-gardens. For administrative purposes Paris is divided into twenty Ar- RONDissEMENTS, Separated from each other by the principal arteries of traffic: 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; 16. Passy; 17. Les Batignolles ; 18. Montmartre; 19. Les Buttes-Chau- mont ; 20. Menilmontant. Information. 16. TOPOGRAPHY, 47 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 effect 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 o^ 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 asphalte, 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 who thrust themselves on our attention. Among these are the 'old clothes' men , the vendors of various kinds of comestibles , the crockery-menders, the 'fontaniers' (who clean and repair filters, etc.), the dog-barbers, and the sellers of special editions of the newspapers. As a rule, however, they are clean and tidy in their dress, polite in manner, self-respecting, and devoid of the sq\ialor and ruffianism which too often characterise their class. A certain degree of historical interest, moreover, attaches to them, as they not unfrequently 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 the short vowels are either pro- nounced in a very light and airy fashion or altogether omitted. An- other 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 be said to invite and deserve the confidence of travellers. Accustomed by long usage to their pre- sence, he is skilful in catering for their wants, and recommends himself to them by his politeness and complaisance. In return the traveller in France sliould accustom himself to the inevitable ^s'il vous plaU\ 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 Seryents de Ville, or Gardiens de la Paix, who are to be met with in every street and public resort, are always ready to give information when civilly questioned. 48 16. PRELIMINARY DRIVE. Prethninary The Parisian directory, published annually, and familiarly known as the '■Bottin . 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. The visitor who is much pressed for time may obtain a good idea of the general appearance of Paris by ascending to the summit of one of the loftiest edifices, such as the Tour St. Jacques (p. 77 ), one of the towers of Notre-Dame (p. 211"), or the Pantheon (p. 225). Much more satisfactory, however, than this is a drive on the top of an omnibus or tramway-ear, or in an open cab, through the prin- cipal streets. If a cab is hired it should be engaged a i'heure, and the driver desired to take the following route. Cab Drive. The Nouvel-Opera or Palais-Royal (p. 74) is chosen as a convenient starting-point. Thence through the Avenue de rOpera or through the Rue de Rivoli (p. 71) to the Place de la Con- corde (p. 68), the Champs-Elyse'es (p. 152), Palais de Tlndustrie (p. 153), Arc de TEtoile (p. 154). down to the Pont de I'Alma (p. 161), and across it to the Champ-de-Mars (p. 264) and Hotel des Invalides (p. 258); Rue de Grenelle. Ste. Clotiide (p. 258), Boulevard St. Germain as far as St. Germain-des-Pre's (p. 235), Rue Bonaparte to St. Sulpice (p. 236). and on to the Palais du Luxembourg (p. 238) and the Odeon (p. 254) ; the Rue de Medicis, at the end of which is the Rue Soufflot leading to the Pantheon (p. 223). Thence down the Boulevard St. Michel (p. 213), passing the Sorbonne (p. 222 ) and Hotel de Cluny (p. 214) on the right, and the Fontaine St. Michel (p. 213) on the left; next traverse the Boulevard du Palais and the 'Cite', where Notre-Dame (p. 208) is observed on the right, at some distance, and the Palais de Justice (p. 204) on the left, beyond which we regain the right bank of the Seine in the Place du Chatelet (p. 79). Lastly turn to the right through the Rue de Rivoli, passing the Tour St. Jacques (panorama from the summit, see p. 77) and the Hotel de Ville (p. 81); follow the Rue St. Antoine to the Place de la Bastille (p. 55) and the July Column (p. 56), and then traverse the old or 'grands' Boulevards (see p. 53) to the Madeleine (p. 66). The drive will occupy about 3 hrs. and (according to the vehicle) cost 7-10 fr., including 1 fr. gratuity; or it may be short- ened a little if the cab be dismissed at the Colonne de JuUlet, or at the Place de la Re'publique (p. 58). Or. on leaving the cab, the traveller may at once complete his general survey of the city by walking along the old Boulevards to the Madeleine. Information. 16. PRELIMINARY DRIVE. 49 Omnibus Drive. Gentlemen may explore the city by taking a similar excursion on the outside of an omnibus or tramway-car, which will occupy nearly double the time, but costs about 90 c. only. The route appears a little complicated , but will be easily traced with the aid of the map and list of omnibus lines (see Appx.). Take an omnibus from the Madeleine (p. 66) 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. 55 ) ; thence take a tramway-car (coming from Yincennes ) on the N. of the Canal Gare de I'Arsenal , to the right of the omnibus halting- place (15 c); alight at the Louvre office (p. 84), and turn to the right along the Rue du Louvre to its intersection with the Rue de Rivoli ; hence proceed by an omnibus of line C as far as the Arc de Triomphe de I'Etoile (p. 154). Here alight, and return by the same line to the Place de la Concorde (p. 68) , without correspon- dance. Walk down to the quay and take line AF to the Pantheon (p. 223) , without correspondance. Walk thence by the Boulevard St. Michel to the Jardin du Luxembourg (p. 244) and the Ode'on (p. 245). Here take the Odeon-Clichy line H as far as the Palais- Royal (p. 74); or, better still, walk (in about 10 min.) from the Odeon by the Rue Racine to the Boulevard St. Michel, and take there a tramway of the Montrouge and Gare de VEst line. Proceeding thence along the old Boulevards we may either alight at the N. end of the Boulevard de Sebastopol , or follow the Boulevard de Stras- bourg to the Gare de TEst. Instead of returning from the Arc de Triomphe to the Place de la Concorde, we may take a car of the Tramxoay Place de I'Etoile and Gare Montpamasse to beyond the Pont de I'Alma, and thence proceed by a car of the Tramway Pont de VAlma and Bastille, along the Seine and past the Hotel des Invalides, and then through the Boulevard St. Germain to Square Cluny. Here we alight and walk in a few minutes to the Rue Soufflot and the Pantheon, whence the route may be continued as above. Having thus 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, topographically arranged, 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 resolved into new combinations or made in a reverse direction , as Baedkkjbk. Paris. 8th Edit. 4 50 17. DISTRIBUTION OF TIME. Preliminary the couvenieuce or pleasure of tlie 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 he post- poned to the end of one's sojourn, as otherwise the setting in of bad weather may preclude a visit to many beautitul spots in the neighbourhood. Rainy days should be devoted to the galleries and museums. 1st Day. Preparatory drive (p. 48). Walk in the *Boulevards Montmartre (p. 60), des Italiens (p. 61), and des Capucines [p. 62). *Opera (p. 63). *Vend6me Column (p. 71). *Madeleine (p. 66). Walk by the Rue de Rivoli to the *Palais-Royal (p. 74). 2nd Day. *Palace and **Galleries of the Louvre (p. 84). *Place du Carrousel (p. 148). Palace (p. 149) and *Garden of the Tuileries (p. 150). *Place de la Concorde (p. 68). 3rd Day. *St. Germain I'Auxerrois fp. 76). Second visit to the Louvre. — *Champs-Elysees (p. 152). Panorama (p. 153). *Arc de Triomphe de I'Etoile (p. 154). *Bois de Boulogne (p. 155). 4th Day. *Notre-Dame (p. 208). Palais de Justice and *Sainte Chapelle (p. 206). *Tour St. Jacques (p. 77). Musee Carnavalet (p. 197). *Colonne de Juillet (p. 56). Return by the Boulevards. 5th Day. *Halles Centrales (p. 165). St. Eustache (p. 166). St. Merri (p. 80). Musee des Archives (p. 195). * Conservatoire des Arts et Me'tiers (p. 168). Pare de Monceaux (p. 192). 6th Day. *Palace, *Gallery, and Garden of the Luxembourg (pp. 238, 240, 244). Yal de Grace (p. 227). *Panthe'ou (p. 223). St. Etienne du Mont (p. 226). 7th Day. The Sorbonne (p. 222). Muse'e de Cluny (p. 215). Ther- mes (p. 221). St. Sulpice (p. 236). St. Germain-des-Pre's (p. 235). 8th Day. Chambre des De'pute's (p. 256). Ste. Clotilde (p. 258). Hotel des Invalides (p. 258). Musee d'Artillerie (p. 260). *Napo- leon's Tomb (p. 263). Ecole Militaire and Champ-de-Mars (p. 264). Trocadero [p. 162). Return by steamer (p. 23). 9th Day. Chapelle Expiatoire(p. 194). St. Augustin (p. 194). La Trinite' (p. 189). Notre-Dame-de-Lorette (p. 184). *St. Vin- cent-de-Paul (p. 185). *Buttes Chaumont (p. 187). 10th Day. St. Roch [p. 72). Fontaines Moliere (p. 179) and Richelieu (p. 183). *Medals and antiquities at the Bibliotheque Nationale (p. 179). *Cemetery of Pere Lachaise (p. 171). 11th Day. *Palais des Beaux- Arts (p. 232). Palais de I'lnstitut (p. 230). Mint (p. 231). Pont-Neuf (p. 208). *Jardin des Plantes (p. 248). Bois de Vincennes (p. 201). 12th Day. * Versailles (p. 268). Sevres (p. 291). *St. Cloud (p. 289). 13th Day. *St. Denis (p. 297). Enghien [p. 305) and Mont- morency (p. 305). Cemetery of Montmartre (p. 190). 14th Day. *St. Germain-en-Laye (p. 293). Shopping, etc. The annexed table shows when the different collections and Information. 17. DISTRIBUTION OF TIME. 51 Table showing the Days and Hours of Admission to the principal Museums, etc., of Paris. Museums, Picture 1:2 i • 1 « ^ 1 i i. erv. Galleries, etc. "^ p. c '^ C3 O § (U ^ •I ' ^ \^ r%^ ^ H fg H fa 1 CO jo Archives Nationales . . 195 12-3 _ 12-3 1 - 1 - +1 Artsd-Mmers(Cons.des) 1«8 10-4 10-4 1 10-4 10-4 i 10-4 10-4 + 10-4 + +1 Beaux-Arfs(Ecole des) 232 12-4 10-4 10-4 10-4 10-4 10-4 10-3 Bihlioth. Nation. Exhib. 179 — 10-4 10-4 Blind Institution . . . 264 — — l»|2-5 _ _ Bowse 60 256 9-5,6 12-3 9-5,6 12-3 9-5,6 12-3 9-5,6 12-3 9-5,6 12-8 9-5,6 12-3 9-5,6 Chambre des fJdputes . 2 Deaf and Dumb Instit. 227 — 2-4 1 Foniainebleau (Pal. de) 312 11-4 11-4 114 114 11-4 11-4 114 Gobelins (Manuf. des) 253 — — — — 1-3 Invalides (Hotel des) . 258 11-4 11-4 114 ir4 114 114 11-4 Imprimerie Nationale . 197 — 2 1 Jardin desFlantes.'Mcn. 249 11-4,5 11-4,5 114,5 11-4,5 11-4.5 114,5 114,5 3 Kat. Hist. Collec. 25U 1-4 1-4 1-4' 14 1-4 1-4 1-4 Luxembourg( Palais du) 238 9-5,6 9-5,6 9-5,6 9-5,6 9-5,6 12-3 9-5,6 2 Mo7inaie. Museum . . 231 — 12-3 4 Musie Carnavalet . . . 197 114 114 114 _ — d'Artillerie 260 1-3,4 — 1-3,4 1-3,4 — de Cluny 215 11-4 — t i i + + +1 — de Minir. et G4olog. 251 11-3 — 1 11-3 — des Arts Dicoratifs 153 10-5,6 10-5,6 10-5,6 10-5,6 10-5,6 10-5,6 10-5,0 5 — des Copies 234 12-4 — — — — — — du Conserv. de Mus. 59 — 12-4 1 — — 124 — _ +1 — du Garde-Meuble . 265 10-4 t t t 10-4 f + — du Louvre 84 10-4 9-5 9-5 9-5 9-5 9-5 6 — du Luxembourg . . 240 10-4 — 10-4 10-4 10-4 10-4 10-4 7 Nvtre-Dame. Treasury 208 10-4 10-4 10-4 10-4 10-4 10^4 8 Opera. Staircase. Foyer 64 12-2 1 Palais de Justice .... 204 10-4 10-4 10-4 10-4 10-4 10-4 Party the exit- wall: Cyprian sculptures, the figures in excellent preservation. By the second window to the left : Fragments of monuments from Car- thage, with Neo-Punic inscriptions. Room VI. Greek sculptures from Miletus and Heraclea in Asia Minor, the yield of excavations carried on at the expense of Mr. E. Kothschild. To the right : Ornamental fragments from the Temple of Apollo. In the centre : Columns from the same temple. At tlie back: Statues (headless) which adorned the theatre. By the win- dows, under glass : Bronze clamps used in building. Room VII. contains Fragments of the Temple of Artemis Leuco- phryene (_'Diana of the white eyebrows') at Magnesia on the Maean- der. The *Frieze, one of the most extensive relief compositions of ancient times, about 88 yds. in length, represents wild contests between Greeks and Amazons, the date of which, however, is matter of dispute. The unusual prominence of the reliefs and other peculia- rities seem to point to a comparatively late, perhaps a Roman origin. We also observe a vase from Pergamus, with reliefs of young Greeks on horseback, presented by Sultan Mahmoud in 1838; then frag- ments of other buildings, Greek inscriptions, and tomb-reliefs. From Room IV. a staircase (marked J on the Plan , p. 80) ascends to the first noor. On the landings are some ornamented Syrian sarcophagi, and on the wall is a decorated leaden coffin. The glass-door at the top, on the right, leads to the collection of small Objects of the Renaissance (p. 140) and to the Drawings. From the first room to the right a short staircase ascends to the Supplementary Rooms of the Picture Gallery and to the Naval Museum on the second floor (pp. 145, 146). — The door to the left leads to the Collection Lenoir (p. 141) and the smaller Egyptian Antiquities (p. 90). 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 principal entrance in the Pavilion Denon, which, however, is not open till 11 a.m. (comp. p. 87). Those who visit the collection before this hour enter by the Pavilion Sully (^see p. 87), and begin with the Salle des Cariatides (p. 104). [Exten- sive alterations are now going on , which will cause some change in the order in which the Collection is visited.] — Entering by the Pavilion JJenon, we see, opposite the door, a facsimile of the bronze figure of Victory at Brescia. To the right is the Galerie Mollien, which contains casts for sale and also (^temporarily) some ancient statues from the rooms in which alterations are being made. At the end is a staircase ascending to the French department of the Picture Gallery (PI. L). — We turn to the left and enter the — Galerik Daru, where bronzes from the antique, executed in the UHh-18th cent, at Fontainebleau and Rome, are exhibited. — We next reach the — Grand Escalier , or Escalier Daru , which ascends to the 94 3. LOUVRE. Ancient Picture Gallery (p. 111). On the landing halfway up is the **Nike of Samothrace , one of the finest sculptures in the Louvre but not seen to advantage in its present position. The figure has been clev- erly put together from a number of fragments found by a French vice-consul in the island of Samothrace in 1863. The huge pe- destal, the form of which, representing the figure-headof a trireme, shows that the monument commemorated a naval victory, was dis- covered by a scientific expedition sent out from Austria in 1875. The presence of the same figure on the coins of Demetrius Polior- cetes makes it probable that this statue was erected in memory of the naval victory won by that potentate off Salamis, in the island of Cyprus, in B.C. 306. The reconstruction of the figure has been performed with reference to the design on the coin, in which the goddess is represented with a staff in one hand, while with the other she holds a trumpet to her lips. If this surmise is correct, the statue is the most important relic of early-Hellenic art. The breadth of conception, the dignity of form, and the energy of movement reflect the creative spirit of the period im- mediately succeeding the great masters of the second Attic school, while the realistic treatment of the voluminous drapery and the exact repro- duction of its texture indicate the influence of a more modern tendency. To reach the sculpture-gallery we ascend eight steps to the first landing, then turn to the left, and descend the staircase. On the walls are ancient sarcophagus-reliefs. Below, by the Avindow to the left: 228. Recumbent Bacchus. Nearly opposite: 204. Dionysus (Bacchus) and his train at a banquet of mortals (usually called Ica- rius) ; this scene, frequently repeated in ancient sculptures, prob- ably represents a 'Theoxenion', or banquet participated in by the deity in whose honour it is held. By the second window : 454. Re- cumbent figure, restored as a Naiad. In the window-recess, to the left, Relief similar to No. 204, of good Greek workmanship ; to the right. Colossal head (Helios?) in relief, an effective decorative work. By the end-wall : Statues of captive Barbarian princes , the drapery of porphyry and Egyptian breccia ; One of the children of Niobe and the tutor; Sarcophagus from Salonica with a Battle of Amazons, and others with Apollo and Marsyas and scenes from the myth of Meleager. Below the staircase : Early Greek column with a Doric capital from a temple in Assus and other architectural frag- ments. — The door on the left leads to the — Salle de la Rotonde , with decorations in stucco by Michel Anguier (1653) and a ceiling-painting by Mauzaisse. In the centre is the celebrated statue of *Mars (formerly called Achilles) , in which the 'dread god of war' is represented as sunk in dreams of love. In the window-recesses to the left, Heads ; in the central re- cess , 218. Athlete, restored as Pollux; 68. Apollo, in a half- archaic style, restored as 'Bonus Eventus'; in the third, *Bust of a Greek hero ; portrait-head of a woman. In the recesses on the right, 75, 76. Apollo. — Turning to the right, we now enter a suite of apartments in the wing erected by Catherine de Medicis (p. 85; under the Galerie d'Apollon, p. 134). The archway leading to the first room is embellished with a relief of the Graces by f'haudet. Sculptures. 3. LOUVRE. 95 Sallt? db Mecene, or des Bas-Reliefs, with ceiling-paintings by Meynier and Biennoury. In the passage, to the right, Portrait- head; Statue, formerly called Seneca but probably a poet of a late- Greek period. By the right wall : 84. Contest between Apollo and Marsyas, a late-Greek sarcophagus-relief of little value; above, Sa- crifice of a Roman general. Left wall : two tine sarcophagus-reliefs, one representing Achilles among the daughters of Lycomedes re- cognised by Ulysses , the other Priam begging for the body of Hector. In the middle : Roman bases and water-basins. By the first window, a colossal head of the Emp. Caracalla, found in Mace- donia. By the second window, a colossal Bust of Maecenas Q^^, from which the room derives its name, and other Roman heads. The next four rooms [called the 'Salles des Quatre Saisons'), decorated by Anguier and Romanelti , chiefly contain sculptures of the Roman imperial epoch. Salle de MiTHKAS. On the right: Relief representing the fall of Phaethon. Below : Sarcophagus of a boy, with scenes from his life. In the centre : 131. Roman married couple in the characters of Mars and Venus. To the right, on the wall: 569. The god Mithras slaying a bull. The worship of Mithras was brought from Asia to Rome, where the deity was identified with the 'unvanquished god of the sun\ In the later empire this mysterious cult, with its mass of allegory and symbol, in which sun and moon, the dog-star, the serpent, and the scorpion all play their parts, was disseminated throughout the whole of the Roman world". It comprised within its range the most diverse mythological characteristics of later paganism. This relief was long the only one of the kind known, but there are now numerous similar works both in the Louvre and other collections. Salle de la Paix, or de Rome. In the centre : 465. Statue of Minerva, sitting on a rock, in porphyry, restored as Roma , the fleshy parts in gilded bronze. — The eight granite columns, placed at the ingress and egress of the saloon, once adorned that part of the Cathedral of Aix-la-Chapelle which was built by Charlemagne. Salle de Septime Severe. Right wall: Reliefs from architec- tural monuments. Sec. 1, above, 38. Roman warrior at the door of a temple, relief from a triumphal arch, freely restored. Sec. 2, below, *Fragment of a relief of a Roman procession in the time of Augustus; above, Sacrifice in front of a temple. Sec. 3, 'Suove- taurilia', or public offering of a bull, a sheep, and a pig; above and In front, other fragments of similar import. — The three window- recesses contain heads and busts, among which are those of Cara- calla [1st window), Septimius Severus (2nd win.), and Commodus (3rd win.). Adjacent are other emperors and empresses of the same period ; in the middle , Mammaea. — Opposite the centre of the right wall, *Bust of Antinous, Hadrian's favourite, who was drowned in the Nile and afterwards deified. The bust is admirably preserved. The head is bent slightly to one side , and the features express the sensuous melancholy that characterised the beautiful Bithynian youth. 96 3. LOUVRE. Ancient The Salle dbs Antonins is mainly occupied with busts and statues of Trajan, Hadrian, Antoninus Pius, Marcus Aurelius, and Lucius Verus, some of them in several different styles. On one side, colossal head of Lucilla, found among the ruins of Carthage. In the middle : ^Sitting figure of the Emp. Trajan. — To the right is the — Salle u'Auguste , the decorations of which were executed in the reign of Napoleon III. ; ceiling-painting by Matout. Busts and statues of the early lioman emperors are exhibited here. In the centre, a colossal * Bust of Ant inous, from the Villa Mondra- gone. The expression is grave and pensive, and the elaborately- arranged hair is adorned with Bacchanalian attributes. — * 184. Roman Orator, formerly called Germauicus , 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 , and thus belongs to the best period of the revival of Greek art under the early Eoman emperors. — 468. Colossal bust of Roma, with a shewolf suckling one of the founders of Rome on each side of the helmet. Opposite, by the window-wall. Statues and busts of Julius Caesar, of doubtful authenticity; adjacent. Heads of Augustus. In the centre of the end-wall: Statue of Augustus, in a majestic attitude. By the wall at the back: 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 Salle de la Rotonde (p. 94), whence we enter the other rooms to the right. The *Salle de Phidias , or db l'Autel , with good ceiling- paintings (Jupiter and Diana) by Prudfhon, and mural paintings by Garnier and Merimee , 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. To the right, below , by the wall next to the Rotonde: *9, 10, 11. Reliefs from the Island of Thasus, found in 1867. These three reliefs originally formed one whole, which, as we learn from the ancient inscriptions, belonged to a sanctuary sacred to Apollo, the Charities (Grace?) , 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 angularity 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 oth cent. B.C. Above: *1'25. Fragment of the Frieze of the Parthenon, the cele- brated temple of Athena on the Acropolis at Athens, executed under the superintendence of Phidias. The frieze, which ran round the walls of the temple within the co- lonnade, represents the festive procession which ascended to the Acropolis after the Panathensean games for the purpose of presenting the goddess with the peplus, or robe woven and embroidered by Athenian virgins. Sculptures. 3. LOUVRE. 97 The rest of the reliefs are in London and Athens. The fragment preserved here represents young Athenian girls with vessels, and two priests, advan- cing in solemn procession. Still higher: *126. Metope from the Parthenon , representing a Centaur carrying off a woman, a group of great vigour. As it would have been impossible for Phidias to execute with his own hands all the sculptural ornamentation of the Parthenon, as well as the chryselephantine statue in the interior, we may take it for granted that most of the frie/e and metopes was entrusted to his pupils. It is indeed very evident that difl'crent hands have been at work in the pro- duction of these sculptures. Adjacent, to the right, *Hercules subduing the Cretan Bull, and to the left, *Athena sitting on a rock, two metopes from the Temple of Zeus atOlympia, excavated by the French in 1829, and in toler- able preservation. Compared with Attic sculptures these works, dating from about 460 B.C., are somewhat deficient in grace, but they are full of freshness and vigour. Adjacent are other fragments from the metopes of the same temple. To the left, near the window, is an Attic relief of '''Hermes, Or- pheus , and Eurydice^ 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 ad\'ance 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'. KikiilL — There are replicas of the work at Rome and Naples. The inscription 'Zetus, Antiope, Amphion' over the figures is doubtless comparatively modern. Below , in front of the window-recess : 186. Head of a bearded god with a diadem adorned with lotus flowers and palmetto-leaves, usually known as the 'Zeus Talleyrand' but more probably Dion- ysus ; it is a carefully-executed work in an archaistic style. In the first window-recess are other fragments of the metopes of the Temple of Zeus at Olympia. Below are reliefs: 83. Hercules carrying off the tripod of Apollo ; *Archaic tf^mbstone-relief from Pharsalus, in Thessaly, representing two women holding out flov^ers to each other, a very attractive example of the archaic style. To the left is a very ancient relief from Samothrace, probably part of the arm of a marble chair of state ; it represents Agamemnon seated on a chair, behind which stand the herald Talthybius and another figure. At the foot of the same wall is a Cretan inscription in the ancient style of writing called 'Boustrophedon', in which the lines begin alternately to the right and to the left. Above , Acroterium from Apollonia in Epirus , with female figures on each side of a palmetto-leaf. The other sides of the window-recess are lined with Greek tomb-reliefs, mostly from Attica. In front of the recess : 124. Marble stele, brought from Athens by Choiseul-Gouffler , with inscriptions , recording the sums spent Baedeker. Paris. 8th Edit. 7 98 3. LOUVRE. Ancient by tlie treasurers of the Parthenon in the Srd and 4th years of the 92nd Olympiad ( B. C. 410 and 409). Above it , a relief of Athene presenting the olive-tree to King Erechtheus. In the central window-recess, to the right, Votive reliefs in imi- tation of the archaic style : 13, 15. Nike pouring out vfine for Apollo with the lute; 486. Warrior and Nike standing by an archaic bust of Athena on the stump of a tree, round which coils a serpent; 205. Bacchus and the Hor^e ; 129. Votive relief of the best Greek period, representing two figures usually described as Mars and Ve- nus, but more probably deceased mortals represented in heroic form receiving the adoration of a living person , who is depicted on a smaller scale. By the left wall: 63. Votive relief to Demeter and Proserpine, with a representation of a sacrifice ; below is a similar scene of a smaller size; between, fragments of an Amazonian sar- cophagus and other tomb-reliefs; to the left, below, Hecate en- throned in a temple, with her lion. In front of the recess : Group of two youths , called Hermes and Apollo, an archaistic work of the Roman period. The third window-recess on the same side contains Greek votive and funereal reliefs. *8. Votive relief to Zeus (^^sculapius?), Hebe (Hygieia?), and Hermes, of the best Greek period, probably an Attic work from Gortyna, in Crete. Below : Theseus worshipped by two mortals, with inscriptions. Opposite: 112, 113. Two large marble tablets from Athens, with lists of the Athenians who fell in the war of B.C. 457. In front of the recess is another inscription , embodying an Athenian popular decree of B.C. 418; the stone was afterwards used as part of the altar of a Byzantine church. On the back-wall : Relief from the Architrave of an early- Greek temple at Assus^ in theTroad, executed in a coarse-grained, crystal- line stone of a dark-gray colour. Among the scenes are figures of animals fighting, centaurs, Hercules battling against a demon with the tail of a fish, banqueters, etc. Greek sculpture here appears in its infancy and governed by Oriental influences. In the middle of the room : 1. The so-called Borghese Pedestal, a work in an affected archaistic style, formerly highly prized ; each of the three sides is divided into an upper space containing the figures of four deities , and a lower containing three figures (the Graces, the Fates, and the Hours). To the right and left of this pedestal are two very ancient torsos , dating from the 6th cent, B.C. and found amid the ruins of the temple of Apollo at Actium; both belong to the well-kown type of Apollo , represented as a naked youth leaning against a stump with the legs crossed. On the side next the court, near the entrance, to the left: funereal urn from Marathon, with mourning figures whose names are given in the inscriptions; there are two similar urns at the back- wall. Sculptures. 3. LOUVRE. 99 III the first recess, to the left, high up : Fragment of a metope from Olympia (Hercules and GeryonJ. Below, *Tomb-I{etief of PhUis, daughter of Cleomedes of Thasus. As in the Attic jirave-stones, the deceased is represented in a scene of domestic life and in her usual attire, holding a jewel-box in her hands. The flavour of arch.aic Greek art and the simple and natural feeling of the representation invest this relief with a singular charm. On the other sides of the recess are tomb-reliefs of later date. In front is the upper part of the statue of a richly-dressed lady, with traces of red paint on the dress and hair; this was also a funereal figure. Adjacent : *Head of a Greek Youth (called Theseus ), on a modern bust. Above : 6. Architectural Relief, re- presenting Zeus between two female figures (llera and llebe?). Second window-recess , to the right : 410. Votive relief to ^Esculapius and Hygieia, who arc approached by a large family with a sacrifice. Adjacent and opposite are Greek tomb-reliefs of later date. Below the window is a relief of a bull attacked by a lion , found on the gate of Acanthus in Thrace and forming the cognizance of that town , on the coins of which the same device is found. In front of the recess: *Statue of Hera from Samos, of very ancient date; the inscription records that Cheramyes was the donor of the statue. The figure, unfortunately deprived of its head, belongs to the most primitive type of Greek image , which was oritcinally curved in wood. The arms are close to the sides and the lower part is little more than a rounded column, bnt the folds of the drapery make the upper half some- what more articulate. Adjacent : *Portrait-head of a woman, a work of a good period and of a severe type ; of the numerous replicas of this head, the best is in Berlin, 574. Draped torso of a woman (Ilera?!, with rich folds, formerly much overrated. Third window -recess: Tomb-reliefs, chiefly of a late-Greek period. In front of the recess : 448. Upper part of the statue of a youth, from Delos, in a style resembling that of the Pergamenian school; it was formerly catalogued as Inopns and now as Alexander, both equally incorrect. At the end : 112. 'Mincrve au collier', a late copy of the type of Athena Parthenos created by Phidias. The door at the back of the room leads to the badly-lighted — CoRRinoK, DE Pan, from which the Salle des Cariatides (p. 104} is entered to the left, and the Salle du Tibre (p. 103} on the right. We proceed in a straight direction. By the right wall: Head of Demosthenes, one of the best extant both in execution and preser- vation. Then, between two columns: 287. Sitting figure of Pan, freely restored and of no great value. To the left, near the exit: * Wounded Gaul, a Pergamenian work from one of the groups erected by King Attains on the Acropolis at Athens, other figures from which may be seen in Naples, the Vatican, Venice, and else- where. 7* 100 3. LOUVRE. Ancient Salle de la Medee. In the middle: Venus in a stooping attitude , a life-size, somewhat coarse figure , unfortunately head- less , found at Vienne in the S. of France', and acquired for the Louvre in 1878. By the wall on each side are three sarcophagi; the middle one by the right wall is adorned with a representation of the myth of Medea. Above, 281. Beautiful relief of a satyr playing wuth a young panther. 377. The Graces, Euphrosyne, Aglaia, and Thalia (heads modern]. 252. Silenus with the wine- skin. To the left, by the exit : Head of Antinous, with a garland of wine-leaves. In the passage leading to the next room, to the right: 138. Statue of Aphrodite; to the left, 118. Athena. Salle d'Hercule et de Telephe . so called from a group now in the Salle des Cariatides (p. 104), In the middle : Statue of Athena, from Crete, acquired in 1880 ; with her segis the goddess supports a cist from which crawls a serpent. To the right, 325. Farnese Eros , found in 1862 in the excavations carried on by Napoleon III. in the imperial palace on the Palatine ; the torso alone is ancient. To the left, 437. Head of a sea-monster. In the win- dow-recess of the left wall: 461. Hermaphrodite, from Velletri. To the left, 260. Young satyr with a boy, a pleasing group. To the right, 116. Athena with jegis and spear. Adjacent, Head of a Greek youth, restored. — By the entrance to the following room, on the right: 152. Aphrodite girding on a sword and Eros with a helmet, restored . Salle d'Adonis. In front: Female draped figure from Patras, resembling one of the daughters ofNiobe. On the right side are several statuettes, among them one of Nike (No. 477). 438. Roman sarcophagus with Tritons and Nereids. On the wall above : 172. 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. On the entrance-wall, to the left: 491. Sarcophagus-reliefrepresenting Prometheus and Athena in the act of creating man, for whom Hermes brings Psyche, or the soul ; on the right side is Prometheus bearing away the heavenly fire from the forge of Vulcan. In the entry to the next room stand four figures of Aphrodite. Salle de la Psychi:. To the right of the entrance: 391. Youthful athlete , in a severe style, with a fine head belonging to another statue. 426. Sarcophagus with relief of Selene and her be- loved Endymion; on the lid, the Judgment of Paris. On the top of the sarcophagus is a sitting &g\xxe oi Euripides (head modern), with a list of his dramas at the back. At the middle of this wall : 371. Psyche^ tormented (freely restored). Below : Sarcophagus-relief of Orestes, pursued by the Furies , and Pylades. At the end: 240. Sarcophagus, with relief of Bacchus and Ariadne on Naxos, a com- panion to No. 426, and like it found at Bordeaux in 1805. In front of this wall are two small statues of Venus in a crouching position. SrulptureK. 3. LOUVRE. 10 f In the middle row : Girl in a recumbent posture (the shell is a modem addition ; probably she was represented playing with astra- galil; Boy with goose, a copy of a celebrated work of Boethus , of the time of Alexander the Great. Along the window-wall are ranged several large marble chairs adorned with reliefs. — We now enter the — Sallb dk la Venus de Milo , dedicated to the ** Venus of Milo (No. 136] , the most celebrated of the treasures of the Louvre. 'This is the only statue of Aphrodite handed down to us which represents her not merely as a beautiful woman , but as a god- dess. The form is powerful and majestic, and yet instinct with an indescribable charm of youth and beauty, while the pure and noble expression of the head denotes the goddesss 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 ifelos, now i/i7o, 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. In the passage-way between this room and the last are two statues of Venus with Cupid, two female figures restored as Muses, and two statues of Jupiter (that to the right more probably Pluto ). Passing through the entrance to the right with the red curtains, we enter a suite of apartments parallel with those just quitted. The first of these is the — Salle ue la Melpomene, so named from No. *386. Melpomene, one of the largest ancient statues in existence (13 ft. in height), occupying the wall at the back, hewn out of a single block of Pen- telic marble , and admirably draped. — The large mosaic on the pavement, by Frant^oisBelloni, represents the genius of Napoleon I. (in the character of Minerva), gaining victories that she may in- augurate peace and plenty. — To the right, by the window at the 102 3. LOUVRE. Ancient back: *164. Head of Aphrodite, of good Greek workmanship (bust modern). To the right : Venus of Falerone, in the same attitude as the Venus of Milo, but partly clothed. Sallk ub la Pallas. First window-section: left, 44. Hera(_?), restored as Providentia; on the pedestal is a well-executed relief of Proserpine and Aphrodite begging Zeus for the possession of Adonis. In the centre, 316. Large marble cratera with masks of satyrs. To the right, 393. Female tigure , restored. 469. Bust of Roma, with the wolf of the Capitol on each side of the helmet. — Second window - section : in the centre , Herma of Alexander the Great, a badly-preserved, realistic, and somewhat insipid Roman work, certified by the Greek inscription. On the right : 103. Sarco- phagus with reliefs of Actseon, torn to pieces by his dogs, and Venus bathing. To the right, 41. Head of Ganymede in a Phrygian cap. Farther on, in the middle, 142. Replica of the Capitoline Venus. Third window-section. In the centre an ancient bath of por- phyry. On the right: *114. Pallas of Velletri, whence the sa- loon derives its name, found in 1797 at Velletri near Rome. In the right hand was a spear, in the left perhaps a small Nike (Victoria). The statue is a Roman copy of a work of the best Greek period. In the centre: *137. Venus of Aries , a Greek work found in 1651 at Aries in Provence. Fourth window-section. In the centre a *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. On the wall beyond: 378. Sarcophagus with the nine Muses, with two representations of the deceased philosopher whose tomb it was, together with a female figure of which the import is not clear. Above: 391. Polyhymnia, the greater part modern. — In the centre, farther on : *70. Apollo Sauroctonus , 'the lizard-slayer', a copy of a work by Praxiteles ; the right hand originally held a dart, with which he was about to transfix the reptile. — Fifth window- section: *19. Vase with a curious representation of a festive dance round a sacrificial altar. The altar is approached by Diana, Apollo, Hermes , and other gods , while Satyrs and Msenades are dancing around. Sosibios of Athens, the name of the master, is inscribed in relief on the pedestal of the altar (now scarcely legible). In the entry to the next room are the heads of a double herma, portraits of a Greek poet and philosopher. Salle du Gladiateur. First window-section. In the centre: 135. Venus Genetrix ^ as the traditional ancestress of the Julian family. On the right : 330. Cupid as Hercules. To the left of the entrance: Wounded Amazon, a freely - restored statue from the Richelieu collection. Second window-section : The *Borghese Gladiator , found at Antium near Rome, in one of the imperial palaces. The inscription Sculptures. 3. LOUVRE. 103 records that it was executed by ^Agasias, son of Dositheos of Ephe- sus', 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 new, while the left arm and the strap of the shield are pre- served. Opposite the hero we must suppose an Amazon on horseback 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 e.xpression of the face is indicative of a supreme and yet con- trolled 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. On the right: *Head of Hermes, of admirable workmanship, re- sembling in style and type that of Praxiteles ; owing to the (restored) lion-skin round the shoulders it is usually known as the Jeune Hercule. By the wall : Sarcophagus with relief of the myth of Me- leager; to the left is his mother Althaa burning the brand on which Meleager's life depends , to avenge the death of his brother (to the right) ; in the middle is the mourning Atalanta at the foot of the hero's death-bed. On the sarcophagus lies a celebrated Graeco- Egyptian map of the stars, named after Fr. Bianchini (d. 1729), an Italian astronomer of Verona. — In the niche above: 86. Marsyas, bound to the trunk of a tree, awaiting the executionof the sentence of Apollo that he should be flayed alive. In the centre : 276. Bust of a laughing Satyr, with painted hair, found at Vienne. — Third window-section , in the centre : *97. So-called Diana of Gabii , a charming work probably of the time of Alexander the Great and simply a genre-figure of a girl. — On each side of the exit is a statue of Mercury. On the pedestal of that to the left (No. 177) is a relief of Ulysses in Hades consulting the shade of Tiresias. Among the hermae near the entrance and exit are two good ones (Nos. 194, 195), found along with the Venus of Milo. — The entry to the next room contains several portrait-heads, including a double herma of P^picurus and Metrodorus. To the left, 130. Head of Mars, resembling the Borghese type (p. 94). To the right, Demosthenes. Sallk nu TiBRB. First window-section, in the centre : *250. Silenus with the Infant Bacchus in his arms. This is one of the most attractive of those representations from the satyr world which were so much in vogue 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 liy the admirable ease and finish of the execution. *299. Centaur subdued by the Genius of Bacchus, from the Borghese collection, resembling the Capitoline Centaur, which, however, is without the Genius. On the left, by the first window, is the so-called astrological altar 104 3. LOUVRE. Sculptures. of Gabii, with the Leads of the twelve Olympian gods and the signs of the Zodiac. Second window-section. In the centre: *98, Diana of Versailles ('Diane a la biche'], so called from the place where it was formerly exhibited, probably executed at Rome by a Greek sculptor during the last century of the Republic, and akin to the Belvedere Apollo, but inferior in execution. •The goddess, stepping briskly forward, grasps an arrow in tlie quiver. The bow in the left hand hangs low, in the position it would occupy when held by a runner. At the same time the goddess looks round, as if in search of more game to shoot at after having despatched that of which she is actually in pursuit. She is obviously on the point of rais- ing her bow, and adjusting the arrow drawn from the quiver with the other hand. Her expression is grave, but eager, her forehead high and austere." Welckei-. Third window-section. In the centre : * Colossal River-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 ad- mirable companion to the celebrated group of the Nile in the Vati- can. — On the left and right: 262, 263. Flute-playing Fauns, after Praxiteles. Behind the last: 272-275. 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. ). We now pass through the second arched passage on the right, traverse the Corridor de Pan, already mentioned (p. 99), and by the opposite glass door enter the — Salle des Cariatides. The vestibule contains, by the farther wall, a chimney-piece executed by Percier and Fontaine, and many other decorations by the same masters, by whom this room was thoroughly restored in 1806. In front of the chimney-piece : *Her- cules , with his son Telephus and the hind by which the latter was suckled. — To the left, by the window : *374. The Borghese Her- maphrodite, of the latest Greek period, and too sensuous in style. The pedestal is an unhappy idea of Bernini (17th cent.). The saloon itself was originally an ante-chamber of the apart- ments 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 Ligue 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. In the middle, between two pillars: *3l. Jupiter of Versailles, or Zeus as the conqueror of the Giants, restored as a herma. To the right, Statue of a Greek philosopher (Poseidonius). To the left, ^Demosthenes in a sitting posture ; the compressed lower lip sug- gests the effort undergone by the great orator to overcome his stammering ; his features express the utmost intelligence and great self-reliance. In the centre : Polyhymnia, much mutilated. *183. Sculptures. 3. LOUVRE. 105 Young Greek in the act of fastening his sandals, formerly called Jason, Cincinnatus, or Hermes. — *235. Borghese Vase, in Pentelic marble, with admirable Bacchanalian representations, found in the 16th cent, near the gardens of Sallust at Rome. Then, 217. Young Dionysus [the 'Richelieu Bacchus"). Farther on : Discobulus, or disk-thrower; Daughter of Niobe, much mutilated. Round the walls, from right to left: Lion of Platsea; large can- delabrum reconstructed by Piranesi in the 18th cent, from ancient fragments. 385. T/ta/ta, restored statue ; 3[)9. Youthful Hercules; Lion of green Egyptian basalt. — *147. Venus in the Bath, stooping so as to allow a nymph to pour water over her back (freely restored). — Farther on: Alexander the Great, head and torso of different statues. Boy with a goose. 32, 33, 34. Jupiter. Nymph of Diana (Venus a la coquille). 148. Venus in a stooping posture. At each end of the Salle is a large antique shallow vase. The acoustic properties of the room are such that the faintest whisper uttered at the edge of one vase is distinctly audible to an ear at the edge of the other. The saloon derives its name from the four Caryatides bearing the gallery at the egress, executed by Jean Goujon. The balustrade is by Percier and Fontaine, already mentioned. Above it is a cast of Cellini's Nymph of Fontainebleau (p. 107). The door adjoining the Caryatides leads to the Pavilion Sully or d''Hor- loge , and is the only means of access to the collections before 11 a.m. (comp. 87). The Escalier Henri II, which here ascends to the second floor, leads to the Collection La Caze (p. 138). Most visitors to the Louvre are chiefly attracted by the ancient sculptures and the pictures, but if time permit it is well worth while to inspect the *Collection of Renaissance Sculptures (Musee des Sculptures du Moyen-Age et de la Renaissance), which, in con- nection with the collection of m'odern sculptures, affords an excellent opportunity of tracing the progress of the plastic art in France, and also contains some admirable Renaissance work in the Italian depart- ment, which has recently been much enriched. — Entrance in the S. wing of the inner Court of the Louvre, E. side (admission daily, except Monday, 11-4). To the right of the vestibule are two saloons not belonging to this collection, one called the Musee Chretien, consisting of sarco- phagi, reliefs, a mosaic, and inscriptions, chiefly of the 4th and 5th centuries, most of them from S. France, and a few from Rome; the other, the Musbb Judaique , containing Jewish antiquities from Palestine and the neighbouring countries, such as sarcophagi, archi- tectural fragments, reliefs, pottery, and inscriptions. In the centre of this room is the famous basalt stele of King Mesa of Moab, whose battles with the Jews in B.C. 896 are recorded by the inscription. Catalogue 50 c. On the other side of the vestibule is situated the Salle db la Chbminbe J)b Bruges, containing a cast of the beautiful chimney- 106 3. LOUVRE. Rennissrmce piece in the Palais de Justice at Bruges, and other casts. Among the original works are a bronze recumbent figure of Duchess Blanche (d. 1283), the heroine of Brittany; and several smaller works of art rescued from the flre at the Tuileries. — The sculptures in the Vestibule itself, chiefly monuments from tombs of the 13th-14th cent., are worthy of notice. Among the finest are: 80,81. Re- cumbent marble figures of Peter of Evreux-Navarra and his wife ; 82. Anne of Burgundy (d. 1432). — Passing straight through the vestibule, we enter the — Salle de Jean Goujon , named after the most distinguished French sculptor of the 16th century, who executed, under Henri 11, a great part of the decorations of the Louvre. His best-known work is the large group of *Diana with the hind in the middle of this saloon (No. 100), 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 , pp. 107.) In the middle of the room are also placed a marble group of the Three Graces (the urn on whose heads was once destined to contain the heart of Henri II.), and wooden statues representing the four car- dinal virtues (destined as the supporters of a reliquary), works by Germain Pillon (d. 1590), showing the same style as the Diana, and one which the French painters soon afterwards adopted. — By Jean Goujon : by the wall, to the right, 92-96. Entombment and the Four Evangelists , from a rood-loft in St. Germain TAuxerrois, now destroyed , executed in 1541-44; to the left, 97-99. Three fountain-nymphs from the Fontaine des Innocents (see p. 166), dating from about 1550; 101. Bust of Henri II. Below the last, *No. 122. Chimney-piece, by the versatile Germain Pillon, whose chief strength lay in portraiture. Also by Pillon : by the entrance, *117. Kneeling figure in bronze of the chancellor Rene de Birague, excellently modelled; opposite, 113-116. Recumbent marble figure of the chancellor's wife Valentine Balbiani, and ornaments belonging to the same monument; to the right, by the door, Bust of a child, perhaps Henri III. ; by the opposite wall, 129, 131. Busts of Henri 11. and Henri III., in marble, much mutilated; in the middle, Bust of Charles IX. (head new). — The following works of Barth. Prieur (d. 1611) are less ambitious in style, but the drapery is admirably handled : by the central window, 144. Mag- dalene of Savoy, Duchess de Montmorency (d. 1586), a recumbent marble figure; by the W. door, 148. Bust of the Duke de Mont- morency, Constable of France; to the right of the chimney-piece, 138-142. Ornaments from the same monument as the last two figures. — By Jean Cousin: 103. Recumbent marble figure of Ad- miral Philippe de Chabot. — By Fremin Roussel: 111. Genius of history, a youth in a sitting posture (1564); by the first window, 90. Susanna's innocence proved by Daniel (in soapstone, under glass). Sculptures. 3. LOUVRE. 107 The chief attraction of this collection is the *Michabl Angelo Saloon, containing Italian sculptures of the 15th-17th cent., and 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-lG, 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. These statues stand on the right and left of the entrance to the ne.\t room, consisting of a *Portal of the end of the 15th cent., re- moved from the Palazzo Stanga in Cremona, and purchased in 1875 for 80,000 fr., a perfect gem of decorative sculpture, attributed to the brothers Rodari. The reliefs represent scenes from the life of Hercules, the mythical founder of Cremona , and from that of Per- seus, and a figure of Herodias with the head of John the Baptist. The visitor should also particularly notice the following works: to the right of the entrance (no number), Bust of John the Baptist; above, I'ibis^ 12ter. Madonna and Child, by Mino da Fiesole; VI. Milanese School , Bust of Beatrice d'Este; 36. Paolo Ponzio or Ponce, Tomb of Alberto Pio of Savoy, Prince of Carpi (1535, bronze), and 38. Portrait of Andre Blondel de Rocquencourt (d. 1558), general comptroller of finance under Henri II. (relief in bronze); llbis. Milanese School, Bust of a young woman; adja- cent, to the right, 15bis. Piero da Vinci, Holy Family; 37. Ponzio, Statue from the tomb of Charles de Magny (1556). High up : *35. Ben- venuto Cellini, the 'Nymph of Fontainebleau'. a large relief in bronze executed for an archway in the Palace at Fontainebleau, and men- tioned in the master's autobiography. By the back-wall : Jason and Hercules slaying the Hydra, two bronze statues of the 16th century. In the middle of the room is a marble fountain, from Chateau Gail- Ion (p. 337), an Italian work of the 16th century. — 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 collection of early-Renaissance bronzes by the windows forms the most beautiful collection of the kind on this side of the Alps. The finest are Nos. 18-25. Eight bronze reliefs by Andrea Briosco, surnamed Riccio, of Padua (1480-1532). Originally belonging to the tomb of Marcantonio della Torre, these reliefs illustrate the life and death of that celebrated physician in a thoroughly antique style. No. IS. Della Torre lecturing under ^ the superintendence of Apollo and Hygieia and in front of a statue of 3Ii- nerva; 19. His death-bed, surrounded by Apollo and the Fates; 20. His relatives sacrifice to the gods to induce them to spare the sick man; 21. His death; 22. His burial; 23. His soul at the portals of the infernal regions; 24. His arrival in Elysium, where he is awaited by the Graces; 25. The goddess of fame placing an honorary chaplet on his body. 108 3. LOUVRE. Sculptures. To tlie right of the Cremonese portal : ^Benedetto da Majano, Marble bust of Filippo Strozzi (d. 1491 ), remarkable for its in- dividuality and its delicacy of execution. — Passing through the portal, we now enter the small — Salle de Michel Colombb, the works in which show the French school of sculpture uninfluenced by Italian art. By M. Colombe(^i. 1512), from whom the room takes its name: *84. St. George and the Dragon, a large relief. Opposite: 78, 79. Nativity of Christ, with John the Baptist and John the Evangelist, a painted alto-relief of the 16th cent., from Orleans (the Madonna particularly pleasing). On the same side: 87, 88. Louis Poncher (d. 1521), treasurer of Francis I. , and his wife , recumbent alabaster figures of the first half of the 16th century. Opposite the entrance: *84bis. Madonna and Child, a marble statue of the school of Tours, 16th century. To the right: 85, 86. Monuments of the historian Philip de Comines (d. 1509) and his wife , coloured stone figures, kneeling. At the back of the room: 37. Charles de Magny, 'Capitaine de la Porte du Roi', by P. Ponzio ; 16. Louis Xll., a statue by Lor. da Mugiano of Milan, mainly of historical interest. — Wtf now return to the Salle de Jean Goujon, and proceed to the left to the — • Salle des Axguier, containing monuments of the 17th cent, only. It derives its name from the brothers Francois Anguier and Michel Anguier, pupils of Simon Guillain , by whom are good statues of Louis XIV. at the age of ten, and his parents, Louis XIII. and Anne of Austria (Nos. 165-167). — Francois Anguier : In the middle, 178-190. Monument of the Dukes of LongueviUe , a pyramid with graceful allegorical figures and reliefs ; between the windows, 193. Marble monument of Jacques de Souvre (d. 1670), Knight of St. John, in a theatrical style; in better style, by the back- wall, 191. Marble statue of De Thou (d. 1617), president of the Parliament. — By an unknown master: 149. Vigorously-con- ceived biist of Christophe de Thou (d. 1582). — By P. Franqueville (d. after 1618): 62. Orplieus; 63. David with the head of Goliath; 64-67. Four slaves in bronze from the monument of Henri IV. on the Pont-Neuf, which was destroyed in 1792; adjacent, some frag- ments of the monument, which was executed by Giov. da Bologna, an imitator of Michael Angelo, and a native of Douai in Flanders. — 60^is. Mercury, a replica of the bronze statue in Florence, by Giov. da Bologna. — By Sim. Guillain (17th cent.): 169. Statue from the tomb of Charlotte de la Tremouille, Princess of Conde ; four bronze dogs from Fontainebleau. The Collection of Modern Sculptures (Musee des Sculptures ModernesJ forms a continuation of the Renaissance collection. En- trance on the W. side of the Cour du Louvre , second door to the right of the Pavilion dHorloge (open daily, except Monday, 11-4; comp. Plan, F). This door leads us at once into the — Salle de Pugbt, named after Pierre Paget of Marseilles (1622- Modern Sculptures. H. LOUVRE. 109 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, 201. Gallic Her- cules, executed in Genoa about 1G60; to the left, 203. Milo of Croton fighting with a lion . the best-known and most admired of his works, executed in 1682 for the park of Versailles; to the left, 205. Diogenes requesting Alexander the Great to stand out of his light, an alto-relief (the vulgar types of the king's followers_very cleverly represented). — 211. F. Girardon (of Troyes, 1628-1715), Bust of the poet Boileau, who praised this sculptor in his verses. — By the first window: 206. Paget, Alexander the Great triumphing over his enemies (the original design had Louis XIV. instead of Alexander). — By the central window: *213. Antique head of Alexander in porphyry, placed on a bust in green breccia and gilded copper by Girardon. — By the window to the right : 209. Girardon, Bronze model of the equestrian statue erected to Louis XIV. in the Place Vendome in 1699; in front, fragments of the statue, which was destroyed in 1792 (see p. 71). — Adjacent: Theodon, 244ter. Phaetusa converted into a reed ; opposite, 244bis. Atlas. — In the centre: *204. Puget, Perseus and Andromeda (1684). — By the front window : 258. Cayot., Death of Dido. The door on the left of the entrance leads to the — Salle de Coyzbvox, named after Charles Antoine Coyzevox, one of the ablest masters of the same school, especially happy in his portrait -busts. The largest of his works here is by the back-wall, 227-230. Monument of Cardinal Mazarin; the Cardinal kneels on the sarcophagus , while behind him is a Genius with a bundle of staves , the chief cognisance in his armorial bearings ; below are bronze statues of Prudence (left). Peace, and Fidelity (right). The marble figures of Love and Religion (232, 231) also belong to the Cardinal's monument. Also by Coyzevox: *237. Bust of Bossuet, very dignified in expression; 239. Bust of Lebrun , the painter (1690); 233. Maria Adelaide of Savoy as Diana with the fleurs-de- lys on her quiver (1710) ; between the windows, Colossal figure of the river-god of the Rhine (1706) ; adjacent, to the left, *Bust of himself, presented to the Academy by C. P. Coustou, a grandson of Coyzevox; 240. Mignard the painter. "We return to the Salle de Puget and pass through it to the — Salle dbs Coustou, in which are assembled the plastic master- pieces of the pleasure-loving age of Louis XV. In the centre : 250^is. Nicolas Coustou , Adonis resting from the fatigues of the chase (1710). Behind (no number), *Cupid with his dart, hy Antoine Tassaert (below is the inscription : 'Qui que tu sois, voici ton maitre, il Test, le fut, on le doitetre'.). — By the back-wall: 303. Julien, The nymph Amalthea and the goat, the chef d'oeuvre of the master. — To the right of the entrance : *255. Guillaume Coustou, Maria Lesczinska of Poland, consort of Louis XV. (1731). — Adjacent, 110 3. LOUVRE. Modem Sculptures. E. M. Falconet , Music. — Between tlie windows : 270^i% J. B. Pigalle^i Mercury fastening his sandals, one of the artist's best works (1763). — Opposite: 288. N. S. Adarriy Prometheus and the vul- ture, a fiercely-passionate conception. — By the left window : 256. G. Coustou, Bust, dated 1733. — * Falconet , Cupid. — *251. N. Coustou , Louis XV. (1731), companion to No. 255, opposite. — Three doors lead into the adjoining — Salle de Houdox , dedicated chiefly to Antoine Houdon (Ver- sailles, 1741-1828), a sculptor who lived and worked in Rome, Paris, and America. By Houdon, in the centre of the room : 296. Bronze statue of Diana (1783), executed first in marble for the Empress of Russia (1781). — In front of the pillar to the right : 287. Pajou, Psyche (1790), with the inscription: 'Psyche perdait I'amour en voulant ie connaitre'. — To the left: 290. Unknown master. Statue of Du Plessis, Due de Richelieu (d. 1788), as a Knight of the Holy Ghost. — *Houdon, Bronze bust of Voltaire. — By the window, Bouchardon, Model and fragment of the statue of Louis XV., which was destroyed in 1792. — Opposite the window: 310. Delaistre, Psyche and Cupid, 1782. — By the wall are several admirable busts, of great historical interest, of which the following are by Houdon: 298. The Abbe' Aubert (d. 1814); *297. Rousseau, bronze (1778); on the chimney-piece, * Washington, *Franklin, *Diderot, all in terracotta; farther on, Mirabeau, in terracotta; by the back-wall, Mirabeau, in marble. The Salle be Chaudet is mainly occupied with works of the end of the 18th and beginning of the 19th cent. , when the ancient classical style was revived. To the right : 355. Statue of Cato of Utica, begun by Roman and finished by Rude in 1840. — By the exit-wall: 321. Lemire, Cupid with his bow (1814), exhibiting the young deity in one of his gentler moods. — By the window: ^^'384. Canova, Psyche and Cupid with the butterfly. — In the central row : 313. Chaudet, The young (Edipus rescued by the shep- herd Phorbas; *383. Canova, Cupid and Psyche ; 326. F. J.Bosio, Aristaeus, the god of gardens (1817). — By the window: 324. Ruxtiel, Psyche borne by Zephyr (1814). 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. 240). Thus, to the right: 349. Pradier, Toilette of Atalanta (1850). — To the left : 348. Pradier, Child of Niobe, struck by Apollo's arrow, executed at Rome in 1822 in the manner of the well-known Florentine antique. — By the window : J. Perraud, Satyr with youthful Bacchus (1863); *Duret, Neapolitan Improvisatore, and (opposite) young fisherman dancing the taran- tella, two statues in bronze. Between the windows : Ramey, The- seus and the Minotaur, a colossal group, dated 1828. — In front, Perraud , Despair, a male figure in a sitting posture. — 349t>is, Pradier, Sappho, statue in marble. *382. David d' Angers, Philo- Picture Gallery. 3. LOUVRE. Ill poBmeu wounded with a spear ( 1837). F. Rude, 3b3^^^. Joan of Arc (1852); 353bis. Neapolitan iisliermaii with a tortoise. — By the exit: *Bude, Bust of David, the painter (1838). The Musee de Chalcographie, or de Gruvuve, where a large cnllection of engravings is on view and on sale, resembling the Calcograjia at Rome, was founded by Louis XIV. in 1660, and reorganised in 17!38 and 1848. Engravings of most of the great Parisian works of art, in the provinces of painting, sculpture, and architecture, are exhibited and sold here. The catalogue enumerates about 5000. The exhibition is on the left side of the entrance (N. side of the Cour du Louvre , second door to the left of the portal; admission dailyj, the sale-room on the right side. B. FIRST FLOOR. The most important collection on the first floor of the Louvre is the Picture Gallery., which occupies nearly half of the S. connect- ing gallery between the Old Louvre and the Tuileries , together with the whole of the wing parallel to that gallery, and also several saloons in the Old Louvre. — The first floor of the Old Louvre also contains the Ancient Bronzes (p. 139), the Drawings (p. 139), the Renaissance Antiquities (p. 140), the Collection of Ancient Vases (Musee Camp ana , p. 143), the Smaller Antiquities (j^. 142), and the Collections Timbal and Lenoir (p. 141). The Principal Estkance to the first floor (shut till 11 a.m., sec p. 87) is by the Pavilion Denon , whence the Grand Escalier ascends to the picture-gallery. — Those who wish to visit the gallery before 11 a.m. enter by the ravillon Sulli/ and ascend the Escalier Henri II (comp. p. 87). The door to the right at the top leads to the Collection La Caze (p. 138), whence we proceed through the Salle Henri II (p- 137) and the Salle des Sept Cheminees (p. 137) to the picture-gallery. — The separate entrances to the other collections will be mentioned in connection with each. **Picture Gallery. Catalogues are sold on the Grand Escalier, in the Galerie d'ApoUon, at the door of the Collection La Ca/.e, and in other parts of the gallery. That of the Italian and Spanish schools costs I fr., Cxerman and Nether- landish schools 1 fr. 25 c., French school 2 fr. ; or all together in one volume 572 fr. ^ the Collection La Caze has a catalogue of its own, sold at 50 c. — The pictures are arranged in the alphabetical order of the paint- ers'" family names , and not of the names by which they are commonly known-, thus, Sanzio (more correctly »Son^Oi &ri.&. not Raphael, and Vecellio instead of Titian. — Persons desiring to copy in the Louvre or Luxembourg apply to the Adininisiration des Musies, the office of which is in the S.W. corner of the Cour du Louvre. The Picture Gallery of the Louvre, the saloons of which have an aggregate length of five furlongs, comprises upwards of 2000 works of high rank , 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 following general review ot the most important works, arranged in schools , we are indebted to the pen of Prof. Anthony 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. 112 3. LOUVRE. Picture Most visitors to the Louvre will of course be chiefly interested in the Italian Painters. Among the Early Masters, 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. 182; p. 121), while Benozzo Gozzolis Glory of St. Thomas Aquinas (No. 199 ; p. 120) 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. 221 ; p. 120) ; but Domen- ico Ghirlandajos Yisitation, of the year 1491 (No. 202; 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 Catherine, and to his culminating period (1505)the Conflict between Cupid and Chastity (Nos. 426, 429 ; pp. 116, 121). — The Louvre also possesses several important cre- ations of Andrea Mantegna. a master of Upper Italy: Mt. Parnassus and the Victory of Minerva (Nos. 252, 253; p. 120) mark the transition from mythological to allegorical scenes ; then the Madonna della Vittoria, a votive picture in memory of the Battle of the Taro (No. 251; p. 120). The Great Masters of the Italian School , Leonardo da Vinci, Raphael, and Titian, demand the most careful attention. The most celebrated work of Leonardo in the Louvre is his Mona Lisa (No. 462; p. 117), 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 Vasari; 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. 461; p. 123). The Madonna under the rock (No. 460; p. 123), a composition ascribed to Leonardo, is perhaps from the brush of a pupil. No gallery in Europe is so amply supplied with works of Ra- phael as the Louvre. Even when the doubtful pictures (No. 374. Raphael and his fencing-master ; 372, 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. 368, 369 ; p. 118). A gem of his Florentine period is the 'Belle Jardini- ere', painted in 1507 (No. 362; p. 112). in which pure maternal joy, a favourite motive in Raphael's Madonnas, is expressed with the most lifelike fidelity. To his early Roman period belongs the Gallery. 3. LOUVRE. 113 'Vierge au Voile' (No. 363 ; p. 117). 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. 364, 370; pp. 118, 119), 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 pro- duced by the blackened shadows and the coldness of the lights. A specimen of his best period! 1515) is Castiglione'sPortrait(No. 371; p. 123), 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 Arragon, wife of Ascanio Colonna, Constable of Naples (No. 373; p. 122), 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 Giulio Romano , Raphael's pupil , and afterwards painted from 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 witli angels (No. 377; p. 124), 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. Catherine (No. 19; p. 119) and Jupiter and Antiope (No. 20 : p. 116 ; 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. 446; p. 116) is a work of the most touching pathos and most magic colouring. The Christ at Emmaus (No. 443; p. 123). 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. 445; p. 123). Among the pictures of the Virgin we may mention the Madonna with the rabbit (No. 440 ; p. 123), paint- ed in 1530 for the Duke of Mantua. To this beautiful idyl the Holy Family (No. 442; p. 122) 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. 449; p. 122). 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 Baedekek. Paris. 8tli Edit. 8 114 3. LOUVRE. Picture 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. 452; p. 117), 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. 450; p. 122), 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. 454 , p. 122 ; 'L'homme au gant'j. Half portrait, half allegory, is the likeness of Alphonso Davalos, Marchese del Vasto , the famous general of Charles V. (No. 451; p. 124). Equipped for departure, he stands beside his wife, a sister of Johanna of Arragon, who sits with a crystal globe in her lap, mourning over his departure, while emble- matic figures of Victory, Cupid, and Hymen appear to console her. — By these fine compositions the works of the other Venetian masters are almost entirely eclipsed. The most attractive of them is the Rustic Festival (No. 39; p. 119), attributed to Giorgione. The banqueting scenes by Paolo Veronese, in a rich, but somewhat materialistic style, are so large that they are not likely to be over- looked (thus No. 95; p. 119). 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 specimens of Northern Art, with which the Louvre is also richly stocked. To the Early German 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. 14; p. 128). The portraits of Eras- mus of Rotterdam, Archbishop Warham of Canterbury, and Nicho- las Kratzer, the astronomer, by the younger Holbein (Nos. 125, 207, 20G) should also be noticed. — By far the most noteworthy work of the Early Flemish School is Jan van Eyck's Madonna revered by the Chancellor Rollin (No. 162; p. 118). To an important altar- piece by Memling belong the St. Magdalene and John the Baptist with rich landscape in the background (Nos. 288; 289; p. 118). The Late Flemish, or Brae ant School is magnificently repre- sented by Rubens, by whose brush the gallery possesses 21 large scenes from the life of Marie de Me'dicis (Nos. 434-457; pp. 127, 128). However objectionable it may be from a strictly aesthetical 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 Flemisli Fair (No. 462; p. 130) in this collection exhibits him to us in an Gallery. 3. LOUVRE. 115 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 line 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 at Emmaus, his own por- trait with the gold chain (Nos. 404, 410, 407, 412), besides his Bathsheba, or woman bathing (No. 97) added by the La Caze col- lection (p. 138). To that collection the Louvre is also indebted for two excellent portraits of women by Ravestein (Nos. 94, 95), and for the Laughing Girl (No. 65; 'La Bohe'mienne') by Frans Hals. The latter is well calculated to exhibit the broad humour of the master, while his portrait of a woman (No. 66) presents him to us as a most brilliant colourist. Van der Heist is also well represented by his Distributors of Prizes (No. 197; p. 126). — The most famous of the genre pictures are : Terburg's Officer and Girl (No. 526), Dou's Woman selling spices, and particularly his Dropsical Woman (Nos. 123, 121), Metsus Vegetable Market (No. 292), Jan Steens Tavern Festival (No. 500), Adrian van Ostade's Village School (No. 370), and an Interior by P. de Hooch (No. 224). — Of the numerous excellent landscapes of the Dutch School it is unne- cessary 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 Philip IV. (No. 552; p. 125). The most famous ofMurillo's works in this collection is the 'Conception' (No. 539; p. 117), while the 'Nativity of the Virgin' (No. 540), and the 'Cuisine des Anges' (No. 546 ; p. 124) are also admirable specimens of his power. 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 only pays a few short visits 8* 116 3. LOUVRE. Pichire to the gallery should specially direct his attention ; hut it need hardly he 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. The **Salon Carre, like the Tribuna in the Ufflzi at Florence, contains tlie gems of the collection. It is reached from the Pavil- ion Denon and by the Grand Staircase (p. 87 ), or from the Pa- vilion Sully and the Collection La Gaze , through the Salle Ronde (p. 134) and the Galerie d"Apollon (p. 134). *426. Perugino, Madonna and Child with angels, St. Rose, and St. Catherine. 'An early work, remarkable for clearness of outline, pure and rich brilliance of colour, and soft, pale yellow flesh tone.' Crowe <£■ Cavalcaselle. 59. Gentile Bellini, Two portraits of men. — 447. Nic. Poussin, Portrait of himself, painted in 1650 , and stated to be in his 56th year. — *100. Paolo Veronese, Jupiter hurling thunderbolts against criminals, once a ceiling-painting in the assembly-hall of the Council of Ten in the Doges' Palace at Venice. **446. Titian, Entombment 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. *536. Herrera, St. Basil expounding his doctrines. *410. Rembrandt, Holy Family at Nazareth, known as the 'Car- penter's Family', signed 1640. This family scene is one of those idyllic pieces by means of which Rembrandt and other Dutch masters endeavoured to familiarise 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 IGth and 17th centuries, which viewed the Bible as a standard of life in a very different sense from the mediJEval church. **20. 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. — *?>1Q. Adrian van Ostade, The Schoolmaster, dated 1662, the dramatic force and warm golden tone of which are characteristic of the master's most finished style. — 325. Guido Reni, Dejanira carried off by the Centaur Nessus. 108. Clouet, Portrait of Elizabeth of Austria, wife of CharlesIX. of France. — No number, ^Raphael (possibly an early work of Pe- Uallery. 3. LOUVRE. 117 rugino"), Apollo and Marsyas. — 434. Nic. Poussin. St. Francis Xavier resuscitating a dead woman in .Tapan, painted In 1641. *419. Rembrandt, Portrait, painted, according to Vosraaer, in 16:34. — 89. Phil, de Champaigne, Portrait of himself, 1668. *526. 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. — *'293. Gabriel Metsu , Officer saluting a youTig lady, a gracefully-conceived and delicately-coloured work. 229. Sebastian del Piombo, The Salutation, signed Rome, 1521, a very large picture. *121. Gerard Dou, The dropsical woman, his greatest work : a successful composition, in which the grief of the daughter is touchingly pourtrayed ; most elaborately finished , although un- usually large for this master. **539. 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 615,000 fr. *452. 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 drai)ery, to the mysterious depth of an almost unfathomable gloom . and we stand before a modelled balance of lipht 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. tt C. 82. Paris Bordone, Portrait of a man, dated 1540. — 523. Portrait of a young man , formerly ascribed to Raphael , now cata- logued as by an unknown master. — *363. Raphael, Madonna with the veil, also called the Virgin with the diadem (p. 113). — *202. Dom. Ghirlandajo, The Visitation, dated 1491. **462. Leonardo da Vinci , Portrait of Mona (Madonna) Lisa, wife of the painter's friend Fr. del Giocondo of Florence, known as 'La Gioconda'. 'The eyes', says Vosari fd. 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 coi-ners with the rose tint oi the cheeks — this is not colour, but actual living flesh'. These excel- lences are now concealed by the darkened shades, biit the face still delights us with the W(tnderful charm of its smile. 42. Ferd. Bol, Portrait, dated 1659. — Above, *96. Paolo Vero- nese, Christ in the liouse of Simon the Pharisee, painted in 1570-75. *543. Murillo, Uoly Family; the heads, resembling portraits, are 118 3. LOUVRE. Picture realistic, but tlie light and the harmonious colouring are of great beauty. — Annibale Carracci, 121. The Madonna appearing to St. Luke and St. Catherine; 123. Pieta. *162. Jan van Eyck, The Chancellor Rollin revering the Virgin, 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. ' *368. Raphael, St. Michael [1504 ; an early work), with allusions to Dante's Inferno in the accessories of the landscape. — *369. Ra- phael, St. George and the dragon, painted in 1506. — 365. School of Raphael, Holy Family. *364. Raphael, 'Great Holy Family of Francis L', 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 niide. 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. *453. N. Poussin. Diogenes throwing away his goblet. Rome, 1648. — 87. Phil, de Champaigne, Portrait of Cardinal Richelieu. — 232. Bernardino Luini, Salome with the head of John the Baptist, painted under the influence of Leonardo da Vinci. **362. 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 natu- rally 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 'Madonna in the Garden' three times, one of the replicas being now at Vienna'. (Springer. Ra- phael ), Female portrait. 'It was formerly, without any authority, called La Belle Fironniire ta mistress of Francis I.), but is probably the portrait of Lucrezia Crivelli, 124 3. LOUVRE. Picture 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.'' Kuglev. *451. Titian^ Allegory, painted for Alphonso Davalos , Mar- chese del Vasto, representing that general taking leave of his wife when summoned by the emperor to Vienna in 1532 to light against the Turks (see also p. 114). '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.' G. tb C. 447. Titian, St. Jerome, of great breadth of handling and rich- ness of colour, indicating the period about 1533. — 455. TitianCi^, Portrait. — 88. John of Calcar ^ Portrait, dated 1540. — 53. Ba- rocci, Coronation of the Virgin, with SS. Lucia and Anthony. II. Section. Italian Academic School of Bologna (Eclectics) AND Naturalistic School of Naples. — Spanish School. On the right: 132. Annibale Carracci. Diana discovering Ca- listo's frailty. — 67. Pietro da Cortona, Madonna and Child, with St. Martina. — *i80. Dom. Feti, Melancholy. — 356. Sassofer- rato , Assumption of Mary. — 327. Guido Rent, Rape of Helen, theatrical. — 12. Albani, Venus and Adonis. 377. Lo Spagna (not Raphael), God the Father and two angels, frescoes removed from the Villa Magliana near Rome , purchased in 1873 for the extravagant sum of 206.500 fr. (8260Z.). — 11. Albani, Cupids disarmed. — 284. Pannini, Improvised Concert- Room at the French Embassy at Rome, in honour of the birthday of the Dauphin, 1729. — 411. Tiepolo, Eucharist. — 285. Pan- nini. Festal decoration of the Piazza Navona at Rome, 1729. 557. Franc. Zurbaran, St. Apollonia. — *546. Murillo, Miracle of S. Diego, known as the "Cuisine des Anges', representing a poor monastery in Spain being provided with food by angels. Left wall, beginning from the entrance : 36. Anselmi, Madonna, with St. Stephen and John the Baptist. — *119. Ann. Carracci, Mary and the Child, to whom St. Joseph is giving cherries, or 'La Vierge aux Cerises'. — *316. G. Reni, Peter receiving the keys of heaven. — 478. Domenichino , Rinaldo and Armida, from Tasso. — 24. Caravaggio, Death of Mary, painted for a church in Rome, which declined to receive it. — *311. G. Reni, Annuncia- tion. — *105. Canaletto, The Grand Canal with the church of S. Maria della Salute at Venice. *343. Salvator Rosa, Samuel, Saul, and the witch of Endor, a wild and fantastic composition. — 283. Pannini, Interior of St. Peter's at Rome, 1730. — *344. Salv. Rosa, Cavalry battle. — *474. Domenichino, St. Cecilia. — 345. Salv. Rosa, Landscape in the Abruz^i, with soldiers. — 549. Spagnoletlo, Entombment of Christ. Gallery. 3. LOUVRE. 125 *552. Velazquez, Philip IV. of Spain, in a simple but majestic style. — 554. Velazquez, Thirteen portrait-figures. — *551. Velaz- quez, The Infanta Maria Margaretha. — **540. MuriUo, Nativity of the Virgin, with exquisitely-blended colours. — 534. Goya, Guillemardet, ambassador of the French Republic at Madrid, 1798. III. Section. Spanish School. On the right: *o56. Zurbaran, Funeral of a bishop. — 548. Rihera, Adoration of the Shepherds. — *555. Zurbaran, Conference of St. Peter of Nola and St. Raymond of Pennaforte. On the left: *553. Velazquez, Portrait of a priest of Toledo, dated 1633. — 544, 545. MuriUo, Christ in Gethsemane, and Christ scourged, painted on marble. — *547. MuriUo, Beggar-boy 'cher- chant k detruire ce qui I'incommode' : the intent expression is full of life and the light admirable. — *538. MuriUo, Madonna in the moon, with worshippers on the left. — 542. MuriUo, Madonna with the rosary, of his earlier period. IV. Section. German and Netherlandish Schools. On the right: 595. School of the Van Eycks, Annunciation. — 672. Albert Dilrer, Portrait 'a tempera', dated 1520. — 277. Ma- buse, Carondelet, chancellor of the Netherlands. — *209. Holbein the Younger, Portrait of a man. — 698. Roger van der Weyden, Mourning for Christ. — 98. Lucas Cranach, Venus, dated 1529. — 210. Holbein, Portrait of Sir Thomas More, the English chancellor, a small and spirited picture , probably painted soon after the painter's arrival in England (1526J. — 249. Karel Dujardin, Land- scape. — *109. Alb. Cuyp, Thunderstorm at sea. — *151. Ant. van Dyck, Portrait of the Duke of Richmond. — *184. Jan van Goyen, River-scene, dated 1647. — 492. Frans Snyders, Wild-boar hunt. — 178. Jan Fyt, Dead game. — 5. Ludolf Bakhuizen, Dutfh ships of war. — 574. Phil. V/ouwerman, Riders in front of a tavern. — *520. David Teniers the Elder, Heron-hawking, with Archduke Leopold on horse-back on the right (erroneously ascribed to the younger Teniers). — 287. Jan van der Meer of Haarlem, Scene at a tavern-door, dated 1652. — 251. Jac. Jordaens, Christ driving the money-changers out of the Temple, somewhat trivial in com- position, but masterly in its realistic vigour. — 415. Rembrandt, Portrait of himself, dated 1660, showing the master weighed down by adversity, with grey hair and deeply-wrinkled forehead. — 354. A. van der Neer, Canal at sunset. — 516. Teniers the Younger, Tav- ern by a brook. — 396. F. Pourbus the Younger, Marie de Medicis. '^465. Rubens , Landscape with shepherds , after a thunder- storm. — The large pictures by Rubens higher up will be after- wards noticed in a single group. 295. Gabr. Metsu, The chemist. — 308. Van der Meulen, Louis XIV. and his troops crossing the Rhine at Emmerich. — 374. 126 3. LOUVRE. Picture Adr. van Ostade, The smoker. — 486. Pieter Slingelandt , The family , one of the finest works of the master, who is said to have worked at the collars and cuffs of the boy for a whole month. — *69i. Rubens^ Sketches for the large pictures described farther on. *143. A. van Dyck^ Children of Charles I. of England. — *134. Jan le Due, Interior of a guard-house, his principal work. — 24, Nicolas Berchem, Landscape with cattle. — 248. Dujardin, The grey horse, evening-light. — 247. Dujardin, Italian landscape by evening-light, with figures. — 474, Jac. van Ruysdael, land- scape. — *377. Isaac van Ostade , Vehicle in a village-street. — 301. Van der MeuLen, Louis XIV. and his queen entering Donai, 1767. — 429. Rubens, Madonna and Child in a wreath of flowers, which last are by a different hand. — 521. Teniers, Smokers. — *r29. Ger. Don, Reading the Bible, a very attractive , peaceful, domestic scene. — *246, *245. Dujardin, Cattle pasturing, Land- scape with cattle. — 124. Dou, Trumpeter. — Farther on — To the left, and turning in the opposite direction: — 223. Pieter de Hooch, Court-yard and porch by sunset. — *539. Adr. van de Velde, Cattle on the bank of a canal, by evening-light. — *41. Ferd. Bol, Portrait of a mathematician. — *192. Jan Dav. de Heem, Fruit and pottery. — *528. G. Terburg , The concert, a little piece of delicate workmanship. — *355. Aart van der Neer, Village scene by moonrise. — 399. Paul Potter, Horses by a hut, dated 1647. — *152. Van Dyck , Portrait of himself. — *463. Rubens , Tournament in front of a fortress by sunset , a spirited sketch. — 147. Van Dyck, Portrait of Fran(.ois de Moncade. — *47, A. Brouwer, Interior of a tavern. — 514. Teniers Junr., Temptation of St. .\nthony. — *511. Teniers Junr., Peter's Denial; among the soldiers at the table is the artist himself. — *513, Teniers Junr., The works of mercy. — 138. Van Dyck, Pieta , a sketch for an altar-piece at Antwerp. — *205. Hobbema, Forest-landscape. **404. Rembrandt, Family of Tobias revering the departing angel, painted in 1637; very characteristic 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. — *376. Isaac van Ostade , Vehicle in a village-street. — 317, 318. Van der Meulen , Battles , resembling miniatures in delicacy of detail. — *472. Jac. van Ruysdael, Autumnal landscape. — 545, Adr. van der Venne, 'Fete champetre', with allegorical allusions to the peace in 1609 between Archduke Albert and the Dutch. *172. Govaert Flinck, Portrait of a girl. — 567. Phil. Wouicer- man, Starting for the hunt. — *375. Adr. van Ostade, A drinker. — *417. Rembrandt, Portrait of a young man, dated 1658. — 542. Will, van de Velde, Harbour. — *123. Ger. Dou, Woman selling spices behind a counter. — *197. Bart, van der Heist, Four di- lectors of a guild of riflemen awarding the prize to the victor. — 125. Ger. Dou, Cook. • — 529. Ger. Terburg, Ecclesiastical as- aallery. 3. LOUVRE. 127 sembly, an excellent sketch. — *o30. Adr. van de Velde , Prince of Orange on the beach at Schevenijigen. — 126. Ger. Dou, Oirl with a cock at a window. — 569. PIUl. Wouwerman , Stag-hunt. — *2'24. Fieter de Hooch, Two ladies and cavaliers in a room, with admirable rendering of sunshine. — 19. Nic. Berchem, Cattle wad- ing through a ford, of the master's happiest period. — 130. Ger. Dou, Portrait of himself. — *128. Ger. Dou, The dentist. *461. Rubens, Portrait of a lady of the Boonen family. — 394, 395. Fr. Fourbus the Younger, Two portraits of Henri IV. of France. — *369. Adr. or Isaac van Ostade, Domestic scene, sup- posed to be the two Ostades and their families. — *412. Rem- brandt, Portrait of himself in 1633 (p. 115). — *425. Rubens, Lot's flight, dated 1625. — 518. Teniers the Younger, Tavern with card-players. — *'''407. Rembrandt, The Supper of Emmaus, dated 1648, from the collection of his friend the Burgomaster 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.) — *472. Jae. van Ruysdael, Landscape. — 512. Teniers, The prodigal son. — *414. Rembrandt, Portrait of himself, dated 1637. — *458. Rubens, Portrait of Baron de Vicq, ambassa- dor of the Netherlands at the French court. — 60. Jan Brueghel, nicknamed Velvet Brueghel, Battle of Arbela. — 136. Van Dyck, Madonna and Child with SS. Magdalene , David , and John the Baptist. — *207. Holbein, Portrait of William Warham, Arch- bishop of Canterbury , at the age of seventy, dated 1528. — 424. Rottenhammer , Death of Adonis, in the style of Tintoretto. — *206. Holbein, Portrait of Nic. Kratzer of Munich, astronomer to Henry Vlll. of England, dated 1528, the finest Holbein in the Louvre. — 699. Flemish School, Resurrection of Christ, Ascension, and St. Sebastian. — 212. Holbein, Portrait of Sir Richard South- well, a replica, or perhaps a skilful copy of the picture at Florence. — 596. Ger. David, Marriage at Caua, with a view of the Hotel de Ville of Bruges on the left. — *679. Quentin Massys , Christ imparting a blessing. AVe now proceed to examine the series of large **Paintings by Rubens (_Nos. 434-457), beginning on the same side, a little higher up. Marie de Me'dicis, 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 with paint- ings on a very extensive scale. Rubens, to whom the task was entrusted, came to Paris in 1621, 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 scenes are as follows: — 434. The three Fates spin the fortunes of Marie de Medicis, — 435. Birth of Marie (1575, at Florence); Lucina, the 128 3. LOUVRE. Picture 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. — 436. Her education, conducted by Minerva, Apollo, and Mercury; on the right are the Graces. — *437. Amor shows the princess the portrait of Henri IV. ; above are Jupiter and Juno; beside the King appears Gallia. — 438. The nuptials; the Grand Duke Ferdinand of Tuscany acts as proxy for his niece's husband. — 439. The queen lands at Marseilles. — 440. 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. — 441. Birth of Louis XIII. ; behind the queen is Fortuna ; the infant is in the arms of the genius of Health. — 442. Henri IV., starting on his campaign against Germany (1610), entrusts the queen with the regency. — *443. Coronation of the queen by Cardinal de Joyeuse at St. Denis ; the king is observed in a gallery above. — *444. 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. — *445. 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. — 446. The queen in the field during the civil war; she is crowned by Victoria. — 447. 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. — *448. 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. — *449. The queen commits the rudder of the ship of the state, rowed by the virtues, to Louis XIII. on his majority. — 450. Flight of the queen (1619). — 451. Mercury presents himself to the queen as a messenger of peace. — 452. The queen is conducted into the temple of peace. — *453. Marie de Medicis and Louis XIII. in Olympus; below is the dragon of rebellion. — *454. The god of time brings the truth to light; above is the king giving his mother a chaplet of peace. — 457. Portrait of the queen. — 456. (at the beginning of the whole series) Portrait of Marie's mother, Johanna of Austria, Grand Duchess of Tuscany. — 455. (opposite) Portrait of her father. Grand Duke Francis. V. Section. In the centre: * 14. Hans Sebald Beham, History of David, dated 1534, with the armorial bearings of Albert of Brandenburg, Archbishop of Mayence : Siege of Rabba ; David seeing Bathsheba ; Saul and David returning in triumph from a battle with the Phil- GaUery. 3. LOUVRE. 129 istines ; David and Nathan. The figures all wear the Nuremberg costume of the period. VI. Skction. Nbthbelandish Schools. On the right: *A00. Paul Potter , Cows pasturing , very highly finished. — 430. Rubens, Flight to P^gypt. — 94. Phil, de Cham- paiyne, Portraits of the architects Mansart and Perrault (in grisaille), dated 1656. — 490. Snyders, The animals of Noah's ark. — *515. Teniers, Rustic festival. — 416. Rembrandt, Portrait of an old man, dated 1638. — *527. Terburg, The music-lesson, a charming work. — *413. Rembrandt, Portrait of himself, dated 1634. — 83. Phil, de Champaiyne, Invalid sister of the painter, a nun in the convent of Port-Royal (p. xxx), a votive picture in memory of her recovery. — 103. Caspar de Crayer, Equestrian portrait of Archduke Ferdi- nand of Austria, governor of the Netherlands. — *371. Adr. van Ostade , Fish-dealer. — 141. Van Dyck, Rinaldo and Armida (a copy?). — *555. Jan Weenix , Dead game, one of his principal works. — 411. Rembrandt, Venus and Amor, a portrait-picture, of his earlier period. — 432. Rubens, Triumph of Religion. — Oppo- site : 426. Rubens, Elijah in the desert fed by an angel, painted in Spain as a pattern for tapestry. — 168. Jan Victors (a pupil of Rem- brandt!, Isaac blessing Jacob. — 169. Victors, Girl at a window. — 406. Rembrandt, St. Matthew, dated 1661. — 257. Jordaens, Por- trait of the Dutch admiral DeRuyter. — *193. Jan Davidsz deHeem, Fruit and plate on a table. — 296. Metsu, AVoman with a pitcher. ■ — 297. Metsu, Woman peeling apples. — *146. A. van Dyck, Portrait of the Marquis d' Aytona , the Spanish commander-in-chief in the Netherlands. — 459. Rubens, Portrait of Elisabeth of France, Queen of Spain and daughter of Henri IV. — *460. Rubens , Por- trait of Helena Fourment, his second wife , with his two children, strikingly effective, though sketchy. — *27. Berchem , Italian landscape. — 150. Fan Dj/c/c, Portrait of Richardot , president of the council at Brussels, with his son. On the left , beginning from the other end : *190. Frans Hals, Portrait of Descartes, the celebrated philosopher. — *292. Metsu, Vegetable-market at Amsterdam , one of his chief works. — *554. Jan Weenix . Dead hare. — *674. Meindert Hobbema , Mills. — 493. Snyders , Fish-market. — 314. Van der Meulen, Louis XIV. stag-hunting, with Fontainebleau in the background. — *470. J. van Ruysdael, River in a wood, with figures hy Berchem, an im- portant work of the master's best period. — *149. Van Dyck, Por- trait of a lady and her daughter. — *106. A. Cuyp , The ride. — 171. O. Flinck, Message to the shepherds. — 256. Jordaens. Music after the repast. — 255. Jordaens, Feast of Epiphany. — *105. A. Cuyp , Two riders. — 148. Van Dyck , Portrait of a man and a girl. — *104. A. Cuyp, Cows grazing, with the atmosphere of a summer-evening. — 427. Rubens, Adoration of the Magi, painted Baedekek. Paris. 8th Edit. 9 130 3. LOUVRE. Picture about 1612. — 304. Van der Meulen, View of Arras; in the fore- ground Maria Theresa in a carriage, behind which are Louis XIV. and his train on horseback. — 154. Van Dyck, Portrait of a man. — 467, School of Rubens , Landscape. — *372. Adrian van Ostade, Interior of a cottage, with admirable chiaroscuro. — *541. Adr. van de Velde , Frozen canal with skaters. — 418. Rembrandt, Por- trait of a man. — 537. A. van de Velde, Landscape with cattle. — 428. Rubens, Madonna surrounded by angels. — *145. Van Dyck, Portrait of Isabella of Austria , Regent of the Netherlands , as a Clarissine nun. — *182. Jan van Goyen, Canal with barges (1647). VII. Section. Netherlandish Schools. On the right: *462. Rubens, Rustic merry-making [comp. p. 114). — 579. Wynants , Outskirts of a forest, with cattle and figures by Adr. van de Velde, one of the master's chief works. — 198, 199. Van der Heist, Portraits. — *464. Rubens, Landscape, partly veiled in mist, with a bird-snarer to the left in the fore- ground. — *359, 358. Caspar Xetscher, Lesson on the bass viol, and Singing lesson. — 183. Jan van Goyen, Town on a river. — 243. Dujardin , Quack, with a Roman landscape. — *473. J. van Ruysdael, Mountain-landscape, with a sunbeam shining through the parting clouds ; figures hy Ph. Wouicerman: poetically rendered, and masterly in its silvery, greenish-grey tone. — 519. Tenters, Outside of a tavern. — *144. Van Dyck, Duke Charles Louis I. of Bavaria (full face) and his brother Rupert, Duke of Cumberland. — 218, 219. Honthorst , Portraits of the same persons. — No number, Potter, Grey horse (1653). — *290. Metsu, Music-lesson. To the left, beginning at the other end : *137. Van Dyck, Ma- donna and donors. — *580. Wynants, Landscape with figures by Adr. van de Velde. — *408, *409. Rembrandt, Two philosophers in profound meditation, dated 1633. — *500. Jan Steen, Roysterers, dated 1674; a most humorous and joyful scene, full of happy motives. — 378. Isaac va7i Ostade, Frozen canal. — 538. A. van de Vtlde, Landscape with cattle. — *471. J. van Ruysdael, Stormy sea on the Dutch coast; a work of marvellous poetry, striking effect, and masterly treatment. — 431. Rubens, Crucifixion. *405. Rembrandt, The good Samaritan, dated 1648; in the foreground the inn with the Samaritan and the hostess ; to the left are two men carrying the wounded traveller ; sultry summer-evening light ; altogether less happy than the master's other works of the same kind. — No number, *Jan Vermeer (Van der Meer of Delft), Girl working. — 139. Van Dyck, St. Sebastian with angels. We now return to the nearest door, and on the left enter the — French School , the works of which . arranged in chronological order, occupy seven rooms (comp. Introd., p. xxix). They may also be entered from the top of the Grand Staircase, by a door lead- ing direct to the second French Gallery (comp. the Plan, p. 86). Oallery. 3. LOUVRE. 131 I. KooM. Ancient picitures, 15th and 16tb ccuturies ; mainly of historical interest. To the left: By unknown masters, 109, 110. Portraits of Francis I. ; 656. Ball at the court of Henri III., the king himself in the left corner; 657. Ball at the court of Henri HI., the king and his mother Catherine de M^dicis to the left below the throne, in the centre the Due de Joyeuse dancing with his wife Margaret of Lorraine. Then, *653. Jean Fouquet (of Tours), Charles VII., paint- ed about 1450, line both in conception and handling; 875. Martyr- dom of Dionysius the Areopagite , a work of the 14th cent. ; *652. Jean Fouquet, Guillaume Juvenal, chancellor of Charles VII., one of the finest works of this rare master, probably painted under Flemish influence; 137. Jean Cousin, Last Judgment. II. Room. 525-547. Twenty-two pictures by Eustache Lesueur illustrating the life of 8t. Bruno, the founder of the Order of Car- thusians, painted in 1645-48 for the Carthusian Monastery at Paris, but freely retouched. The finest are : 529. St. Bruno teaching theo- logy at llheims; 536. St. Bruno inspecting the plan of the first Carthusian monastery (Notre Dame de Casilibres in Dauphine', 1084) ; 538. Pope Victor III. confirming the rules of the Order ; 542. St. Bruno refusing the Archbishopric of Reggie offered to him by Pope Urban 11. HI. Room. Mythological scenes and other works by Lesueur: to the left, 552. Venus bringing Cupid to Jupiter, Juno, Nep- tune, and Diana (ceiling-painting) ; 557. Phaethon begging Apollo for the reins of the sun-chariot; 563. Ganymede and the eagle; *564. Meeting of artists, a youthful work, in the style of his master Vouet; 558. Clio, Euterpe, and Thalia, the background by Patel; 549. Plan of the old Carthusian Monastery of Paris ; 550. Consecra- tion of the Carthusian Church. Below No. 549: View of the Tui- leries , Louvre, and Pont-Neuf, by Nicolas Lebrun, brother of the more famous Charles Lebrun. IV. Room. Fifteen views of French sea-ports by Joseph Vernet^ painted for Louis XV. : 599. Cette (1756), 598. Antibes (1756), 597. Toulon (1757), 593, 592. Marseilles (1754). V. Room. English School. *889. Consfa&Zc (d. 1836), Land- scape with a cottage (1818); *892. Constable, View of Hampstead Heath in- stormy weather; No number. Sir Thos. Lawrence, Lord Whiteworth; No number, Morland, Two horsemen in front of an inn ; 888. Bonington (d. 1828), Park of Versailles. — Five sea- pieces by Vernet. Crossing the vestibule of the staircase (PL E ; leading to the exit in the Pavilion Denon), we next reach a long hall chiefly contain- ing French works of the 17th cent., many of which deserve notice. I. French Gallery. On the right — 65. Ch. Lebrun, Martyrdom of St. Stephen, painted in 1651. — 681. Millet, Landscape. — 515. Lesueur, The young Tobias de- parting on his journey with the blessing of his father. — *517. 9* 132 3. LOUVRE. Picture Lesueur, Bearing of the Cross. — Nicolas Poussin, 421. The Phil- istines struck -with the pestilence, painted at Rome about 1630; *420. The Israelites gathering manna in the wilderness (Rome, 1639); 452. Landscape, with Orpheus and Eurydice ; 435. Rape of the Sabine women. — Above. 298. J. Jouvenet, Raising of Lazarus, 1706. — *521. Lesueur, Preaching of St. Paul at Ephesus (1649), the chief figures after Raphael. — Claude Lorrain (unsurpassed in rendering soft and vaporous atmosphere), 222. Harbour at sunset, an ideal landscape; 221. Landscape with village-festival, both painted in 1639 ; the figures, as In most pictures by this artist, are by another hand. — 437. Poussin, The young Pyrrhus. son of the king of Molossus, rescued from the pursuit of his rebellious subjects by two faithful followers of his father. — Above , 297. Jouvenet, The miraculous draught of fishes, 1706. — 195. Lefevre^ Master and scholar. — 479. Rigaud, Desjardins the sculptor. — 496. Santerre, Susanna in the bath. — 483. Rigaud, Portraits. — 478. Rigaud, The painter's mother. — *422. N. Poussin, Judgment of Solomon, painted in 1649, — *226. Claude Lorrain, Sea -port (Rome, 1646). — *415. N. Poussin, Eleazar and Rebecca, 1648. — *232. Claude Lorrain, Harbour, of great vigour and depth of colour- ing. — 473. Rigaud, Presentation in the Temple, of unusual bril- liancy of colouring, the last work painted by the master (1743), and bequeathed by him to Louis XV. On the exit-wall: 516. Lesueur, The angels' greeting, painted under the influence of Guido Reni. We now inspect the pictures on the other side-wall, returning towards the door: 286. De la Hire, Madonna and Child (1642), in the manner of Sassoferrato. — 58. Lebrun , Christ in the desert ministered to by angels. — Poussin, 450. The spies returning with grapes from the Promised Land ; 433. St. Paul in an ecstasy borne by angels into the clouds, 1649 ; 451. The Deluge, painted, like No. 450, for Cardinal Richelieu (1660-64). — Claude Lorrain, *219. Sea-port at sunset, the figures by J. Miel ; 220. View of the Roman Forum from the Capitol. — 375. The forge , an effective work by the brothers Le Nain (middle of the 17th cent.). — 476. Rigaud, Philip V. of Spain, at the age of 17, painted in 1700. — 223. Claude Lorrain, Cleopatra received by Antony at T'arsus. — 446. Poussin, Time delivering Truth from the attacks of Envy and Discord, executed as a ceiling-painting for Card. Richelieu in 1641. — *445. Poussin. Three Arcadian shepherds and a maiden surround- ing 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. xxx). — 349. Mignard , The Vir- gin with a bunch of grapes ('la Vierge k la grappe'). — 475. Rigaud , Louis XIV, painted from life (1701). — 416. Poussin, Finding of Moses, 1648. — 462. Francois Puget, Pierre Puget, the sculptor. — 518. Lesueur , Descent from the Cross. — 801. La Gallery. 3. LOUVRE. 133 Hire, France receiving Peace from Victory . 1648. — No number, *Le Nain, Peasants in front of a cottage, of a fine silvery tone (un- finished). — 360. Mignard, Portrait of himself. We now enter a lofty saloon with vaulted ceiling, called the — Salon Dexox, which contains four large paintings by Ch. Le- brun, painted in 1661-68 as designs for tapestry.- 70. Crossing of the Granicus, 71. Battle of Arbela, 73. Alexander and Porus, 74. Alexander entering Babylon. Also mythological works hy Boucher: 711. Jupiter and Callisto; 715. Delivery of Amyntha, from Tasso ; 712. Europa on the Bull. Then, 744. N. N. Coypel. Venus, Bac- chus, and Cupid, 1727. — 780. Halle, Autumn. — The lunettes of the ceiling are embellished with paintings by Charles Miiller 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. On the right is the old Salle des Etats (now closed), where the Chambers used to be formally opened by Napoleon IIL — We next enter the — II. French Gallery, containing French works of the 18th and 19th centuries. On the right — 168. Desportes , Diane and Blonde, two hounds belonging to Louis XIV. (1702). — 187. Drouais , The Count of Artois , after- wards Charles X., at the age of six, and Princess Clotilde , after- wards Queen of Sardinia, at the age of four (1763). — *311. Lancret, Joys of harvests , fresh and clever in treatment (1738). — 267. Greuze (p. xxxii), Girl, an interesting study in a province where this master is unsurpassed. — 387. Oudry, Wolf-hunt. — *99. Chardiv (p. xxxi), Saying grace, of very delicate colouring. — 821. OUi- vier, 'The k I'Anglaise' in a saloon at the Temple, Mozart at the piano, Prince Conti with his back turned (1777). — *98. Chard in. The industrious mother. — 266. Greuze, Girl, unfinished. — 193. Favray, Visiting in Malta ( 1751). — 166. Desportes, Stag-hunt (1719). — 144. A. Coypel, Athaliah driven from the Temple. — *265. Greuze, Portrait of the painter Jeaurat (1769). — 329. Van Loo, Huntsmen resting (1737). — 86. Mme. Lebrun, Portrait of J. Vernet, the painter of landscapes and sea-pieces (1778). — 28, 29. Fr. Boucher, Pastoral scenes, carefully finished and remarkably effective. — 261, 262. Greuze, The father's curse, and The son's repentance, characteristic examples of the 'bourgeois' dramas with a "moral', which Greuze was so fond of painting. — *264. Greuze, Por- trait of himself. — *263. Greuze, The broken pitcher, one of the most popular of the painter's works. — Above, 208. Fragonard , The priest Coresus sacrificing himself instead of Callirrhoe , an \inat- tractive design for tapestry (1765). — 330. C. van Loo, Portrait of Maria Lesczinska, queen of Louis XV. (1747). — *82. Mme. Lebrun, Portrait of herself and daughter. — 403. Pater, Fete Cham- petre (1728). — *260. Greuze, The marriage-contract, marked by 134 3. LOUVRE. Picture Oallery. skilful discrimination of individual character at a moment of great excitement. — 457. Prud'hon, Crucifixion (1822), the artist's last work, a 'harmony in violet'. — Unnumbered, Gerard^ Countess of St. Jean d'Angely. — Unnumhered , *LangLois , Portrait of his master David. — 276. Gros, Francis I. and Charles V. visiting the tombs in the church of St. Denis , an unhappy composition (1812). — 154. David (p. xxxii), Paris and Helen, painted for the Count of Artois in 1785, after an antique bas-relief at Rome. On the end-wall : Leopold Robert , *494. Return from the pil- grimage to the Madonna dell" Arco at Naples (1828) ; *493. Reapers in the Pontine marshes (1829), two works characterised by skilful grouping, energetic drawing, and cheerful conception. — 813. Con- stance Mayer, Fortuna and Cupid guiding a boat containing a young married couple with their child (1819). Left Wall : No number, Ingres, Before the bath (1808). — 455. Le Prince, Embarkation of cattle at Honfleur. — *246. Gericault, Lime -kiln. — 818. Moreau, Near Yincennes. — 237. Gerard, Daphnis and Chloe. — Prud'hon, Portrait of the Empress Josephine. — 241. Gerard, Canova. — 321. Lethiere, Brutus condemning his sons to death (1812). — *160. David, Unfinished portrait of Ma- dame Re'camier, the famous beauty, painted in a delicate gray tone, and of classical dignity of conception. — *150. David, The Horatii swearing to conquer or die, an 'epoch-making' work (1784). Below, 749. Sketch for the last. — 678. Angelica Kauffmann, Por- trait of Baroness Kriidener and her daughter (Rome , 1807). — 577. Tocque, Portrait of Maria Lesczinska. — 632. Jos. Vernet, The Ponte Rotto at Rome. — *649. Watteau, Embarkation for the island of love (1717), of magical effect in light, colouring, and sparkling gaiety of conception. — *724. Chardin, The housekeeper (1739). — 708. Boucher, Venus receiving from Vulcan arms for ^Eneas (1757). — 181, 182. Desportes, Still-life. —820. Nattier, Portrait of Mme. Adelaide, daughter of Louis XV. The door at the end of the second French Gallery leads to the Grand Staircase (p. 111). On the walls are three early-Florentine frescoes: *Fra Angelico, Crucifixion; *Sandro Botticelli, Two alle- gorical scenes, brought from the Villa Lemmi at Florence. To the right is an entrance to the Galerie des Sept Metres (p. 120). — We turn to the left and descend the stairs to the first broad land- ing, and then ascend a few steps (comp. Plan, p. 86) to the — Salle Eonde, a kind of vestibule, adorned with ceiling-paint- ings of the Fall of Icarus (by Blondel) and the four Elements (by Couder'). On the floor imitation of an antique mosaic, surrounded with a modern mosaic by F. Belloni. In the centre a handsome alabaster vase. The door opposite leads to the Salle des Bijoux (p. 136). The fine wrought-iron door of the 17th cent, on the right leads to the — *Galerie d'Apollon. This saloon, which is about 70 yds. in Galeried'Apollon. 3. LOUVRE. 135 length, was constructed in the reign of Henri IV., burned down in 1661, and rebuilt under Louis XIV. from designs of Charles Le- brun, who left the decoration unfinished. It was then entirely neglected for a century 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 Deiacrotx, representing 'Apollo's Vic- tory over the Python', a fine work both in composition and colour- ing (1849). The subjects of the other ceiling-paintings, beginning with the side next the Seine, are as follows: Triumph of the Waters (Neptune and Amphitrite), by Ch. Lehrun (about 1665); to the left , Summer (Ceres and her attendants beseeching the aid of the Sun God), by Durameau, 1775 ; in the middle. Castor as the morning-star, by A. Renou, 1781 ; to the right, Autumn (Triumph of Bacchus), by H. TaravaL, 1769. Corresponding to these last three scenes, on the other side of the central picture : to the left. Winter (yEolus and the winds), by Lagrenee the Younger, 1775; in the middle, Diana as the Goddess of night, by Lehrun, about 1665 ; to the right, Spring (Flora and Zephyr crowning Cybele, the Goddess of the Earth, with flowers), by Callet, 1781. On the vaulting above the entrance is the Triumph of Cybele , with Bacchantes , by J. Guichard, after Lebrun, 1849. 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. Like majolica-painting in Italy, the enameller's art was practised in France at a very early period. Its culminating period was coeval with that of the School of Fontainebleau (second half of the 16th cent.), and Limoges was its headquarters (comp. p. 219). In the centre are three cases containing various objects of art. Case I. chiefly contains ecclesiastical vessels of the Gothic period, and others in enamelled gold and rock-crystal. At the top, Casket of St. Louis, 13th cent., with gold-enamelled reliefs; small *^4iy Lepautre ; New Year's Day, by Beaugeault ; behind, Flora and Zephyr, by Coyzevox; on the lawn, Death of Lais, by Meusnier , and a bronze lion, by Cain. Around the central basin are the following statues, enumerated from right to left: Orithyia carried off by Boreas, by Duquesnoy and De Marsy; Themistocles, 'by Lemaire; Alexander the Great, by Dieudonne ; Prometheus , by Pradier; Soldier tilling the ground (from Virgil), by Lemaire; the Oath of Spartacus, by Barrias ; Cincinnatus, by Foyatier; Alexander fighting with a lion, by Lemaire; Fraternal Love, by Conny ; Pericles, by Delay; Cybele carried off by Saturn, by Regnaudin. In the transverse walk to the left: Comedy, by Roux ; Aristotle, hy Desgeorge; the Grinder, after the Florentine antique ; Phidias , by Pradier. In the wall to the left : Masked figure, by Christophle ; Aurora, bronze figure by Magnier ; Ugolino, in bronze, by Carpeaux ; Silence, by Legros. — At the beginning of the Allee des Grangers : Mercury and Psyche, in bronze, by Adr. de Vries (d. 1593); at the end, Hercules and the Hydra, by Bosio. 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 Hippomeue by G. Coustou, and on that to the left. Apollo and Daphne by Theodon. — In summer a military band plays near this spot several times weekly from 4.45 to 5.45 p.m. Chair 10 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. 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 G. Coustou, and the Tiber by Van Cleve. The Nile is from an antique in the Vatican, the Tiber from one in the Louvre (p. 104). The building at the W. end of the N. terrace is a Tennis Court, and the corresponding one at the end of the S. terrace an 152 4. CHAMPS -ELYSEES. 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. 4. From the Place de la Concorde to the Bois de Boulogne. I. FROM THE PLACE DE LA CONCORDE TO THE PLACE DE L'ETOILE. Place de la Concorde, see p. 68. On the W. side of this Place begin the *Cliamps-Elysees (PL R, 15; //), under which name is now included not only the small park adjoining the Place, about 750 yds. long by 400yds. wide (the Champs-Elysees proper), but also the whole of the avenue , extending from the Place de la Con- corde to the Arc de TEtoile, 1^3 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 ITth century. This magnificent avenue, which is flanked with handsome build- ings, is one of the most fashionable promenades in Paris, especially between 3 and 6 o'clock, when numerous carriages, riders, and pedestrians are on their way to and from the Bois de Boulogne. The end next the town abounds with the attractions of cafe's-chantants (p. 33), jugglers, marionettes (or Theatres de Guignol)^ shows, cake- stalls, restaurants, etc. These various entertainments are most popular towards evening, by gas-light, and are in great request till nearly midnight. The traveller will have an opportunity here of witnessing one of the characteristic phases of Parisian life. 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 to their present position , where they form a suitable counterpart to the winged steeds at the exit of the Jardin des Tuileries (see above). The small and tasteful drinking-fountains, which we notice in the Champs-Elysees . and many others of the same kind throughout the city, were erected by the well-known philanthropist Sir Richard Wallace. To the right, separated from the Champs d'Elysees by a large garden, is the Palais de I'Elysee (PL R, 15 ; //), erected by Molet in 1718 for the Comte d'Evreux, and now the official residence of the President of the Republic. During the reign of Louis XV. this mansion was the residence of Ma- dame de Pompadour, from whose heirs it was purchased by the king to form a residence for the foreign ambassadors. Lender Louis XVL the palace acquired the name oi Eli/sie Bourbon from its prolonged occupation by the Duchesse de Bourbon. During the E evolution the palace was offered for sale, but, no purchaser offering, it was converted into a government print- ing-office. At the time of the Directory the roums were let to keepers of public ball-rooms and gaming-tables. The palace was afterwards occupied in turn by Murat, Napoleon I., Louis Bonaparte, king of Holland, and his queen Hortense, Emperor Alexander I., of Russia, and the Due de Berry. The building was left uninhabited after the Revolution of 1830, until 4. CHAMPS-ELYSEES. 153 Napoleon III. took possession of it as President of the French Republic, enlarging and improving it considerably. On the S. side, the Champs-Elyse'es have been compelled to yield a considerable space to the Palais de I'Industrie (PI. R, 15 ; 11), a large building, erected by a company in 1855 for the first Great Ex- hibition at Paris, and now the property of government. 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 prin- cipal entrance, which is flanked with Corinthian columns and surmounted by an attic with a bas-relief 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 ground-floor 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'Industrie is now used for different exhibitions, the chief of which is the annual exhibition of modern paintings and sculptures, so well known under the name of the Salon , lasting from 1st May to 20th June. It is open daily from 8 a.m. (Mon. from 12 o'clock) to 6 p.m. Admission in the forenoon 2 fr., in the afternoon or evening 1 fr.; on Sun. after 10 a.m. and on Tues. 12-6, free. 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 xez-de-chausse'e. The name 'Salon' is derived from the former exhibition-room in the Louvre. — The Exposition Triennale^ in- stituted in the autumn of 1883, is also held here. The first floor of the S.E. wing of the Palais is now occupied by the MusEE DEs Arts Dkcoratifs, founded in 1877 on the model of South Kensington Museum and opened to the public in 1880. It contains a large number of interesting objects, most of which are lent to the museum by their owners for longer or shorter periods, so that the contents are constantly changing. The muscuui 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, 'Porte 7'. The Palais de I'Industrie also contains an Exhibition of Colonial Products, open daily, except Mon. and Frid., from 12 to 5, gratis (entrance by door No. 8, in the middle of the S. side). — The Pa- vilion de la Ville de Paris, an iron and brick structure from the Ex- hibition of 1878, has been re-erected to the S. of the Palais. At the back of the Palais de I'Industrie, in a garden near the Seine, are given the 'Concerts des Champs- Elysees' (see p. 33). To the N.W. of the Palais de Vlndu.^trie is the Panorama of 154 4. ARC dp: L'ETOILE. the Siege of Paris (p. 32). On the other side of the avenue is the Cirque d'Ete (p. 32). A little to the E., opposite the Palais de rindustrie, is the Panorama of the Battle of Buzanval (p. 32). The park or Carre des Champs-ELysees only extends as far as the Kond-Point des Champs-Elysees (PI. R, 15; 11^, 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 TEtoile. Two avenues descend hence to the Seine : the Avenue d'Antin, leading to the Pont des Invalides (p. 160). and the Avenue Mon- taigne, leading towards the Pont de I'Alma (p. 161). To the N. of the Eond-Point the Avenue d'Antin is prolonged to the church of St. Philippe du Route (PI. R, 15; II), in the Rue du Faubourg St. Honore', an edifice in a Greek style, by Chalyrin (1769-84). The cupola is adorned with a Descent from the Cross, by Chasseriau. The Avenue desChamps-Elyse'es ends at the Place db l'Etoilb, so named from the star formed by the twelve different boulevards or avenues which radiate from it (see below). This Place occupies a slight eminence, on the summit of which rises the — '^'Arc de Triomphe de I'Etoile, the largest triumphal arch in exis- tence, 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 colossal group on the top, representing France in a quadriga destroying Error and Prejudice, was executed by Falguieres and only recently placed in position ; it is 45 ft. high. The following groups adorn the E. facade: on the right, Departure of the troops to the frontier in 1792. by Rude, the finest of the four groups ; above it, the Obsequies of General 3Iarceau, by Lemaire. On the left, Triumph of Napoleon after the Austrian campaign, and the Peace of Vienna (1810), by Cortot (d. 1843)-, above it, the Pasha Mustapha surren- dering to Murat'at the battle of Aboukir (1799), by Seurre the Elder. — 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, Piesistance of the French to the in- vading armies in 1814, by Etex; above it. Passage of the bridge of Ar- cole (1796, death of Muiron, Bonaparte's adjutant), by Feuch'eres. On the left, the Blessings of Peace (1815), by Etex; above it, the Passage of the Pont d'Arcole (1796), by Feuchh-es, and the Taking of Alexandria (1798; Kleber, who has received a wound on the head, points out the enemy to his troops), by Chaponniere. The reliefs on the N. side, by Gechter, represent the battle of Auster- litz (1805). On the S. side is the Battle of Jemappes (1792), by Marochetti. The figures of Victory on each side of the upper part of the arch are by Pradier. A series of 30 shields on the cornice above the entablature are inscribed with the names of diQ'erent 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 Empire, the names of generals who fell in battle being underlined (656 in all). The figures of Victory in relief under these names relate to successes gained in the east, north, and south. The Platform, to which a spiral staircase of 261 steps ascends, com- mands a noble prospect (adm. 25 c). The following are the twelve avenues , named in consecutive ,,w iv^ urNi^Mi u^^/ ^^/ A 4. BOIS dp: BOULOGNE. 155 order, wliicli radiate from the Place de I'Etoile: tlie Avenue des Champs- Elysees , above described; then, to the left, Avenue de Friedland^ a prolongation of the Boulevard Haussmann (p. 194); the Avenue Hoche, formerly called the Avenue de la Reine Hortense, leading to the Park Moncean (990 yds. ; see p. 192) ; the Avenue de Wagram ; the Avenues de Macmahon and d^Essliny, unfinished; the Avenue de la Grande Armee (see below), opposite the Avenue des Champs-Elysees ; the Avenue du Bois de Boulogne (see below) ; the Avenue d'Eylau, which also leads to the Bois de Boulogne, passing the Place d'Eylau with the Artesian Well of Passy; the Avenue Kleher^ formerly Avenue du lloi du Rome, leading straiglit to the Trocade'ro and passing the large and handsome Hotel Basi- lewski (No. 19), the property of Queen Isabella of Spain; the Avenue d'Jena, which ends at the Pare du Trocadero ; and, lastly, tlie Avenue Marceau, formerly Avenue Josephine. II. FROM THE PLACE DE L'ETOILE TO THE BOIS DE BOULOGNE. Jardin d'Acclimatation. Neuilly. The Avenue de la Grande Armee, prolonging the Avenue des Champs-Elysees beyond the Arc de I'Etoile (see above), leads to the Port Maillot (p. 160), near the Jardin d'Acclimatation, the nearest, thougli not the most-frequented entrance to the Bois de Boulogne. The Avemie du Bois de Boulogne (PI. B, R, 9, 6), leading from the Arc de I'Etoile to the S.W., is the usual route followed by the fashionable crowds in carriages, on horseback, or on foot proceeding from the Champs-Elysees to the Bois de Boulogne. The avenue is about 140 yds. in breadth 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 pe- destrians. In the distance Fort Mont-Valerien (p. 266) is seen ris- ing above the Bois. Near the Porte Dauphine are the Chinese Pa- vilions from the Exhibition of 1878, now used as a cafe. To the left, outside the gate, is the station of the Avenue du Bais de Boulogne^ on the Chemin de Fer de Ceinture. The visitor to the Bois may also proceed by this line to the station at the Porte Maillot (p. 160) , at Passy (p. 163), at the Avenue du Trocade'ro, or at Auteuil (p. 164). Those who wish to see the Bois with the least possible expenditure of time should engage a cab by the hour (see p. 19). The principal points may thus be visited in 2-3 hrs. On days when races or reviews are held, and even on line Sundays, it is impossible to secure a place in the omnibuses and trainwaj -cars bmind for the Bois without much waiting. 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. 156), the Seine on the W., Boulogne (p. 289 ) and the Boulevard d'Auteuil on the S., and Neuilly (p. 160) on the N. It is a fragment of the extensive old Furet de Rouvray (from Lat. ''rorerctum', the chene rouvre, i. e. liolm-oak), which also comprised the Park of St. Oucn (p. 192). This forest was long in evil odour, being the re- sort of duellists, persons suicidally disposed, and robbers. When 156 4. BOIS DE BOULOGNE. the Prussians, Russians, and Englisli were encamped here in 1814 and 1815, a great part of the wood disappeared. Down to 1848 it belonged to the crown-domains and received little attention. In 1852 it was presented to the municipality, on condition that a sum of two million francs should be expended on it within four years, and that it should be maintained in future at the municipal ex- pense. The authorities accordingly converted it into a park, and it has become a favourite promenade of the Parisians. A consider- able part of the wood was cut down or injured by the bombard- ments during the two sieges of 1870-71, and in the summer of the latter year the once smiling Bois presented a deplorably-battered appearance. Almost all traces of these disasters are now obliterated. The annexed plan will enable the visitor to find his way without dif- ficulty. 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. The Bois de Boulogne is considered part of Paris, but as already indicated it lies outside the Enceinte or lines of fortifications. The ramparts here, however, are almost completely disguised, particul- arly at the Porte Dauphine. The Fortifications of Paris were constructed in consequence of a decree of 1840. and were completed witMn five years at an expense of 140 million francs f5.600.000i.). The Enceinte, with its 94 bastions, is 21 31. in length. The ramparts. 32 ft. in height, with a parapet 19 ft. in width , are environed by a moat 48 ft. in width, and a glacis. The ap- proaches to the city are also commanded by sixteen Forts Detaches, at dif- ferent distances from the city, up to a maximum of 2 M On the X. 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 Rosny. de Nogent. and de Vincennes. and the redoubts de la Fais- anderie and de Gravelle-. on the left bank of the Marne lies Fort de Cha- renton-, to the S., on the left bank of the Seine, Forts dUvry. de Bicetre, de Montrouge, de Vanves, and d'/ssj/; on the W., the Forteresse du Mont Valirien. Most of these were entirely destroyed in 1870-71. but have since been rebuilt. A second line of forts at a greater distance from the ram- parts, 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 Bomon, de Montlignon, de Montmorency, d'Ecouen. de Stains, de Vait- jours.de Villiers. and cie Villeneuve St. Georges; on the left bank, the i^or^s de la Butte-Chaumont. de Paluiseau . de Chdtillon . de Villeras, de Haut- Buc. de Saint-Cyr, de Marly, de Sainte-Jamme. and d'Aigremont. The area included within this elaborate system of fortifications is 400sq. M. in ex- tent, and besides the capital itself embraces the seven towns of Versailles, Sceaux, Villeneuve St. George, St. Denis, Argenteuil. Enghien, and St. Ger- main-en-Laye. The broad Route de Suresnes or du Lac, which diverges to the left at the Porte Dauphine (p. 155), leads in about 10 min. to the Carrefour du Bout du Lac, one of the finest points in the Bois, at the lower end of two artificial lakes, the Lac Inferieur (2/3 M. in length and 100 yds. in width), and the L.ac Superieur (I/4 M. in length and 60 yds. in width}, which are fed by the Canal de FOurcq (p. 187) and the Artesian Well of Passy. Two brooks issue from 4. BOIS DE BOULQGNE. 157 the Lac Int'erieur, one of which flows to the Pavilion d'Armenon- ville (p. 160), the other, or 'Riviere de Longchamp', to the cascade (see below^. We walk round the lakes, beginning at the E. side. In the Lac Inferieur are two islands (ferry there and back 10 c; boat on the lake 2-3 fr. per half-hour), 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 refreshment in various parts of the park, especially at the Carrefour du Bout du Lac and near the Grande Cascade (see below). Between the two lakes is the Carrefour des Cascades^ and at the S. end of the Lac Superieur is the Butte- Mortemart , whence there is a fine view of St. Cloud and Meudon. As the fine old trees on this side of the park were cut down in 1870, the vacant space has been converted into the Champ de Course d" Auteuil, an extensive race-course. Races and steeple-chases take place here in spring and autumn, the most important being those of Whit-Monday. On arriving at the upper extremity of the Lac Superieur we turn to the right and walk along the margin of the lake to the Carrefour des Cascades, lying between the two pieces of water. Hence we follow the Avenue de I'Hippodrome 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 20 min. to the *Grande Cas- cade, an artificial waterfall, 45 ft. high, issuing from a grotto. Be- fore reaching the waterfall, we may ascend a height on the right, 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 the remains of the ancient Abbey of Longchamp, and the village of Su- resnes , and beyond them Mont Valtrien (p. 266). A path cut in the rock descends the hill and passes behind the fall , through the spray of which Mont Yale'rien is again visible. To the left of the point where we regain the avenue is the Restaurant de la Cascade. The Hippodrome de Longchamp is the principal race-course in the neighbourhood of Paris (see p. 34j. The races (courses or viunions) at Longchamp take place in spring, summer, and autumn, the days being advertised by the newspapers and handbills. The races attract vast crowds and are worth seeing. The Grand Prix, of 100,C)eX) fr , is competed for at the beginning of June, and may be styled the 'French Derby'. It may also be said to inaugurate the summer season, as immediately 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 : pavilion 5 fr. ; weighing-place 20 fr. : for a carriage with one horse 15. with two horses 20 fr. ; each rider 5 fr. •, pedestrian 1 fr. — Reviews take place here oc- casionally. Among the other attractions of the Bois are the regattas on the lakes in summer, and the skating in winter, the latter sometimes taking place by torchlight. The wide AUee de Longchamp leads straight from the Hippo- drome, passing the Cascade on the right, to the (2 M.) Porte Maillot (p. 160). To the right, a little way on, is the Pre Catelan, an en- 158 4. JARDIN D'ACCLIMATATION. closed space where fetes used to be given in summer, but now a 'dependance' of the Jardin d'Acclimatation. containing a dairy and a cafe. The name is derived from the so-called Croix Catelan , in the Route Suresnes, a little to the E., a small pyramid on the site of a cross once erected here to the troubadour Catelan , who was assassinated in this wood in the reign of Philippe le Bel. Farther on, to the left, is the Cercle des Patineurs , a pond with grounds belonging to the Skating Club. Near the end of the Alle'e a path to the Jardin d'Acclimatation diverges to the left. The Route de Neuilly, at the opposite end from the race-course , passes between the Champ d'Entrainement and the park of the little chateau of Ba- gatelle, the property of Sir Richard Wallace. — The part of Neuilly adjoining this side of the Bois de Boulogne is known as Madrid, a name derived from a chateau which once stood in this neighbour- hood, built by Francis I. after the Battle of Pavia, and thus named as a reminiscence of his captivity in Spain. The chateau, which was destroyed after the Revolution, was remarkable for the external de- corations of the walls , consisting of terracottas by Girolamo della Robbia , and works in enamel ; the former no longer exist, but the latter are still to be seen in the Musee de Cluny (p. 215). At the Porte de Madrid is a *Restaurant. To the left lie the Mare de St. James and, a little farther on, the Jardin d'Acclimatation. The principal entrance of the latter is on the E. side, near the Porte des Sablons, but there is another at the opposite end, near the Porte de Neuilly. *Jardiii d'Acclimatation. This garden 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 at- tractive promenades 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 dur- ing the second siege of Paris in May, 1871. The garden is reached by the same routes as the Bois de Boulogne (p. 155). If a cab is engaged it may be dismissed at the Porte Maillot, Isefore 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 p.20.1. From the Porte Maillot to the Jardin, 'Tramway Mi- niature' 20 c. On concert-days (see below) special omnibuses run to the garden from Xo. 8, Boulevard des Italiens (there and back 1 fr.). The Jardin d'Acclimatation is open the whole day. Admission 1 fr. (greenhouses included); on Sundays and holidays 1/2 fr.; carriage 3 fr., in addition to the charge for each person in it; no charge for coachman. Children under seven enter free. Concert in the garden in summer on Sundays and Thursdays at 3 p.m., for which no ad- ditional charge is made. Entrances, see above. On entering, we find ourselves in a handsome walk, 11 yds. wide, which runs round the whole garden. On the right are the 4. JARDIN D'ACCLTMATATTON. 159 Offices (PI. 1) of the company, to which purchasers address tlieir orders. On the left is the large hothouse (PL 5), which we shall again have occasion to mention. Farther on is the establishment for the Enyraissement Mecanique, or artiflcial fattening of poultry by an ingenious system invented by M. Martin, where 400 fowls can be fed in an hour and their weight doubled in 18 days (open from 2 to 5 o'clock ; admission 50 or 25 c). Next comes a per- manent exhibition of articles connected with gardening and other industrial objects, with a tower from the Exhibition of 1878, con- taining an elevator (25 c). The other tower, to the left, is the pigeon-house. To the right is the Singerie, or monkey-house ; to the left, the Ostriches and Cranes. Then, to the right, the Faisan- deries, in front of which rises a statue in white marble of the natur- alist Daubenton (d. 1800) by Jodin ; the Poulerie (PL 2), a semi- circular building. Farther on, to the left, are the Camels, to the right the Kangaroo Chalet, near which diverges the walk leading to the entrance on the side next the Porte de Neuilly. A little farther on are the Ecuries (PL 3), or stables, and enclos- ures 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 elephant or dromedary, or a drive in a carriage drawn by ostriches, zebras, etc. (Charges fixed by tariff : dromedary 50 c., elephant 25 c., ostrich-carriage 50 c, small carriage 25 c, pony 50 c.) A little way back is the Giraffe House, near which is the new Panorama du Monde Antediiuvien (p. 32). Beyond the principal stable the walk forms a bend and passes the chalet of the Alpacas and Lamas, be- hind which is the Rocher Artificiel for chamois, mountain-goats, and other climbing animals. Farther on, to the right of the circular alley, is the Cattle Shed ; to the left is the basin of the Ottaries or sea-lions (PL 4), which are fed 3 p. m. To the right, in one of the adjacent walks, is the Chalet des Antilopes (PL 5). To the right of the circular walk is the Laiterie, or dairy, where about 600 cups of fresh milk are sold daily (40 c). The Aquarium (PL 6), consisting often glass reservoirs of sea-water and four of fresh, affords the visitor an admirable opportu- nity of observing the habits of the finny tribe and many curious subaqueous animals. Farther on is the Buffet, opposite which is the Kiosque des Concerts, where the band pliys. Then come the Chalet des Cerfs (PL 7) and the Chenil, containing thorough-bred dogs, whose pedigree is carefully recorded. Facing the latter is a Book- stall. Beyond this , to the right, are the Green-Houses, in one of which is an Aviary ; the Grande Serre (PL 9), or winter-garden, contains a very fine collection of rare plants (shut in summer at 6 p.m.). The brook issuing from the artiflcial lakes in the Bois de Bou- logne flows through the Jardin d'Acclimatation, and in the centre 160 4. NEUILLY. forms a pond containing Aquatic Birds. On the bank of this brook is the Pigeonnier (PL 10), for rearing carrier-pigeons. Near the principal entrance at the Porte d'Acclimatation are two cafe's, the Pavilion d' Annenonville and the Cafe Gillet. Neuilly, which lies to the N. of the Bois de Boulogne, and is traversed by the wide Avenue of the same name, forming a prolon- gation of the Avenues des Champs-Elysees and de la Grande Ar- mee, is now a suburb Avith 25,235 inhabitants. The chateau of Neuilly, once the favourite residence of Louis Philippe, was totally destroyed by the insurgents on 25th Feb., 1848, and the park was after"wards parcelled out into building sites , on which numerous tasteful villas have been erected. A handsome bridge crosses the Seine at the end of the Avenue de Neuilly , leading to the suburbs of Courbevoie(tothe right; p.266) andPuteaux (to theleft; p. 266). In Neuilly, near the line of fortifications, on the right side of the Route de la Re'volte, is the Chapel of St. Ferdinand (PL B, 9), a cruciform mausoleum in the Romanesque style, erected on the spot where Ferdinand, Duke of Orleans, the eldest son of Louis XIV., breathed his last on 13th 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 Ti'i- queti. To the left is the Monument of the Duke, also by Triqueti. from a design by Ari/ Scheffev^ with a fine praying angel by the prince's sister Marie d Orleans (d. 1839). The windows are filled with stained glass de- signed by Ingres (p. 137). The sacristy contains a picture by Jacquand representing the death of the prince. We now re-enter Paris by the Porte Maillot, so named from the 'jeu de mail', which was once played here. The gate and adjacent ramparts are now pleasantly disguised with trees and shrubberies. 5. From the Place de la Concorde to the Trocadero. Along the Seine, to the W. of the Place de la Concorde (p. 68) extends the Quai de la Conference (PL R, 15, 12 ; /, //), named after an old gate through which the Spanish ambassadors entered Paris in 1660, to confer with Mazarin on the betrothal of the Infanta Maria Theresia with Louis XIV. It is traversed from end to end by the Cours-la~ Peine, a fine avenue formed by Marie de Medicis in 1610. — Near the middle of the quay the Seine is crossed by the Pont des Invalides (PL R, 14, 15; //), built in 1854-55 on the site of an older suspension-bridge, and to a great extent recon- structed in 1879-80. It is adorned with Victories by Dieboldt and Villain. Hotel des Invalides, see p. 258. Near the Pont des Invalides, at the corner of the Cours la Reine and the Rue Bayard, is the house known as the *Maison du Fran- cois I., a very pleasing example of the domestic architecture of the Renaissance. Francis I. caused this building to be erected at Moret, near Fontainebleau, in 1527, for the reception of Diane de Poitiers, 5. PUNT DJKNA. 161 or according to others for his sister Margaret of Navarre, and in 1826 it was transferred in fragments to Paris and re-erected on 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 singularly rich and elegant. The two stories are separated by a handsome frieze representing genii plucking grapes and waving the thyrsus, while at intervals are placed medallion-portraits (includ- ing that of Margaret of Navarre, between the arms of France and Navarre ), many of which have been restored. The back is also worthy of inspection, but the sides have been modernised. Farther on, towards the end of the quay, is the Pont de PAlma (PI. R, 11, 12; i), constructed in 1856 and named in memory of the Crimean campaign. The buttresses are embellished with hand- some figures of a Zouave and a private of the line by Dieboldt, and an artilleryman and a chasseur by Arnaud. The Cours-la-Keine ends at the Place de VAlma , whence the Avenue Montaigne leads N.W. to the Rond-Point des Champs Elyse'es (p. 154). Near the middle of this avenue, on the right, No. 18, is the Maison Pompeienne (PI. R, 12; /), erected by the architect M. Normand for Prince Napoleon, in the style of the 'Villa of Diomedes' at Pompeii. The interior may be inspected in the ab- sence of the present owner, Count Pal fl'y (fee 1-2 fr.). Adjacent is the Hotel du Prince Soltikoff, erected in the mediaeval style (also accessible in the owner's absence). Near the Place de I'Alma, between the Avenue de I'Alma and the Avenue Marceau, rises the Hippodrome (p. 32). To the left, opposite the Cours-la-Reine, is the Pompe a Feu de Chaillot^ which supplies the city-reservoirs with water from the Seine. From the Place de I'Alma we may pursue our way along the Seine, or strike off to the right. The Avenue du Trocadero, ascend- ing to the right, traverses a handsome new quarter, sprung into existence since the Exhibition of 18(i7. On its right side is the new Musee de Galliera , built for the reception of the collections be- queathed to the city by the Duchess of Galliera. The avenue then passes the Depot des Phares ^ on the left, and ends at tlie back of the Palais du Trocadero (p. 162). — The Ouai db Billy (PL R, 12, 11, 8; /), forming a continuation of the Quai du Conference, affords an admirable view of the river. To the right is the Etablisse- ment des SuhsiHances Militaires. On the left bank , opposite the Trocadero, extends the Champs de Mars, with the Ecole Militaire (p. 264) in the background. The Seine is crossed here by the -r- Pont d'lena (PI. R, 8; /), con^t^ucted in 1806-13 to commem- orate the victory of that name. It is adorned with eagles and with four colossal horse-tamers. Baedeker. Paris. 8th Edit. H 162 5. PALAIS DU TKOCADERO. The Trocadero, which bears the name of one of the forts of Ca- diz, captured by the French in 1823, was down to 1866 a piece of waste ground descending rapidly to the Seine. Napoleon I. enter- tained the idea of building a marble palace here for the King of Rome, but nothing came of it. In 1867, when the Great Exhibition was held in the Champ de Mars, the undulating ground of the Tro- cadero was laid out in terraces and prepared as a place for large popular festivals. This attempt, however, met with little success. In 1878, when the Champ de Mars proved too small for the Ex- hibition, the heights of the Trocadero were added to the exhibition- grounds, and the present park and palace were constructed. The Fare du Trocadero is not large, but it is tastefully laid out and well kept up. It contains, to the right of the broad walk below the Cascade, a subterranean ^Aquarium, stocked with fresh-water fish (adm. 9-11 and 1 to 5 or 6). The Palais du Trocadero (PI. E, 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, hy Schoe- newerk, Asia by Falguieres, Africa by Delaplanche, N. America by Hiolle, S. America by Millet, and Australia by Moreau. Below the balcony gushes forth a large *Cascadb which descends to a huge hasin , 196 ft. in diameter, surrounded by a bull, a horse, an elephant, and a rhinoceros in gilded bronze, by Cam, Rouillart, Fremiet, and Jacquemart. Under the arches flanking the cascade are allegorical figures of Water, by Cavelier, and Air, by Thomas. Concerts are often given in the elaborately-decorated Salle des Fetes, which contains an immense organ and has seats for 6000 persons (adm. on application to the keeper of the Ethnographical Museum, p. 163). The galleries and balconies command an ad- mirable *Yiew of Paris, for which evening-light is most favourable. Visitors may ascend by an elevator (1 fr.). The Palais du Trocadero contains important collections of plaster casts and of ethnographical curiosities. The MusEB DE Sculpture Compareb , or Musee des Moulages, occupies the S. wing of the building and is open daily, except Mon., from 11 to 4. The sculptures are arranged chronologically, but the present arrangement is not final. Explanatory labels are attached to each cast. 5. PALAIS DU TROCADERO. 163 Rooms 1 & II. French Sculptures of the ll-13th cent., chiefly from the portals and facades of churches. A few pieces of ancient sculpture are also represented for the sake of comparison. — R. III. Pliotographs of monuments and sculptures, of which no casts have tieen made. St. George, from the cathedral of Bale. — R. IV. Sculptures from the cathe- drals of Strassburg and >'aumburg; gable of 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. Italian and French works. Group of children with instruments of music, by Luca della Robbia; portal from the Palazzo Doria in Genoa ^ sculptures from !Niccol<") Pisano's pulpit at Siena; choir-stalls from the cathedral of Amiens; reliefs by Mino da Fiesole, from the tomb of Paul II. at Rome; tomb of the children of Charles VIII. at Tours, by Jean Juste; fountain with figure of Moses at Dijon, by Claus Sluttcr; St. George, by Donatelbj (Florence). — R. VI. Italian and French sculptures of the 15-16th centuries. Portal of the cathedral of Beauvais; dying Adonis, by Michael Angelo ; statues of Henri II. and Catherine deMedicis, from "their tomb at St. Deni.s , by Germain Pilon ; m(nument of Gaston dc Foix at Milan, by Bambaja; tomb of Francis II., Duke of Brittany, and his wife, at Nantes, by Michel Colomb; tomb of Louis, Due de Brezc', in the cathedral of Rouen (p. 333). — R. VII. Photographs of monuments and sculptures. Tomb from the old cathedral of Xarbonne; Hermes of Praxiteles, from the temple of Hera at Olympia. 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. It is open free on Sun., Mon., and Thurs., from 12 to 4 or 5. Vestibule I. Figures and other objects from various parts of Oceania and Africa. In the background, to the right, hut of a nomadic tribe of the interior of Africa. — Galleries. Figures, curiosities, and domestic objects from America. The gallery on the left contains the sculptures and other large works. The Gallery to the right is divided into 9 sections. Sec. 2: Mummies and vessels from Peru. Sec. 3: Peruvian cloth. Sec. 6: Curious Mexican idol. — Vestibule II. Exhibits from the Polar Regions, with figures of Esquimaux, Laplanders, and Samoyedes. — Other rooms are to be opened. The Palais du Trocade'ro will probably also be the chosen pla(;e of exhibition for the Muske Cambodgibn, or Musee Khmer, consist- ing of very interesting sculptures found in Cambodia , a Chinese district under the protectorate of France, situated to the E. of Cochin China. These once belonged to huge buildings erected by the Khmers, a people now almost entirely consigned to oblivion. Some of these edifices have been rediscovered in the depths of pathless forests from accounts given by travellers of the 18th century. The collection was formerly in the chateau of Compiegne (p. 320), and is now stored away in tlie cellars of the Trocade'ro. At the back of the Palais is the Place du Trocadero^ from which several avenues diverge. The Avenue Kleber leads direct to the Arc de VEtoile (p. 154). The Avenue du Trocadero (p. 161) leads to the E. to the Place de I'Alma (p. 161), and to the W. to Passy and the Bois de Boulogne. Passy, one of the communes annexed to Paris in 1860, now forms along with Auteuil (see below) the 16th arrondissement. Its lofty and healthy situation has long made it a favourite place of re- sidence, but it contains little to interest the stranger. — Between 164 6. PLACE DES VICTOIRES. the fortifications and the Chemin de Far de Ceinture is the Rane- lagh^ a triangular grass-plot occupying the site of the public estab- lishment of that name, which , like its London namesake , was famous at the end of last century for its banquets , masquerades, and fetes. It is adorned with a statue of Cain, by Cailli. Adjacent are the station of the Chemin de Fer de Ceinture and the office of the Rue Tronchet and La Muette tramways. — The beautiful Pare de la Muette^ a little to the N., is now private property. In the 18th cent, a royal chateau stood here, of which only a single pa- vilion now remains. ■ — Beyond La Muette , at No. 45 Avenue du Trocadero are the Serves de la Ville (public hothouses ; PI. R, 5), not usually shown to visitors without a permission 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. Artesian Well, see p. 155. — Auteuil, another suburb, to the S. of Passy, with numerous villas , also offers little to detain the traveller. The re- mains of the villas of Boileau and Moliere are insignificant. In the Rue d' Auteuil rises the church of Notre-Dame d' Auteuil^ in front of which is a monument to Chancellor d'Aguesseau (d. 1749). To the right is the Maison Chardon-Layache^ and behind is the hand- some Institution Ste. Ferine, two religious houses. 6. From the Palais-Royal to Pere-Lachaise. I. FROM THE PALAIS-ROYAL TO THE HALLES CENTRALES. ST. ETJSTACHE. With this walk a visit to the Conservatoire des Arts et Metiers is conveniently combined (adm. on Sun.. Tues.. and Thurs.J. The Rue des Petits-Champs (PI. R, 18, 21; //), passing at the back of the Palais-Royal, leads eastwards past the Eibliotheque Nationale (p. 179), the Rue Vivienne , which leads to the Bourse and the Boul. Montraartre, and the handsome Passage Vivienne, all on the left, and terminates at the Rue de la Banque. The lat- ter street contains three handsome modern edifices : the Mairie du lie Arrondissement (Bourse) and Caserne de la Banque on the right, and the Hotel du Timbre on the left. In the Rue de la Vrilliere, leading to the right, is the Banque de France, enclosed by four different streets. It was formerly a private mansion , and contains a handsome apartment called the Galerie Doree (no admission). The Bank of France, which has the sole right of issuing notes, trans- acts all ordinary banking business on a very extensive scale. The cellars contain bullion, diamonds and other valuables, and the crown jewels, worth in all several milliard? of francs. These repositories are constructed in a very massive style and are guarded with most elaborate precaution. A narrow side-street leads from the Bank to the small circular Place des Victoires (PL R, 21 ; ///) , about 85 yds. in diameter, designed by Fr. Mansart^ and constructed in 1685. It was ori- ginally called the 'Place Louis XIV.', and was embellished in 1686 with a gilded statue of that monarch, erected by the Due de 6. HALLES CENTRALES. 165 la Feuillade, the proprietor of the ground, 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. 208). 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. A few paces to the N.W. of this Place is the church of Notre- Dame-des-Victoires, erected in 1629-1740 to commemorate the taking of Rochelle , the chief stronghold of the Huguenots, and now the seat of a monastic fraternity. The altar to the right of the choir , which is the object of special veneration , was despoiled of its chief treasures by the Communists, but has been richly re-decorated. The walls of the chapels are covered with votive inscriptions on marble. The choir contains well- executed carved woodwork and two pictures by Van Loo (d. 1745) : an Allegory of the capture of Rochelle , and scenes from the life of St. Augustine. The first chapel on the right contains a St. Peter in bronze, a copy of a statue in St. Peter's at Rome. The small Rue Pagevin, to the E. of the Place des Victoires, is to be rebuilt and widened so as to form a prolongation of the Rue Etienne Marcel, which skirts the N. side of the new central post- offlce (see below) and is to be continued to the Boul. de Sebastopol. The new Hotel des Postes (PI. R., 21 ; 7/7), now approaching completion, cannot lay claim to any 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 Guttemberg on the S., and the old Rue Jean Jacques Rousseau on the E. The main public entrance is in the Rue du Louvre (p. 76), which is to be prolonged from the Old Louvre to the Rue Montmartre ; the latter intersects the Rue Etienne Marcel at the N.E. corner of the post-office. — A little to the S.E. are the church of St. Eustache (p. 166) and the — *Halles Centrales (PI. R, 20, 23 ; 777), a vast structure, chiefly of iron, and covered with zinc, erected by the architect Baiiard (d. 1874). These 'halls' consist of ten pavilions, between which run covered streets, 48 ft. wide , and 48 ft. in height, and they are in- tersected 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 com- plete will cover an area of 22 acres. The cost of purchasing the site and erecting the Halles has amounted to 60 million francs. Each pa- vilion contains 250 stalls, the area of each of which is 40 sq. ft., and the rent 20 c. per day. Under the Halles there are 1200 cellars for the storage of goods, each 12 ft. high, and lighted with gas. 166 6. ST. EUSTACHE. The provisions for the daily market begin to arrive on the previous evening , and by daybreak the market is fully stocked. The sales by auction to wholesale dealers last till 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, fish, poultry, game, oysters, vegetables, fruit, butter, and cheese. The produce brought to the Halles in 1882 included 60,045,286 lbs. ot fish, 192.630,000 ovsters , 66,000,000 lbs. of meat, 48,770,000 lbs. of poultry and game. 27,730.000 lbs. of butter, 343,2o4,260 eggs, and 95,328,000 lbs. of cheese. This, however, represents but a fraction of the food con- sumed 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 population amounts to 360 lbs. of bread, 196 quarts of wine, and 175 lbs. of meat. Reckoning the population at 2,270,000. we find that this amounts in round numbers to 818,000,000 lbs. of bread, 580,000,000 quarts of wine, and 400,000. OOO lbs. of meat, of the value of fully a mil- liard of francs. Thus the daily bill of Paris for meat, wine, and bread alone amounts to about 3 million francs or 120,000Z. 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. The fountain now occupies the centre of a square to the S.E. , on the other side of the Halles. It originally stood with its back to the church of the Innocents, and had three arches only. It now presents the some- what incongruous form of a square pavilion, a fourth arch having been added. The older figures of Naiads are by Jean Goujon, In order to complete the Halles Centrales , the houses which separate it on the W. side from the HaUe au Ble (PI. R, 20; F), or corn-hall, are to be swept away. The latter building, in the Rue deViarmes, adorned with 25 arcades and covered with a dome, was erected in 1662, burned down in 1802, and rebuilt in 1811. The rotunda is 46 yds. in diameter in the interior, and 106 ft. high. A little to the S. rises a fluted Doric Column. 100 ft. high and 10 ft. in diameter, erected in 1572 by order of Catherine de Me- dicis for the purpose, it is said, of making astrological observations. The *Cliurcli of St. Eustache (PI. R, 21, 20; JII), situated op- posite 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 pilasters, and the pillars consist of columns of different orders placed above one another. The ornamentation is in the Renaissance style. The chief portal is a mediocre work of the 18th century. The funeral rites of Mirabeau were solemnised in 1791 in this church, from which the body was conveyed to the Pantheon ; and here was celebrated the Feast of Reason in 1793, In 1795 the church was handed over to the 'Theophilanthropists', who turned it into a temple of agriculture. The Interior (entrance by the chief portal or by aside-door near the 6. ST. EUSTACHE. 167 Rue Montmartre) consists of a graceful and loftv nave and double aisles, and is 348 ft. in length. 144 ft. in width, and lUS ft. in height. The chapels, entirely covered with painting, contain some fine *Fres- coes, illustrating the history of the saints to whom they are dedicated. The first chapels on the right, beginning from the great portal, are very small. The paintings in the 4th and 5th are by GouvUer and Magi- rael. The latter contains a fine marble statue. In the 8. transept are bas-reliefs by Z)e^•ers, six statues of Apostles by Dehay, and frescoes by Signol. Farther on are five chapels adorned by Larivih'e.Vangelet^ Pils^Damery^ Biennoui-yj 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 Pignlle (d. 1785). The frescoes are by Couture (d. 1879). The next chapel, with frescoes by Bdzard, 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 (i. 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 Delorme, Basset (early frescoes restored) , Perruz , '' Pichon , and ''Felix Barrios (St. Louis)." — The short N. transept is also adorned with bas-reliefs, statues of Apostles, and frescoes by the same masters as those in the S. transept. 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 Henaff. Lastly, four chapels with paintings by Basset, 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. II. FROM THE HALLES CENTRALES TO THE PLACE DE LA REPUBLIQUE. Conservatoire des Arts et Metiers. The Eue de Turbigo (PI. R, 2i ; ///) , a handsome new street, beginning at the Pointe St. Eustache at the end of the Rue Mont- martre, leads to the Place de la Republique (p. 58). It soon crosses the Rue Etienne Marcel (p. 165), in which, near the point of in- tersection, rises the Tour de Jean sans Peur, a fine specimen of the defensive architecture of the i5th cent., disengaged from the hou- ses by which it was formerly enclosed. This tower, with its pin- nacles and pointed arches , once belonged to the Hotel de Bour- gogne, where the Confreres de la Passion established their theatre in 1548. A 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- hastopol , which we follow to the left. At the end of a side-street, on the right, rises St. Nicholas-des-Champs (p. 170). Farther on, also on the right side of the boulevard, is the pleasant Square i>es Arts et Mi^tiers, in front of the Conservatoire of that name. In the centre of the square rises a lofty column surmounted by a Victory 168 G. CONSERVATOIRE DES ARTS ET METIERS. in bronze , by Crauk , with a pedestal bearing the names of the Crimean yictories. On each side are small basins adorned with bronze figures of Agriculture and Industry, by Gumery, and Com- merce and the Arts, by Ottin. On the S. side of the square is the Theatre de la Ga7te (p. 31). The *Conservatoire des Arts at Metiers [FL R, 24 ; ///) , the great industrial museum of Paris, is open daily from 10 to 4 (Sun., Tues. , and Thurs. free; on other days special permission neces- sary). The machinery is set in motion on Sundays only. All the articles bear inscriptions. The collections preserved here are prob- ably the most extensive of their kind in Europe. This handsome edifice was formerly the Benedictine Abbey of St. Martin des Champs, but was secularised in 1789, and is now thoroughly restored and disengaged from other buildings. The portal, erected in 1848-50, bears an inscription recording that the abbey was founded in 1060, that the foundation of the Conservatoire was decreed by the Con- vention in 1794, and that it was transferred to this edifice in 1798. The principal entrance is in the court, in the centre. Ground Floor. The Vestibule and the '■ Salle-Echo\ which adjoins it, contain ploughs, a rolling-machine for metal sheathing, and a model of the screw-steamer 'Danube". The acoustic properties of the Salle- Echo 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. IsoRTn Side (to the left). — tsalle 1. French and foreign weights and measures, most of them standards. The staircase to the left leads to the 1st N. Wing on the first floor (p. 169). — Salles 2-4. Watchmaking apparatus; chronometers; anemometers; escapements and pendulums; automata; artistic locks, etc. — Salles 5, 6. Geometrical and astrono- mical instruments ; relief-plans ; quadrants ; globes moved by clockwork, etc. — Room 4 is adjoined by the — North Wing, which contains objects connected with architecture and mensuration (Consivurtions Civiles and Giomitrie Descriptive). We leave the gallery and the room to the left unvisited for the present and turn to the right into Salle 1. Building and paving materials. — Salle 2. 3Iodels for instruction in geometry ; drawing instruments. — Salle 3. Beams of timber and iron ; prepared stones. — Salle 4. Models illustrative of bridge- building. — Salle 5. Models of house-building, workshops and tools. — We now enter the Gallery, which contains large models of mining and boring machines, cranes and other appliances for lifting heavy weights, and specimens of diti'erent kinds of building stones. — Salle 6. Building materials ; models of stoves and other heating apparatus. South Side (to the right). Salle 1. Objects connected with the manufacture of iron (Milalhwgie du Fer) ; models of machines, furnaces, and workshops ; specimens of ore ; handsome trophy of graphite. — Salle 2. Mining models ; copper, lead, and zinc metallurgy ; blast furnaces, venti- lating and boring machines. — Salles 3, 4 Agriculture; models of im- plements, granaries, and silos; specimens of grain, fruit, etc. S. Wing, to the left. Valuable collection of ploughs and other implements ; heads of cattle. — We now retrace our steps and turn to the left into the old — Church, the choir of which dates from the 12th, the nave from the 13th cent ; the decorative painting has been skilfully restored. In the centre is a statue of Papin, discoverer of the elasticity of steam, by A. Millet. The machines here are set in motion on Sundays (Galerie d'Essai). — From the church a staircase ascends to the — G. CONSERVATOIRE DES ARTS ET METIERS. 169 First Floor, whicli we traverse from S. to N. The first part of the Galekie Pkincipale contains models of wind-mills, a ship, hydraulic and steam machinery. Xear the middle the series is interrupted by the col- lection of machines worked by hand (Machines Outils), part of which is contained in an adjoining room to the left. Among the interesting ob- jects in this collection are several machines by Vaucanson (d. 1782J. — The centre of the Galerie Principale and part of the E. corridor (next the garden) are devoted to the Railway Collection (Chemins de Fer). Farther on, the tirst N. wing (see below) opens to the left. The end of the gal- lery and an adjoining room contain chemical apparatus (Arls Chi/niqnes) and various culinary and domestic appliances and models. I. N. Wing (to the left of the Galerie Principale). Spinning and weaving machines (Filature et Tissage). Sec. 1 : Tools and machines for the preparation of textile fabrics. — Sec. 2 : Spinning and weaving looms; to the right a large loom on Vaucanson''s system ; to the left a model of the Jacquavd loom. Specimens of woven fabrics. — Sec. 3: Silk fabrics; dyed goods; tapestry from the Gobelins and Beauvais; a large Sevres vase. II. X. Wing (to the left, at the end of the Galerie Principale). Contin- uation (jf the Arts Chimiques , and four rooms devoted to the Arts Gra- phiques. — Salle 1. Apparatus for carbonising wood and for the manipula- ti(m of coals. — Salles 2 «fe 3. Paper-making; the raw material used in the manufacture, and various kinds of iinished paper. — Salles 4 A; 5. Typography, engraving, and lithography ; printing-presses, writing and copying machines, products of the graphic arts. — Salles 6 & 7. Photographs. III. ]^. Wing (opposite the last, on the side next the garden). Contin- uation of the Arts Chimiques; also glass (Verrerie) and porcelain (Art Cera- juique). — Salle 1. Chemical apparatus and products, such as powder, lime, gypsum, and cement; machinery for finishing, dyeing, and printing textile fabrics. — Salle 2. Modelling workshops (Ateliers); furnaces and machinery for making porcelain ; porcelain statue of Bernard de Palissy (p. 14U) ; objects in hard and soft porcelain, some with very interesting ornamentation; enamels; fayence. — Salle 3. Glass and crystal; a lion and a serpent in sp\in glass, the result of 30 years' patient toil ; artilicial gems ; a lump of avanturine. — Salle 4. Foreign glass and pottery. Parallel with the Galerie Principale, on the side next the garden, runs a Corridor, commanding a view of the new Ecole Centrale des Arts et Manufactures. Sec. 1 ; Models and devices illustrating Kinematics^ or the theory of mechanical motion, especially the various kinds of transfor- mation and transmission of motion; indicators; dynamometers; winches, capstans, cranes; calculating machines. — In the middle are objects be- longing to the railway collection mentioned above. — Sec. 2 : Physical Cabinet. Electrical, acoustic, and optical instruments; telegraphic models, telephones, mirrors, musical instruments. S. Wing. Physical Apparatus. Instruments for the study of the laws of gravity, impact, and momentum; electric and electro-magnetic ma- chines ; thermf)meters, hygrometers, barometers. The "'Refectory of the ancient abbey, a beautiful Gothic hall, 47 yds. in length, and Vj-z yds. in width, erected about the middle of the 13th cent, by Pierre de Alontereau (p. 206), has been judiciously titted up as a Lihrarii (20.000 vols.). The vaulted ceiling with its handsome mould- ing is borne by seven slender columns, and the whole saloon is tastefully painted and gilded. The library is open to students only, from 10 to 3 and from 7.30 to 10 o'clock daily, except on Mondays, when it may be in- spected by the public ; a glimpse of it may, however, be obtained on other days. Entrance in the court, to the right. Courses of public lectures, embracing the various provinces of in- dustrial activity, for the benelit of artizans and others, are delivered here (see notices at the entrance). — The building to the N. (left) of the main entrance contains the 'Porfefeuille Indzisfriel\ where drawings of the newest machinery are exhibited for copying or study. The plans and specifications of patents are deposited and trade-marks are registered here (adm. daily 10-3, except Mon.). 170 6. PRISON DE LA ROQUETTE. The Rue St. Martin, which passes in front of the Conservatoire des Arts et Me'tiers, leads to the N. to the neighbouring boulevard and gate of the same name (p. 58). A few paces in the opposite direction (S.) is situated the church of St. Nicholas-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 high-altar is adorned with an Assumption by Sim. Vouet. 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 , and thence to the Square du Temple (p. 58). We follow the Rue de Turbigo, which passes the new Ecole Centrale des Arts et Manufactures, the Ecole Municipale Turgot, and the back of the church of Ste. Elisabeth, and soon reach the Place de la Republique (p. 58). III. FROM THE PLACE DE LA REPITBLiaUE TO PERE-LACHAISE. The Cemetery of Pere-Lachaise being nearly l'/2 M. distant from the Place de la Eepublique, the visitor is recommended to drive thither. Luncheon may be taken at one of the restaurants in the Boul. de Temple (p. 57), as those near the cemetery are inferior. The Avenue de la Republique {VI. R, 27 ; ///), formerly Avenue des Amandiers , is to be prolonged to the cemetery , but is only completed as far as the Boul. Richard-Lenoir. Leaving the Place, we follow the Boulevard Voltaire (Pi. R, 26, 29 ; ///), a hand- some modern street, 2 M, long, leading straight to the Place de la Nation (_p. 199), and traversed by the tramway to Vincennes. To the left, 1/2 M. from the Place de la Republique. rises the hand- some Romanesque church of St. Ambroise (PI. R, 29), erected by Ballu in 1869, The faijade is flanked with two fine towers, 223 ft. high. Mural paintings in the interior by Lenepveu and stained glass by Marechal. — We next reach the Place Voltaire (PI. R, 29), which is to be adorned with a Statue of Voltaire, by Maillet. Crossing the Place to its E. angle, we now follow the Rue de la Roquette, a street now in process of reconstruction, 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 De- tenus. Between these two prisons is the public place of execution. On 24th May, 1871, during the Communist '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 Allard, 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 fiendish spirit of revenge. 0. p>:re-lachaise. 171 Depots of tombstones and shops for tlie 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 (PI. R, 32), or Cimetiere deVEst, 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. — On 30th March, 1814, the cemetery was the scene of an engagement be- tween Russian and French troops, in which the former were victo- rious. On the 25-27th May, 1871, a series of violent struggles took place between the Communists, who had taken up and barri- caded a position here, and the Versailles troops advancing from the Place de la Re'publique 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. 190), and Montparnasse (p. 246). These, however, would hardly suflice 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 4U-50 coflins. Burials in 'common' graves now take place in the cemeteries outside the precincts of the city only, such as those of St. Ouen (p. 192) and Ivry. A Concession Temporaire, providing that the grave shall remain undisturbed for 10 years, costs 150 fr. A co7icession a perpituiti, or private burial-place, may be secured for 500 fr., or half that sum for a child under seven. 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 ll'/s sq. ft.) beyijnd six being 1000 fr. All biirials within the Department of the Seine are undertaken by the Compagnie des Pompes Fun^bres, Rue d'Aubervilliers. 104, whose charges are regulated by tariff, varying from 12 fr. 75 c. to 7144 fr., exclusive of the fee of the o'fliciating clergyman. Two chaplains are attached to each cemetery for the gratuitous performance of the burial-service for the poor. In summer the cemetery is open from 6 a.m. till 7 p.m. ; in spring, autumn, and winter from about sunrise to sunset. Half- an-hour before the closing of the gates a bell is rung, and the custodians call out, "On ferine les portes\ allowing ample time for visitors to reach the gates. Visitors are not permitted to carry anything out of the cemetery without a ^laisser-passer. It may be observed here that it is the invariable custom for persons to take oiT 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. 172 6. pJ:re-lachaise. Even a superficial survey of the most interesting monuments in the cemetery will occupy 3-4 hours. The number of mon- uments 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 architecture. Well- shaded walks and avenues intersect each other in every direction, and many of them afford an admirable view of the city. We follow the route indicated on the plan by means of arrows. Visitors pressed for time may omit the monuments described in smaller type. We follow the second lateral avenue to the right , called the Avenue du Puits. — To the left: P. L. Dulong (d. 1838), chemist and physician ; an obelisk with medallion by David d' Angers. — Farther on: *Abelard (d. 1142) and Helo'ise (d. 1164), a sarco- phagus with recumbent statues, beneath a Gothic canopy, recon- structed from the fragments of an old monument by Alex. Lenoir (p. 232), and recently restored. Abelard, according to the well-known story, was a learned theologian, who, having married his pupil Heloise, was afterwards separated from her hy jealous relations and cruelly mutilated. The monument is partly constructed of fragments from the convent of Paraclet, near Nogent-sur- Seine, which Abelard had founded, and where the tomb was originally situated. The tomb is often decorated with fresh flowers and wreaths, the oflerings of those who regard this as the shrine of disappointed love. To the W. of this point lies the Jewish burial-place (p. 178). Visitors whose time is limited should now ascend the Avenue Casimir-Perier to the Grand-Kond (see below). In the lateral path, to the left: Serve (d. 1857), captain of cavalry. — We now ascend to the left by the second side-path. On the right : '^Baron Desiassayns ; a weeping IJgure by Pdcci. On the left: ' Fr. Lebi'un (d. 1824), Duke of Piacenza, once Third Consul after the 18th Brumaire, and trans- lator of Homer and Tasso, as indicated by the genii. On the right: Victims of June, 1832. — On the left: Marshal Lauriston (d. 1828) ; also a chapel of the Larochefoucaulds. — We turn to the right here and return in the opposite direction, by a path flanked with hand- some new moniiments, to the narrow walk, where we observe the tasteful Chapelle Boutet. We then again ascend to the left by another path flanked with imposing modern chapels. At the top, on the left : Nilatoii (d. 1873), an eminent physician ; chapel of the De 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 right: Bail; a handsome 'pleureuse' in marble. Farther on, to the right, near the edge of the other walk : Count La Bidoyere, colonel of the lirst 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 Belliine (d. 1841), marshal of the empire, and French ambassador in Vienna under Louis XVIII. — We now reach the — Granu RoND. — In the centre: * Casimir Perier (d. 1832), deputy, a famous orator, and minister of Louis Philippe ; a statue in bronze by Cortot, on a lofty pedestal. — On the N. side : *Raspail (d. 1878), the famous democrat; a covered monument adorned with 6. Pi:KE-LACHAISE. 173 crowns ; admirable bas-relief by Etex , in memory of the death of Kaspail's wife during his imprisonment for the conspiracy of May, 1848, to dissolve the National Assembly. — Farther on, to the right : *Crusol d't/zes, general; handsome allegorical bas-reliefs. — Nearer the Grand-Rond, to the left of Raspail: Gall (d. 1825), the phren- ologist; Monge (d. 1820), the mathematician. We now follow the broad Avenue de la Chapelle as far as the Chemin Me'hul, the first side-path to the left. On the right, op- posite a broad walk to which we shall return : Talma (d. 182G), the famous tragedian. Our walk turns to the left. On the right: Ra- vrio (d. 1814), manufacturer of bronze. Then, on the left: *Clieru- bini (d. 1842), the composer; bas-relief by Dumont. Right : *Denon (d. 1825), director of museums; statue by Cartellier ; Gohier (d. 1830), president of the Directory ; medallion by David. Left: *Cho- pin (d. 1849), pianist and composer; statue by Clesinger. Behind : *Wilhem (d. 1842), composer; medallion by David. We turn to the left of the clump of trees. Right, a little way back: *Borsa (d. 1820); monument with a high relief; farther on, Lallemand (d. 1820), a student killed during the riots connected with the election laws; Schnefder (A. 1845), deputy; Jos. Pleyel (d. 1831), pianist; Herald [d. 1833), composer; Mine. Blanchard (d. 1819), an aeronaut who perished while making an ascent. Again turning to the left, we enter a plot specially dedicated to artists , round which we have already passed. This is one of the oldest parts of the cemetery , where the monuments are disposed with little regard to regularity. To the left of the walk opposite Talma: the two Brongniarts, the mineralogist (d. 1847), and the architect (d. 1813); on the right, Lesueur (d. 1837), composer; opposite, Delille (d. 1813), the poet, a tasteless monument in a degraded style. Behind: *5eiimi (d. 1813), the composer, whose remains have been removed to Catania, his native place; Gretry (d. 1813) and Bo'ieldieu (d. 1834), composers. We cross the walk we have hitherto followed, pass a column in memory of Mme. Lavoisier., skirt the monument of Casimir Pe'rier on the right, and follow the Avenue des Acacias, to the right of Raspail's tomb. — On the left: Charnpollion (d. 1836), the cele- brated Egyptologist. Then : Kellermann (d. 1820), Due de Valmy, marshal of France. Higher up is the Demidofif Chapel (p. 175). Then: D osne- Thier s fa.mi\y, with the grave of the famous states- man. Serres (d. 1868), professor of medicine, *A. Duchesyiois (d. 1835), the tragic actress ; bas-relief by Lemaire. — Right : Martt, Due de Bassano (d. 1839), diplomatist, and minister under the first empire; a temple with Doric columns, without inscription. — Left: Sieyes (d. 1836), the statesman, member of the Convention and Di- rectory, and consul after the 18th Brumaire. Then, right: *Panhard Dufour, a handsome chapel. Left: *Gouvion Saint Cyr (d. 1830), marshal of the empire; statue by David. Macdonald (d, 1840), Due 174 6. PERE-LACHAISE. (ie Tarente, marshal of the empire. Right : chapel of the De Bire family, containing a *Bas-relief of Christ as the vanquisher of death, by Duseigneur. To the left, above, Baron Gobert (see below), an equestrian statue. Below: Frochot (d. 1828), first prefect of the Seine. Right: *Ch. de Lavalette (d. 1830), general, and director of the post-office, who was condemned to death in 1815, but es- caped from prison by exchanging clothes with his wife. Left: Dupuytren (d. 1835), the celebrated surgeon. Right, before we reach the lateral avenue: Monod {d. 1826), president of the con- sistory of the Protestant church. On the left of the side-walk: Count BeUiard (d. 1832), general, and French ambassador at Brus- sels. Behind : large chapel of the Marquise de Dalmatie (d. 1866). Right, a little way back : *Schickler, a chapel with caryatides, facing the other direction. * Sepulture d'Hauregard, Renaissance chapel, with statues. From this point we enjoy a fine view in the direc- tion of Vincennes, the tower of which is distinguishable. Returning to the Avenue des Acacias, we observe on the right the monument of Eugene Scribe (d. 1861), the well-known dramatist. Farther on we ascend a flight of steps to the Chemin des Anglais, on the right. Eight: large chapel of the De Rougemont family. Farther on, left: Desturs, a handsome Renaissance chapel. Adjacent: Count Monserrat fd. 1820), general. Left, beyond a footpath : Picard (d. 1829), dramatist. Right : Audiffret. Left: Admiral Sir Sidney Smith (d. 1840), who defeated Napoleon at St. Jean d'Acre in 1799. Farther on, right: "^ Triqueti {A. 1874), sculptor; bas-relief of the Raising of Lazarus, by himself. We turn to the left and follow the Avexue Tkaxsversale. At the cor- ner: A. de Bruges (d. J820), general. On the same side: D. de Pradt (d. 1837), bishop of Malines, statesman, and publicist. ' Forestier, with a statue by Toussaint. Beyond a footpath : Count Truguet (d. 1839), admiral and statesman. Right: Enfantin (d. 1864), the St. Simonian; colossal bust by Millet. Left, in descending: Count Pacthod (d. 1830), general. At the corner, right: Delanneau{d. 1830). Then: *Marshal Suchet (d. 1826), Due d'Albufera. 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 ; a monument by Bosio and Jacques. Then, left: Larrey (d. 1848), surgeon. Farther on: *Baron Gobert, 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 Key (d. 1815), Prince d'Elohingen and Due de la Moskowa (see p. 246) ; 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, Wallaehia; 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: Stan, de Girardin (d. 1827), politician. Then Girodet-Trioson (d. 1824), the painter. At the end of the walk, to the left, beyond a lateral path : family of V. Hugo. In the walk leading hence to the right , on the left side : C. Jordan 6. Pi:RE-LACHAlSE 175 (d. 182i), member of the Council of Five Hundred. Farther on, left : Tur- pin (d. 1840), naturalist. Then the mausoleum of Boode, merchant of Amsterdam. Cambac^ris (d. 1824), jurist, and second consul after the 18th Brumaire. Behind, right: Bourke (d. 1821). Danish ambassador; bas- relief by David d'Angers (d. 185G), whose own plain monument is in the third row, not far from Boode. — At the end of the walk, left : Admiral Decr'es (d. 1821), duke and minister of the first empire. We have now regained a part of the cemetery which we have already visited, and we enter the clump of trees to the right, soon reacliing the large and handsome chapel of Lord Seijmour ; then that oi Marshal 3/orlier (d. 1835), Due de Trevise, and minister. Then Manuel (d. 1827), popular deputy, and B4ranger (d. 1857), the poet, buried, according to his wish, in the same grave as 3Ianuel. To the right, three columns of the brothers Lameth (d. 1829, 1832, 1854). We next follow the walk 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 (A. 1855J. Left: the two Gamier-Pages (d. 1841, 1878), distinguished politicians; monument by David. *Geoffroy St. Hilaire (d. 1844), naturalist; medallion by David. '■^•Demidoffj 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 ; tine view. At a corner: Gaudin (d. 1841), Due de Gaete, and min- ister. Left, in the same walk : *Duret (d. 1865), sculptor ; bas-relief and medallion. Then Mazet (d. 1871), lieutenant. Nearly opposite this walk: Desauj/i'ers (d. 1827), poet. Right: Pradier fd. 1852), sculptor. We now ascend the Chemin Moliere et Lafontaine to the right. Right: Gay-Lussac id. iSoOy chemist. Left : La/'onf a/?ie(d. 1695), fabulist, and Moliere (d. 1673), dramatist, transferred hither in 1804. Farther on : Le Roi et MailLand; surmounted with a fine sta- tue of Cleopatra. To the right of the walk which begins nearly opposite Gay- Lussac : Laplace (d. 1827), mathematician. A little way back: Count Ahoville (d. 1843), general. Among the trees, nearer the walk : Gros (d. 1835), painter; and, farther off, the large obelisk of Countess Gemont. To the left of the path we have just quitted: Count de Valence (d. 1822). Behind : Dauhigny (d. 1878), painter, ■with a bust. Farther on, to the left : Marquis de Perignon [d. 1818), marshal of France. Transverse Avenue (which we have now regained). Left: Gourgaud (d. 1852), general. Farther on, right : ^Aguado (d. 1842), financier. Left: Rogniat {^d. 1840), general. Then the *^l/(ir(/i<<\«< d'Argenteuil ( d. 1838), founder of several charitable institutions. "We retrace our steps and descend to the right. Left, somewhat hidden: Ingres {i. iSdl). liistorical painter; bust by Bonassieux. Right side of the avenue: "M. Schoelcher (d. 1852); high "relief in bronae by Fromanger. — We take the walk to the left, and then ascend the avenue parallel with the last. Xearly opposite the walk : ' Vve. Schoelcher (d. 1839); recumbent figure in bronze. We now regain the avenue. 176 6. PERE-LACHAISE. Transverse Avenue (oontinuation). At the corner beyond the Marquis d'Argenteuil : Persil (d. 1841), deputy. At the other corner: the handsome De Tence chapel. In the first walk to the right: Kardec (d. 1869), 'fondateur de la philosophie spiritiste'; a curious monument in the form of a dol- men. ^Marquis de Casariera, a large chapel containing a statue. In the transverse avenue, left : Daoust, Micard^ and Eepond, three handsome monuments. — At the end of the avenue : *F. de Beaujour (d. 1836), formerly consul, a conspicuous pyramid 105 ft. in height, visible from the Arc de TEtoile, and commonly called the 'pain de sucre', erected by himself at a cost of 100,000 fr. — Nearer the path : Dias-Santos ; a lofty pyramid with sculptures by Fessard. View of Paris from the back of the Beaujour monument. The upper part of the cemetery, formerly used for temporary graves and 'fosses communes'', contains few monuments as yet. The Mussulman Cemeterii. which is always closed, contains the graves of the Queen of Oude (d, 1S57) and her son (d. 1858). We again descend to the left. On the left : Beauce (d. 1875), painter. Eight: Em. Souvestre (d. 1854); Balzac (d. 1850); left: Ch. Nodier (d. 1844); *C. Delavigne (d. 1843): four well-known authors. At the corner to the right : *Mme. de Farerolles ; *Delphine Camhaceres ; Lachambeaudie (d. 1872), fabulist; Soulie (^d. 1847), novelist. — Lower down : *I)orian (d. 1873), manufacturer, and minister during the siege of Paris ; statue in bronze. Behind : *Mme. Moris (d. 1875) ; group in bronze. Higher up : *Duc de Morny (d. 1865), politician and minister, a natural brother of Napoleon III.; a chapel designed by Yiollet-le-Duc. To the left of the other walk : *Michelet (d. 1875), the historian ; high relief by Mercie. Then Del- pech (d. 1865), engineer; Buloz (d. 1877), editor of the 'Revue des Deux Mondes'. Beyond the next corner : Savalle (d. 1864), en- gineer; Andrianoff, RussiMi 'danseuse'. Left: Delacroix i^d. 1843), painter ; a very plain memorial, as desired by the deceased. On the lateral path passing to the right of the Savalle tomb, left: Crozatier [d. 1855), sculptor. Right: handsome Gothic chapel of the Guilhem family. — Farther on we descend to the right. On the right side : Fabre (d. 1839) , dramatist. — On the adjoining walk, left: *Roelofson (d. 1871); marble tombstone with bas-relief. The Cemetery Chapel contains nothing noteworthy. To the right a large monument is being erected to Thiers (d. 1877; p. 173). — We turn here to the right into the Avenue db la Chapblub, which is flanked with many handsome new monuments. Right: Deseze (d. 1828), one of the defenders of Louis XVI. *CarteUier (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 marble. Then to the 6. PERE-LACUAISE. 177 right : Ragot ; a Renaissance chapel. Left: Guegnier ; a chapel with a fine pediment. Adjacent : Acard ; a large Renaissance chapel. Right : *Qreger; a Byzantine chapel embellished with paintings. Left: Zuaznuvar ; a fine Romanesque chapel; Hellerat, a Byzantine cha- pel; Errazu, -with four symbolical statues by M. Meusnier. Right: Jourde ; a fine Renaissance chapel. Left: Schmit, a curious-looking chapel; Horeau^ monument of a young girl, regarded as one of the curiosities of the cemetery; Marie Royer (d. 1873), of the Comedie Fran^aise. Right: Mo uc/iot^c ; Romanesque chapel. At the corner: *Cail (d. 1858), engineer; a chapel with a dome. At the end of the avenue, left: ^Soldiers who fell in 1870-71 ; a pyramid of granite with four bronze statues of soldiers by Schroe- der and Lefevre , erected by Government. Adjacent : National Guards killed at Buzanval (19th Jan., 1871). *Jean Reynaud (d. 1863), philosopher and publicist; figure of Immortality by Chapu and bronze medallion by David. In the avenue ascending past the Call chapel, right : Barillet (d. 1873), gardener to the city of Paris. Farther on, left: Grisar (d. 1869), composer; Lebertre , a fine Renaissance chapel. Right, near Dorian (p. 183): Desclee (d. 1874), actor. We now descend by the avenue to the right of Dorian. Left: Convents (d. 1877), architect. Molz family , a handsome granite chapel with a bronze coping. Ricord (d. 1876), medical specialist; a fine Renaissance chapel. *Countess d'Agoult (d. 1873), who wrote under the pseudonym of Daniel Stern ; a sumptuous white marble tombstone with an allegorical relief. Opposite : Segalas (d. 1876), member of the Academy of Medicine. — Lower down runs the Ave- nue de la Chapelle, which we have already seen. We now descend the flight of steps by the Boutillier monument. A path to the left is flanked with the handsome tombstones of per- sons unknown to fame. Left: /. Belloir; a handsome granite sarcophagus with gilded ornamentation. Higher up, right: Perelli (d. ISTl), comman- dant of carabineers: bust in bronze by Jlarchi. Among the trees, farther back: Martinet (d. 1867), printer; medallion by Etex. Then David (d. 1825), the painter; medallion in bronze. Lower, at the corner: Neigre (A. 1847), general of artillery. In the lateral walk is the tasteful Gothic chapel in marble of the Bourhonnaud family. 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. To the left of the parterre, in descending : Pozzo di Borgo (d. 1842). a Corsican, afterwards a Russian diplomatist and a bitter antagonist of Napoleon I.; a colossal bust in bronze. Adjacent: Marchal de Calvi (d. 1873), physician; a bust in bronze. At the cross-way: the handsome Hauioy chapel. We again ascend to the left of the parterre and turn to the left. At the angle of a footpath, left: the handsome Renaissance chapel of the Bouhey family. At the corner of the Avbnub Circulairb , left: Waleioski {d. Baedeker. Paris. 8th Edit. 12 178 6. PllRE-LACHAISE. 1868), statesman ; a large and handsome mausoleum. A little higher, on the right side of the avenue : *'Anjubault (d. 1868), mechanician ; a 'pleureuse' by MaiUet. — We now descend the Avenue Circulaire. Left : Mottet, and opposite to it E. Perier, two fine Gothic chapels. Right: Luzarraga ; opposite, Cabirol ; two handsome Renaissance chapels. Then, left: Count Pepoli (&. 1867); a handsome sarco- phagus. Right : Prince Pignatelli (d. 1868); with a bust. We next observe the Danloux-Dumesnil chapel. On the left of the parterre : Ybry ; a singular-looking chapel in granite. Left: Ornano. The upper part of the Avexub Pbincipalb, which we now reach, is one of the most interesting portions of the cemetery. Left: Visconti, father (d. 1818), philologist, and son (d. 1854), architect; Beule (d. 1874), archaeologist; *Dantan (d. 1842), sculptor; a family- vault; Ach. Fould [d. 1869), minister of finance; Rossini (d. 1868), composer; Alf. de Musset (d. 1857), poet (beautiful lines inscribed on the monument, written by the deceased) ; Ph. Beclard [d. 1864), ambassador; * Clement- Thomas et Lecomte (d. 1871), the first vic- tims of the Commune, with sculptures by Cugnot; Lebas (d. 1873), the engineer who erected the obelisk in the Place de la Concorde ; *Lenoir et T at- in, with a 'pleureuse'. In the centre of the Avenue, Monument de Souvenir , to the memory of the dead whose graves are not denoted by monuments. — 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 fd. 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.l870), advocate and politician; Lefebure- Wely (d.iSQ9\ 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 interesting bas-reliefs. The CiMETiERE IsEAELiTE (closod ou Sat.), which is reached by the neighbouring avenue (see p. 172), is of small extent and con- tains few monuments of architectural interest. Right : Mile. Rachel (d. 1858), the tragedian. Behind it, the rich Epstein chapel. Far- ther on, to the left of the path : chapel of the Rothschild family. Right : Schloss and Allegri. At the back : Mme. Fould, noted for her charity. Left: Singer, with fine bas-reliefs. Nearer the wall, in returning: Javai (d. 1872), deputy; Wallerstein, Robles [cunoxis bas-relief of Silence, by Pre'ault), and Portoriche. A little to the N. of Pere-Lachaise , on the right side of the Boulevard de Menilmontant, rises the church of Notre-Dame-de-la- Croix (PI. R, 30), a fine Romanesque edifice, built in 1865-70, with a spire rising above the portal. As it stands on a height, it is visible from a considerable distance. Farther on in the same di- rection is the park of Les Buttes-Chaumont (p. 187). 179 7. From the Palais-Royal to the N.E. Quarters. I. FROM THE PALAIS-ROYAL TO NOTRE-DAME-DE-LORETTE Bibliotheque Nationale. The Rue de Richelieu (PI. R , 21 ; //) , a street 1000 yds. in length, which passes on the E. side of the Palais-Royal, leads direct from the Place du The'atre-Fran^ais and the lower end of the Avenue de I'Ope'ra (p. 75) 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 in the house opposite (No. 34). 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. At the corner to the right is the — Bibliotheque Nationale ( PI. R, 21; //) , formerly called the Bibliotheque du Roi, and afterwards the Bibliotheque Imperiale. It occupies the entire block of buildings formed by the Rues de Riche- lieu, des Petits-Champs, Vivienne, and Colbert. The principal en- trance is in the first of these streets, opposite the Fontaine Riche- lieu (p. 183). The library stands on the site of the palace of Car- dinal 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 on the Rue Vivienne and the Rue des Petits-Champs are modern. The Bibliotheque Nationale is open daily, 10-4 o'clock, except on holidays and during the fortnight preceding Easter Monday ^ but these exceptions do not apply to the public reading-room. All the other rooms are reserved for purposes of study, and are only shown to visitors provided with a ticket from the 'administration'' (p. 180). There are, however, rooms for the exhibition of geographical charts, printed books, MSS., and engravings, and a cabinet of medals, which are open to the public on Tuesdavs and Fridays (the first four collections 10-4 o'clock ; the last 10.30 to 3.B0). All these objects except the medals are catalogued. 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 Fvaneis /., 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. Twenty years later Henri II. added the provision that each copy so furnished should be printed on vellum and handsomely bound, but for this an act of parliament afterwards substituted two copies printed on ordinary paper. On the expulsion of the Jesuits, IJenyi IV. transferred the library to their college at Clermont, and used the confiscated wealth of the order in encasing the books in rich and handsome bindings. On the return of the Jesuits in 1604 the library had to undergo another removal; and it changed quarters atrain during the reign of Louis XIII., and in that of Louis XIV. (1684) when it numbered 40,000 printed books and about 1100 MSS. Finally, in 1724, on the proposal of the librarian Abbi Bignon , it was accom- modated in the Hotel Mazarin. The Bibliotheque Nationale, probably the most extensive in the 12* 180 7. BIBLIOTHfiQUE NATIONALE. world, is divided into four departments : (1) Books and Maps ; (2) MSS. ; (3) Engravings; (4) Medals and Antiques. Tlie 1st Department (Imprimes , Cartes et Collections Geogra- phiques) comprises alsont 2,500,000 vols., tlie bookcases containing which , if placed in a continuous line , would extend to a distance of 35 miles. Most of the books are copies of the best editions, and they are all carefully bound. There is no complete catalogue as yet ; 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 Publique de Lecture is temporarily by No. 3 Rue Colbert, while that of the new Salle de Travail (see below) is by Rue de Richelieu 58, near the fire-engine station. 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 without a 'laisser-passer' from one of the librarians. On entering the Salle de Lecture the visitor receives a slip of paper ('bulletin''), on whicli he writes his name and address. The employes 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 next applies to the 'conservateurs' or librarians at the office in the middle for another 'bulletin'. On this he writes the name and description of the work he desires to consult, to- gether with his name and address, and returns it to the office, after which he waits till the book is brought to him. No applications are received after 3 o'clock. Ink is provided for the use of visitors, and all the rooms, particularly the Salle de Travail, are abundantly supplied with dictionaries, encyclopaedias, and other books of reference. A table in the Salle de Tra- vail is set apart for reviews and other periodicals. For farther details, see the notices affixed to the doors of the different saloons. The Salle de Travail (entrance see above), 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 fayence. At the end of the hall is a semicircular space where the officials are employed, and behind them is the 'Magasin', which is also lighted from above and is traversed by a number of longitu- dinal and transverse passages. The hall contains seats at the tables for 334 persons, and is warmed by means of hot-air pipes in winter, — A glimpse into this hall is obtained by visitors on their way to the exhibition-rooms (see below) , by looking through a window in the vestibule. At the end of the vestibule is a staircase , at the foot of which are Roman inscriptions from Troesmis , an ancient city of Lower Mcesia (now Bulgaria). On the right is the department of the en- gravings (p. 182). Beyond the staircase is the entrance to the temporary offices of the Administration^ and to the left is the — Salle d'Exposition Geographiqub (admission, see p. 179). The most interesting objects are labelled. Among them may be mentioned two enormous globes , about 13 ft. in diameter , which 7. BIBLIOTHfeQUE NATION ALE. 181 are sunk into the floor of a room above. They were made by Vine. Coronelli, a Venetian , in the latter half of the 17th century. One represents the earth in accordance with the geographical knowledge of the period , and the other the position of the celestial bodies at the birth of Louis XIV. Around the hall are charts of seaports and MSS. of great value, from the 14th cent, downwards ; also manu- script maps and plans. In tlie centre, small globes, reliefs, etc. The Sallks d'Exfosition des Imprimes et des Manuscrits (admission, see p. 179) 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 Vivienne. The second, the Galerie Mazarine, is a remarkably fine saloon. It is reached by the staircase above mentioned. At the top of the staircase are views and votive tables brought home by Bonaparte's Egyptian expedition. 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 walls, copies of epitaphs. In the glass-cases 1, 2, 3, 5, superb bindings, with the arms of the kings of France from Francis I. downwards. In the 4th case, by the window: 369. Christianisrai Restitutio, by Michael Servet , a copy saved from burning; 371, 372. Hippocrates and Theophrastus with Rabelais' autograph-, 373. Philon le Juif, with Montaigne's signature; 374. Sophocles, annotated by Racine ; 376,377. Manuscript music by Rousseau and Gluck. Room II. This large saloon, called the ''Galerie Mazarine, has a fine ceiling-painting by Romanelli (d. 1662) : Romulus and Remus suckled by the Wolf, Mars and Venus, Rape of Helen, Burning of Troy, Ganymede carried off, 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 presses and glass-cases contain (ist half of the saloon) printed works, bindings, and (2nd half) MSS. Presses VII, VIII, to the right of the entrance: books printed in Italy and Spain. — IX. Impressions from wooden types ; others by Fust and Schoffer. — VI. In the centre of the saloon: books of the largest size, on vellum and paper; superb bindings of the 16th cent., and one above, in embossed silver, of the 17th cent. — XXI-VI. (returning towards the entrance) : books printed in different towns of France, and abroad. — XXVII-IX. (in the centre) : books printed at Paris , bindings ; books printed at Strassburg, Mayence, and Bamberg. Second half of the gallery (MSS.). 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); painting on wood of the 14th cent. — XI. French paleography from the time of Charlemagne down to the end of the middle ages. — XII. Paleography of Italy, Spain. England, and Ger- many for the period just mentioned. — XIII. Latin paleography , from ancient times down to the Carlovingian era. — XIV. (on the other side) : supplementary to the geographical collection; atlas and book of seaports. — XV. MSS. and Oriental and American impressions from wood. — XVI. Various MSS. — XVII. Greek MSS. — XVIII. Autographs. — XIX. Paint- ings from MSS. — XX. MSS. of kings and queens of France. — XXX, XXXI. Sumptuous bindings of the middle ages, adorned with ivory, jewels, bronze, chains, etc. — XXXII. Autographs, particularly of the 17th century. At the end, to the right, is the Section des Cartes et Collections gio- graphiques. The Department or the MSS. occupies the wing fronting the Rue Vivienne and adjoining the Galerie Mazarine, and contains up- wards of 90,000 volumes. 182 7. BIBLIOTHfeQUE NATIONALE. The Departbment des Estampbs is on the ground-floor, under the Galerie Mazarine, adjoining the staircase (p. 180). It contains more than 2,500,000 plates bound up into volumes (15,000) or ar- ranged in portfolios (4000 ). A number of the most interesting are exposed to view (Tues. and Frid., 10-4). The 1st Room is devoted to Frencli engravings. Eiglit: works by Callot, Nanteuil. Gir. Audran, Pierre Di'evet, P. Imb. Brevet, Claude Brevet, Bervic. Henriquel Bupont, etc. Tl\i& 2nd Room, or Gallery , contains engravings bound up and in portfolios. (In 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. 0th and 6th, Dutch School. Tth, Flemish School. 8th, Spanish School. The *Cabinbt des Medaillbs bt Antiques (admission, see p. 179) has an entrance of its own in the Rue Richelieu, the door beyond the police-engine station when approached from the Boule- vards , 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, glasses, vases, arms, and other curiosities. The present arrange- ments are temporary, and few of the medals are exhibited. Vestibule. On the wall at the back: Zodiacal Monument from Bendera. 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 extremely-valuable inscriptions, but badly placed. On the Staircase and in the Axte-Room, stelse. and Greek and Latin, Coptic and Phoenician inscriptions. — On the left is the — Grande Galerie. The glass-cases in the centre contain the most interesting objects. In front of Case I. are several cylinders with cimei- form inscriptions, and cut gems from Assyria, Chalda-a, and Persia; also antique intaglios. Between the 1st and 2nd case, on a lofty pedestal, the Head of a Woman, in Pentelic marble, which is said to have once graced one of the tympana of the Parthenon and to be a work of Phidias. — Case II. : Intaglios and cameos of ancient, mediaeval, Picnaissance, and modern times. Among others, from left to right: 1st Division, in the middle, *2089. Julia, daughter of Titus, in aqua marina, with medieval mounting ; 2093. Antoninus Pius. 5th Division, *318. Analogies of the Old and New Testament, a cameo of the 16th cent. ; 303. Adoration of the Magi, a Flemish work of the 15th century. Tth Division, 673, 674. Bracelets of Biana of Poitiers, each composed of seven cameos, also Renaissance work. 8th Division, '325. Francis J.; 337. Louis XI I J.; *350. Louis XIV.; *334. Henri IV. and Marie de Medicis. — Case III. (continuation of the cameos), 1st Division, *86. Amphit7-ite; 4. Jupiter, with a magnillcent mounting executed under Charles V. (1367); above, 106. Horses of Pelop; in the corner to the right. 36. Bispute hetween Minerva and Neptune; 79. Young Centaur playing the flute. 2nd Division, 158. Alexander the Great, agate mounted in enamelled gold. 8th Division, 209. Apotheosis of Germanicus; above, 190. Augustus, an antique cameo with mediaeval mounting; 227. Claudius and MessaUna in the characters of Triptolemus and Ceres. Case IV., in the centre of the hall, contains the greatest treasures of the collection: 279. Goblet of sardonyx, known as the Cup of the Ptolemies, with Bacchic reliefs, from the treasury of St. Denis ; 2779. Cup of Chosroes I. , king of Persia (d. 575), composed of medallions of rock-crystal and glass of two colours , with Chosroes enthroned in the centre , also from the 7. FONTAINE RICHELIEU. 183 treasury of St. Denis, where it was known as the 'Cup of Solomon'; 2780-81. Ti'dsor de Gourdon. a tray and flagon of massive gold (6th cent.), found at the village of Gourdon, an interesting memorial of early Christian times. *88. Apotheosis of Augustus , the largest cameo in the world, consisting of a sardonyx nearly 1 ft. in height; among the twenty-six figures are Augustus, jEneas . Julius Csesar, Drusus, Tiberius, Livia, Agrippina, Germanicus, and Caligula. This cameo was formerly in the treasury of the Sainte Chapelle, and was supposed to represent a triumphal procession of Joseph in Egj'pt. '"2778. Patere 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 medallions of Roman emperors of the family of the Antonines from Hadrian to Geta, son of Septimius Severus. 287. Bust of Constantine in agate; in front. *2781bis. Medal of Eucratides , Greek king of Bactriana , found in 1867, weighing 6 oz. or twenty times the weight of a Greek stater, while the heaviest medals previously found weighed four staters only. The remaining divisions of the case contain antique gold trinkets, Etruscan mirrors, and bronze utensils. — Cases V, VI. Roman and Greek medals (all ticketed). — Case VII. Interesting French and foreign coins. The cabinets ranged along the wall opposite the windows contain the Small Bronzes, including antique utensils and arms ; then, 702. Cailloux Michaux, an ovoid stone with cuneiform inscriptions, the most valuable Babylonian monument of the kind ; 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 door, interesting Objects in Ivory, four consular dip- tychs (presented by consuls to senators), and two mediaeval diptychs. Lastly , a silver disc , nearly 2V2 ft. in diameter, known as the •JBouclier de Scipion\ with reliefs representing the abduction of Briseis, or her re- storation to Achilles by Agamemnon. It was found in the Rhone, near Avignon, in 1656, and probably dates from the fourth cent, of our era. — The glass-cases by the windows contain the most recent acquisitions of the collection. The Salle dd Due de Lutnes , to the right of the ante-chamber, 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. — This Salle is adjoined by two New Rooms, the arrangements of which were not completed at the time of going to press. The first contains the Silver Treasure of Villeret (near Berthouville in Normandy), turned up in 1830 by the plough of a peasant, and consisting of 67 silver figures and vessels, of difl'erent periods (several of the 2nd cent. B.C.) and of various values. Also several objects from the tomb of Childeric I. (d. 481). king of the Franks, discovered at Tournai in 1655; a fine collection of me- dals; handsome furniture, and other mediaeval and Renaissance works. In the 2nd room are the Collections de Janze and Oppermann, consisting of ancient statuettes in bronze and terracotta, and a few vases; also the so-called Throne of Dagohert, claiming to date from the 7th century. Opposite the principal entrance of the Bibliotheque Nationals rises the *Fontaine Richelieu, or Louvois, in bronze, by Visconti, with statues by Klagmann representing the Seine , the Loire , the Garonne , and the Saone. It stands in the small Square Richelieu, on the site of the old Grand- Op^ra, on leaving which the Due de Berry was assassinated in 1820 , and which was taken down in consequence. A chapel was to have been erected on the spot , but the plan was abandoned after the July Revolution. Following the Rue de Richelieu, we cross, near the Bourse (p. 60"), the broad Rue du Quatre-Septembre , which leads to the 184 7. NOTRE-DAME-DE-LORETTE. left to the Place de TOpe'ra (p. 62), and soon reacli the Grands Boulevards , at a point between the Boul. de Montmartre and the Boul. des Italiens (pp. 60, 61) Beyond them, we follow the Rue Diouot (p. 61) in a straight direction. No. 9, on the left, is the Hotel des Ventes Mohilieres , seep. 67. Another important build- ing here is the Hotel du Figaro, or 'Figaro' office (No. 26), which contains a public 'Salle des Nouvelles'. At the end of the Rue Drouot runs the handsome new Rue de Lafayette, nearly 2 M. in length , which begins at the Boul. Haussmann , behind the Opera House , and leads , with its prolongation the Rue d'Allemagne (II/4 M. ; p. 187), to the N.E. quarters, passing in front of St. Vincent-de-Paul, and near the Gare du Nord (^p. 186). Turning a few paces to the right in the Rue de Lafayette , we then cross it and ascend the Rue du Faubourg - Montmartre , and soon turn to the left into the handsome new Rue de Chdteaudun . in which rises the church of — *Notre-Dame-de-Lorette (PL B, 21), situated at the N. end of the Rue Laffitte, which leads to the Boulevard des Italiens. It was erected in 1823-36 in the simple style of an early-Christian basilica, and is 74 yds. in length , and 35 yds. in width. The Corinthian portico is adorned with a group in the tympanum of the Child Jesus adored by angels, by Nanteuil (A. 1865) ; the statues of the Virtues are by Foyatier, Laitie, and Lemaire. The INTERIOR, with its gaudy decorations, somewhat resembles a ball or concert room. The aisles are separated from the nave by thirty-two columns of yellow stucco , and the ceiling is divided into huge coffers lavishly gilded and painted. Some of the frescoes which cover the walls are by eminent artists. At the ends of the aisles are the Baptistery and the chapels of the Eucharist , marriages , and burials . with frescoes by Blondel (d. 1853) and Pirin. Those in the nave , by various artists, represent scenes from the history of the Virgin ; and the series is completed by three paintings in the choir and apse : on the right the Presentation in the Temple, by Heim (d. 1865) ; on the left Jesus teaching in the Temple, by Drolling ; in the centre the Coronation of the Virgin, by Picot (d. 1868). The Chapel of the Virgin was decorated by Orsel. The two angels in an attitude of adoration , over the high-altar , ' are by Nanteuil. — The services are conducted here with great pomp. This quarter of the city is inhabited by 'artistes' of every kind, and also by the women who are sometimes called 'Lorettes' from the neighbouring church. Beyond the Rue de Chateaudun is the Piue de la Victoire (PI. B, 21), where we observe the Synagogue of the same name, a new building by Aldrophe. with a modern Romanesque facade. The Rue Noire-Dame-de-Lorette leads to the left (N.) from the church in a few minutes to the small Place St. Georges. No. 27 , on the left side of the Place . was the house of the celebrated statesman A. Thiers fd. 1877), which was demolished by the Communists in 1871. The street then goes on to the Boulevards Exterieurs , which it reaches near the Cimetiere Montmartre (p. 190). The Rue des Martyrs . to the right of the last street , leads to the Boulevard de Rochechouart, at the corner of which is the Cirque Fernando (p. 32). Xo. 80 in the same boulevard is the Bal de V Elysie-Montmartre (p. 34). Nos. 41-45 are the extensive ColUge Rollin, completed in 1876. Opposite to us rises the Butte-Montmartre, a hill famous in the annals 7. ST. VINCENT-DE-PAUL. 185 of Paris, rising to a height of 330 ft. above tlie Seine, and containing ancient quarries of gypsum (from which , when calcined , is obtained 'plaster of Paris'). According to tradition , St. Denis (p. 297) and his companions sufTered martyrdom here , and the name of the hill is supposed once to have been Mons Marty rum. Others derive the name from Mon$ Aforiis, from a temple of Mars which is said once to have stood here. In 1147 Louis VI. founded a Benedictine abbey here, to which the church of St. Pierre de Montmartre (PI. B, 20), on the top of the hill, once belonged. To the right, and at the back of the church, is a '■Jardin des Oliviers\ containing oratories with curious sculptures. The Eglise du Sacri-Cceur., adjoining St. Pierre, designed by Abadie, will when completed be an imposing edifice in the llomanesque-Byzantine style. Little progress has yet been made, as the extensive substructions required for the support of the building have already absorbed a sum of 3,500,000 fr., while the remainder of the 25,000,000 fr. at which the total cost is estimated has yet to be raised by subscription. (Admission to the works, 25 c. •, entrance in the Rue de la Fontenelle, at the back.) The heights of 3Iontmartre 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 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 Xational Guard. Thus began the Communist rebellion of 18th March to 23th May, 1871, a period of horrors almost without parallel in the chequered annals of Paris. The insurgents were dislodged by the victorious troops on 24th May, and the batteries of Montmartre were then directed against the Communists who occupied Les Buttes-Chaumont (p. 187) and Pere-Lachaise (p. 171). — The hill commands a fine view of Paris. The old suburb of Montmartre., occupied by the artizan class, is badly and irregularly built, and many of the streets are only accessible by nights of steps. Returning to the Boul. de Rochechouart, we may diverge to the S.E. by the Rue de Dunkerque to St. Vincent-de-Paul and the Gare du Nord (p. 18G), or we may follow the boulevard to the E. in order to visit St. Bernard (p. 186), which lies a little to the 1^. of the Boul. de la Chapellc. II. FROM NOTRE-DAME-DE-LORETTE TO THE GARE DTJ NORD AND GARE DE L'EST. St. Vincent-de-Paul. St. Laurent. Beyond the Rue de Chateaudun , the Rue de Lafayette skirts the Square Montholon, adorned with a statue in bronze by Coutan ('La Porteuse de Paris"), and reaches the Place de Lafayette, in whi(;h, opposite tlie Rue d'Hauteville. rises the church of — *St. Vincent-de-Paul (PL B, 24), erected in 18'24-44, by Le- •plre and Hittorf (d. 1867) , a more successful example of the basilica style than Notre-Dame-de-Lorette (length 88 yds., width 40 yds.). The church is approached by two handsome drives , and by a broad flight of steps. Above this spacious amphitheatre rises a projecting peristyle of twelve fluted Ionic columns , bearing a pediment with a relief by Lemaire, representing St. Yincent 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 peristyle is embellished with reliefs by Farochon (d. 1871), representing Christ and the Apostles. 186 7. GARE DU NORD. Interior. 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 Marichal and Grignon. The nave is adorned with a celebrated "^Frieze by Hippolyte Flandrin, the best pupil of Ingres (p. xxxvi), representing a procession of saints, apostles, prophets, martyrs, and popes. The conception of this admirable composition, which is Flandrins masterpiece, and remarkable for the classic beavity 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 high- altar is adorned with a handsome Crucilixion in bronze, by Rude (d. 1855). The chapel of the Virgin at the back of the choir contains a fine group of the Virgin and Child by Carrier-Belleuse. A little beyond St. Vincent-de-Paul the Rue de Lafayette crosses the Boulevard de Magenta , wMch comes from the Place de la Re- publique (p. 58) and is continued by the Boul. Ornano leading to St. Ouen (p. 192). To the N. of their intersection runs the short Boulevard Denain to the — Gare du Nord (PI. B, 24), a railway-station constructed in 1863-64 by Hittorf. 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, ad- joining which are nine different platforms. On the left^ the side of departure, are the spacious waiting-rooms. Travellers from abroad and from the provinces arrive on the right side. — Lines starting hence, see p. 24; hotels in the vicinity, see p. 2. To the N.W. of the station, at the N. end of the Rue St. Vincent-de- Paul , rises the Hdpital Lariboisiire (PI. 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 Sundays and Thursdays. The chapel contains the tomb of Mme. de Lariboisiere. by Marochetti. A little to the N. of the hospital, beyond the Boul. de la Chapelle is the handsome Church of St. Bernard ("Pl. B, 23), with its fine spire, erected in 1858-61 , by Magne , in the Gothic style of the 14th century. The paintings, pulpit, 'chemin de croix", stained glass by Osell-Laurent, and several good altar-pieces in the transept may be inspected. Leaving the Gare du Nord by the Boul. Denain , descending the Boul. de Magenta , and turning to the left into the Rue de Stras- bourg, we soon reach the — Gare de TEst, or de Strasbourg (PI. B, 24), the handsomest railway-station in Paris , designed by Duquesnay (d. 1849). The facade is surmounted by a sitting figure of the city of Strasbourg. The pavilions projecting on each side are connected by a colon- nade, on the balustrade of which is a clock-dial with statues of the Seine and the Rhine. Trains, hotels, etc., see pp. 2, 24. In the Boulevard de Strasbourg (p. 59) , which leads to the S. from this station, on the left, at the corner of the Boul. de Magenta, rises the church of — 7. LES BUTTES-CHAUMONT. 187 St. Laurent (PI. B, 24), dating from 593, but 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 constructed towards the boulevard. The choir was decorated by Blondel (d. 1853) , and the high-altar by Lepautre. Among the paintings is a Martyrdom of St. Laurent, by Greuze (d. 1805), in the S. transept; on the opposite side, St. Laurent among the poor, by Trezel. The chapel of Notre-Dame-des-Malades in the apse contains numerous votive offerings. III. FROM THE GARE DU NORD AND GARE DE L'EST TO THE BUTTES-CHATJMONT. Market and Abattoirs of La Villette. The traveller is recommended now to take a cab to the Park of Buttes-Chaumont, nearly I'/j M. distant, and he may also drive thence to the Market of La Villette. Or he may reach the park with the aid of the Belleville omnibus (M), which passes the Gare de FEst, or the Pantin tramway, which ascends the Faubourg St. Denis from the Boul. de Ma- genta, or the Petite Villette omnibus (AC), which passes the Gare du Nord (see Appendix). There are several cafes at the Buttes-Chaumont. Restau- rants near the railway-stations, see p. 2. The Rue de Lafayette ends at the Bassin de la Villette (PI. B, 26, 27), whence the Canal St. Martin (p. 57), descends to the right. This basin is formed by the Canal de I'Ourcq , which con- nects the Ourcq, an affluent of the Marne, with the Seine. This canal, 112 M. long, cuts off a long curve formed by the river, while the Canal de St. Denis, a ramification towards the N.E., shortens the water-route between the Upper and Lower Seine by 10 M. On the left we observe the Douane , occupying the site of an old gateway erected at the end of last century by Ledoux. To the right and left run the Boulevards Exterieurs. We now follow the Rue d' Allemagne as far as the broad Avenue Laumiere, which leads to the right to the park. The park of the *Buttes-Chauinont (PL 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 still a barren waste. On the summit of these hills once rose the gibbet of Montfaucon , where numerous criminals and others were hanged during the middle ages. The gallows were removed in 1761, and the place afterwards became notorious as a haunt of malefactors. About the year 1865 the authorities , owing to sanitary considera- tions, 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. Atphand, the engineer, and M. Barillet (d. 1874), jardinier-en-chef of Paris, at an outlay of 3,412,620 fr. 188 7. ST. JEAN BAPTISTE. 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 a considerable height 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, which, as well as the other hills, commands an admirable view in the direction of St. Denis. The city itself, with its ocean of houses, is best surveyed from a hill on the S. side of the park. To the N. of the lake, out- side the park, is the modern Mairie du XIX« Arrondissement , in the Louis XIII. style. A wire 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 park with its mimic-romantic scenery pre- sents a curious contrast to the densely-peopled city which surrounds it. — The Chemin de Fer de Ceinture [p. 24 ) is carried through the E. end of the park by means of a cutting and two tunnels, and in the vicinity is the Belleviile-la-Villette station (see Appx.j, In 1871, the Buttes-Chaumont was one of the last positions occupied by the insurgents, who held their ground here till May 27th, 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 1858. The chief portal is flanked by two towers, 189 ft. in height, which are con- spicuous from everj' part of the city. Mural paintings in the transept by Leloir and Maillet. The Rue d'Allemagne (p. 187] leads to the fortifications of the city, where it terminates at the Porte de Pantin (see below). To the left, witliinthe 'enceinte', about 3/4 M. from tlie Buttes-Chaumont, is situated theMarclie-aux-BestiauxdelaVillette(Pl. B,3i), 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 VOurcq. Beyond the canal are the Abattoirs , or slaughter-houses , whicli are also open to the public. The chief entrance to them is in the Rue de Flandre , on the N.W. side. The busiest time here is also in tlie morning, but the scene is not one which will attract many visitors , though the premises are kept scrupulously clean. On the left bank of the Seine are two other large slaughter-houses, the Abattoir de Villejuif (PI. G, 23), near the Place d'ltalie, and the Abattoir de Orenelle (PI. R, 13), near the Place de Breteuil. The animals killed in the Paris slaughter-houses in 1882 included 216,536 oxen,. 55,934 cows, 229,772 calves , 1,785,890 sheep, 226,213 pigs. 8. LA TKINITE. 189 and 7546 horses, yielding 350,000,000 lbs. of butcher-meat. With the ex- ception of 26,000. C)001bs. the whole of this was consumed in Paris itself, in addition to 50,000,iX)(Jlbs. of fresh meat imported from the provinces. From the Abattoirs de la Villette the traveller may return to the centre of the city by the Ceinture railway (Pont-de-Flandre sta- tion, PI. B, 28), by the tramway from Aubervillers to the Place de la Repiiblique, or by the omnibus from La Villette to St. Sulpice. The neighbouring quarters of J2;6erf<7i«ers, I'antin, and Pr^ St. O'ervais are uninteresting. 8. From the Palais-Royal to the N.W. Quarters. I. FROM THE PALAIS-ROYAL TO THE MONTMARTRE CEMETERY. We begin our route by following the Avenue de I'Opera (p. 62). The Rue Gaillon, the fifth street to the right, leads to the pleas- ing Fontaine Gaillon, erected in 1828 from a design by Visconti. The basins of the fountain are presided over by a genius mounted on a dolphin , which he strikes with his trident. We follow the Rue de Port-Mahon to the left of the fountain, and cross the Rue Quatre-Septembre (p. 62), beyond which the Rue Louis-le-Grand leads us to the boulevards. Crossing these, passing the Vaudeville (p. 30) on the left, we next follow the Rue de la Chaussee d'Antin, at the end of which rises the church of La Trinite. This street, which contains many good shops, soon crosses the Boul. Hauss- mann , at the point where the Rue liafayette (p. 184) diverges from it. *La Trinite (PI. B, 18), a church in the latest Renaissance style, built by Ballu in 1861-67 , has a porch with three large arches, approached by two carriage-drives. Above the facade rises an ele- gant story with a gallery and a rose of open-work, surmounted by a handsome clock-tower 206 ft. in height, which terminates in two domes, one above the other. The pillars of the somewhat over- decorated facade are adorned with statues of Fathers of the Church, and the balustrade of the second story with groups representing the four cardinal Virtues. The tower is flanked with two lanterns. The Interior consists of a large nave and two low ai.sles, separated by handsome columns alternating with pillars, which are embellished with statues of the Apostles. To the "four bays of the nave, with their double arcades, correspond chapels on each side. The gallery forming the aislea 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 decor- ated ; paintings by Em. Levy and (VElie Delaunay, and stained glass by Oudinot. The nave and the other chapels are also adorned with paintings; those in the nave are by Johhd-Duval; those in the chapels on the right by Brisset, Lecomte-Dunoij, F. G. Bnrrias, and Laugie; those on the left by Eug. Thirion^ Rom. Gazes, Mich. JDumas, and F. Frongais. Near the entrance are elegant 'be'nitiers', surmounted with marble statues of Innocence and Purity by Gumery. In front of the church is the small Square db la Trinitb, adorned with three fountains and statues of Faith, Hope, and Cha- rity, executed by Lequesne from designs by Buret. The broad street to the E. of the Place in front of La Trinite' is 190 8. MONTH ARTRE. the Rue Cliateaudun, in which Notre-Dame-de-Lorette (p. 184) is situated. The Rue St. Lazare , in the opposite direction , leads to the Gare St. Lazare (p. 24) and the Boul. Malesherbes (p. 193). The Rue de Loudres, to the N.W. of the Place, leads to the Place de VEurope, and is continued by the Rue de Constantinople as far as the Boul. de Courcelles. [Pare de Monceaux, see p. 192). We quit the place of La Trinite by the Rue Blanche, leading to the N. to the Boulevard de Clichy. Here we turn to the left, cross the boulevard, and soon diverge to the right by the short ave- nue which leads to the — *Cemetery ofMontmartre, or duNord(^l.B, 16, 17), the oldest burial-ground of modern Paris, which, though inferior to Pere-La- chaise, is also worthy of a visit. In the first avenue to the right of the Avenue PRiNCirALE are four tombs of Polish refugees, the first of which bears the inscrip- tion, ^Exoriare aliquis nostris ex ossibus wifor.'' ('may an avenger one day spring from our ashes'). — In the transverse avenue are several noteworthy monuments, among them those of the fa- milies Benazet (left) and Van der Hoeven (right). We descend a flight of steps near this point and reach the — Carrefour de la Croix. Beneath the cross are interred the victims of the 'coup d"e'tat' of 1851. 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 Eugene (d. 1857), president of the republic in 1848. The recumbent figure of the latter, in bronze, is by Rude. We now follow the Avenue Dubuisson, beyond the cross, turn to the left, and then, after a few more paces, to the right, and thus reach the Jewish Cemetery (closed on Saturdays). At the end of the walk, on the left, *Halevy, the celebrated composer (d. 1862), with a statue by Duret. Behind it, the Mausoleum of the Millaud family. We now return to the principal cemetery and follow the Avenue MoNTBBELLO, oue of the most interesting in the cemetery. To the left, Miecislas Kamienski. a Polish volunteer who fell at Magenta in 1859, with recumbent bronze figure by Franceschi. To the right, Marshal Lannes ( d. 1809), Due de Montebello. Left, '^Rohart, 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, '^Princess Soltikoff (d. 1845). a chapel covered with gilding and painting. — Left, Horace Vemet (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. To the right, Leon FoucauU (d. 1868), the natural philosopher. Farther on we turn to the left into the Avbntjb Cordibr. Left, 8. MONTMARTRE. 191 *Murger (d. 1861), author of the 'Vie de Boheme', with a statue of Youth by Millet. Left, *Thouret-Eouvenat, 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 *TheophUe Gautier (d. 1873), the poet, a sarcophagus with a statue of Calliope, by Go- debski, bearing, among others, the following inscription : — '■Voiseau s'en va. la feuille tombe. Uamour siteint^ car cest Vhivei\ Petit oiseaic, viens snr ma tombe Chanter quand Varbre sera vert\ We now ascend by the grave of Gozlan and proceed towards the right to the Avenue Montmorency. Right: Ch. Zeuner (d. 1841), pianist and composer. Farther on, Diichesse d'Abrantes (d. 1838), wife of MarshalJuuot, and their son ; medallion by David d' Angers. Adjacent, Ary Scheffer (d. 1858), the painter; with a weeping angel above the door. — Right : Nourrit (d. 1839), a singer. We here turn to the left and follow the Avenue de la Clochb. On the left: De Braux d'Anglure (d. 1849); a bust and basrelief in bronze. To the right, in a side-path : A. L. Thiboust [d. 1867), the dramatist; monument with a relief in marble. In the avenue, on the left: Armand Marrast (d. 1852), member of the provisional government, mayor of Paris, and president of the National Assembly in 1848. — To the right, opposite the last, in the second row of graves, repose Heinrich Heine (d. 1856) and his wife Mathilde (d. 1883) under a simple tombstone with a marble tablet. — Farther on, Famille Daru, including Count Daru (d. 1829), the constant companion of Napoleon I., and his representative at the negotia- tions of Pressburg , Tilsit, and Vienna, Minister of War in 1813. Then, Due (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; Aglae Didier {di. 1863), author. Among the trees, to the left: Nefftzer ; a fine statue in bronze, by Bartholdi. Left: Clapis3on(d. 1866), composer; H. Storks (d. 1866), recorder of Cambridge, marble monument, with medallion. Right: *Bau- din, 'mort en de'fendant le droit et la loi, le 3 dec. 1851 : ses con- citoyens, 1872' ; a handsome recumbent figure in bronze, by Millet. Left: *Mery (d. 1866), author; statue of Poetry, in bronze, by Lud. Durand. Right: Rouviere (d. 1865), tragedian; medallion and basrelief by Preault, representing the deceased as Hamlet. Left : *Chaudey (d. 1871), editor of the 'Siecle', shot by the Communists ; an expressive medallion, with a quotation from the journal. Right: *Ward family, with a large Christ in bronze. Left : Mene (d. 1879), sculptor. *Rostan (d. 1866), professor of medicine; marble statue in haut-relief ; Lannoyer, with a basrelief in stone. Left: *Marc- Lejeune ; a chapel, surmounted by a sarcophagus with 4 symbolical statues. 192 8. PARC DE MONCEAUX. "We have now again readied the Avenue de Montmorency (see above). 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 Avenue Samsox. Right: *Samson (^A. 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', vrith a fine marble bust by Bracony. Adjacent, to the right: Ricard (d. 1873), painter, with a marble bust by Ferru. At the end of the Avenue des Anglais, the first diverging to the left from the Avenue Samson, reposes Jacques Offenbach (d. 1871), the composer, under a rich monument of porphyry, with a lyre and palm of bronze. From the Avenue Samson we return to the Carrefour de la Croix and the entrance. II. mOM THE MONTMARTRE CEMETERY TO THE PARC DE MONCEAUX AND THE MADELEINE. Having regained the Boul. de Clichy , we follow it to the right and soon reach the Place de Clichy or Place Moncey , in which rises the Monument of Moncey (PI. B, 17), erected in 1869, a colossal group in bronze, by Doublemard , 19 ft. in height, on a pedestal 26 ft. high, adorned with basreliefs. It represents Marshal Moncey (d. 1842) defending Paris, with a dying soldier beside him. Opposite tlie monument the Avenue de Clichy ascends to the N., and farther on hends to the left, while the Averiue de St. Ouen turns a little to the right. The former is the tramwav-route to Asnieres (p. 266) and Gennevilliers (p. 80), and the latter to St. Onen and St. Denis (p. 297), starting from the Boul. Haussmann. Clichy and St. Ouen 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 private property. A new race-course has recently been opened here. From the Place de Clichy the Boulevard des Batignolles leads us to the W., soon crossing the 'Quest, Rive Droite' railway. We pass on the left the College Chaptal , a building constructed by Train in 1866-72 , of stone and bricks of different colours , and tastefully decorated. We next enter the Boulevard de Courcelles and cross the Boul. Malesherbes (p. 193), just beyond which we reach the — Pare Monceaux, or Pare de Monceau (PL B, 15). enclosed by a very handsome railing. There are 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. The park owes its name to a property bought in 1778 by Philippe d'Orleans, surnamed Egalite, 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 8. RATIGNOLLES. 193 converted the park into national property. Napoleon I. presented it to his (chancellor Cambaceres , who however soon restored it to his imperial master, on account of the great expense in which it in- volved liim. At the Restoration 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 Pari>, and up- wards of 25 acres of it were sold by the municipality for building purposes, while the remaining 221/2 acres were converted into a public park, tastefully laid out in the English style, and accessible to carriages as well as pedestrians. This park has no pretension to vie with the Bois de Boulogne, or even the Buttes-Chaumont, but it affords a pleasant and refresh- ing oasis in the midst of a well-peopled quarter of the city, and contains a very fine collection of brilliant exotics. It also retains a few relics of its old attractions , such as the Naumachie. an oval piece of water, flanked with a semicircular Corinthian colonnade, and embellished with a statue of Ilylas , in bronze , by Morice. Among the sculptures with which it has been recently embellished are 'Le Charmeur', a bronze figure by B. de la Vingtrie, and 'Para- dise Lost', in marble, by Gautherin. From tlie gate into the Avenue Hoche, at tlie end of which the Arc de TEtoile is visible, we observe the gilded domes of the *Eglise Russe (PL R, 12), in the Rue Daru. This church was built in lSo9-6i in the Byzanto-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 live 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 oii Sun. and Thurs., 3-5 o'clock. The interior consists of a vestibule, a nave, and a sanctuary, the last-named being screened oflf, 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 by the same artists from scriptural subjects and with prophets by Vassilief. The Batiguolles quarter , to the N. of the Boul. de Courcelles, and near the Pare Monceaux, has undergone immense alterations of late, 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 And 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. Malesherbes. In ih.e, Place Malesherbes (Fl. B, 14) there are also several very handsome mansions, particularly the lofty Hotel Gail- lard, in the style of the loth or 16th century, and recalling the Chateau de Blois. A bronze Statue of Alex. Dumas (d. 1870), de- signed by Gustave Dore, was erected here in 1883. The Boulevard Malesherbes (PI. B, 11, 14, 15), which passes near the E. side of the Pare Monceaux, was completed in 1861. It extends as far as the fortifications, and is nearly l-V^M. in length. Baedeker. Taris. 8lh Edit. 13 194 8. CHAPELLE EXPIATOIRE. It is flanked with handsome mansions , and contains few shops. Towards the middle of the lower part rises the church of — St. Augustin (PI. 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 triangular pediment. The pillars are also embellished with statues of prophets and doctors of the church. IsTERioE. The church has no aisles , properly so called. The nave preserves its width 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 up to 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 adorned with paintings by Bougu'ereau , that on the right being dedicated to St. Augustine, and that on the left to John the Baptist. In the dome , medallions of the Evangelists . painted by Signol. The Lady Chapel is adorned with a large Adoration of the Shepherds 'and Presen- tation in the Temple, by Brissot. Stained glass by Martchal and Lavergne. A little below St. Augustin the Boul. Malesherbes is crossed by the Boulevard Haussmann, named after the Prefect of the Seine under whom was effected the grand transformation of Paris in the Second Empire. We follow this boulevard to the left as far as a square, in the middle of which stands the — Chapelle Expiatoire (PI. B, 18; //,• fee to attendant), erected in 1820-26 to the memory of Louis XVI. 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, which faces the west, is a court flanked with galleries in imitation of ancient tombs, and intended as a monument to other victims of the Revolution. The E. entrance is also in the form of a tomb. The chapel is in the form of a Greek cross , with a portico , and is covered with a dome. The Inteeiok 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, moniez au del.'' Below is inscribed the king's will. The group on the left, by Corf of, represents the Queen supported by Religion . a figure which bears the features of Madame Elizabeth , the king's sister, who was guillotined on i2th May, 1794. Inscribed on the monument is the last letter addressed by the queen to her sister-in-law (comp. p. 196). Staircases on each side of the altar descend to a crypt, which occupies the ground where Louis XVI. was originally interred. One of the streets which quit the Square on the S. .side will lead us back to the Boul. Malesherbes, not far from the Madeleine (p. 66). 195 9. From the Palais-Royal to Vincennes. The Bois de Vincenne.s is worthy of a visit , but the excursion will take nearly a whole day. From the centre of the city the best route to it is by the Louvre and Vincennes tramway (C), besides which the tramway lines F and K are also available (see Appendix). Steamboats not recommended, as they are often overcrowded. Railway to Vincennes (in connection with which an omnibus runs from the Boursej incon- venient , as the station of departure is far from the centre of the town. Comp. p. 199. — The traveller who purposes visiting the Archives, the Imprimerie Nationale, and the Musce Carnavalet on his way to Vincen- nes must of course choose a day on which they are open (see below). I. FROM THE PALAIS-ROYAL TO THE ARCHIVES NATIONALES AND THE BASTILLE. We first proceed to the Halles Centrales (p. 165), on the N. side of which we follow the Eue de Rambuteau, leading across the Boul. de Se'hastopol (p. 59) to the Rue des Francs- Bourgeois. Here, to the left as we enter the street, are situated 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 whioh 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 Corinthian colonnade by Lamer; the pediment, with its Corinthian and composite columns, is adorned with sculptures by R. Lelorrain. By a decree of the constitutional 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 Le'gislative 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 'Muse'e' consists of a collection of the chief treasures of the Archives. The Musee des Archives, or Musee Paliographique (open to the public on Sun., 12-3; also on Thurs. , during the same hours, by permission obtained from the director), occupies six rooms on the first floor. The principal objects are labelled, and each room contains a catalogue. I. Salle des Merovinyiens ^ des Carlovingiens , et des Capitiens. In large frames on the left are exhibited MSS. of the Merovingian and Car- lovingian periods. Behind them, to the left, in the second row, are the accounts of the Hotel de St. Louis (1256-57). on tablets of green wax. In a cabinet to the left are the papers relatincr to the trial of Joan of Arc, with a portrait of the Maid drawn during the proceedings. At the end of the second row, funeral scroll of Vital, Abbe de Savigny , with versos 13* 196 9. ARCHIVES NATIONALES. attributed to Heloi'se (1122-23). — In the third row, registers with minia- tures. In the centre are other Jlerovingian (one as early as 625) and Car- lovingian MSS. On the wall next to the street is hung the testament of Philip Augustus (1165-1223): on the wall at the back of the room, that of St. Louis (1226-70). II. Salle des Valois. On the right, in the first row of glass-cases, is the Revocation of the Edict of Nantes by Louis XIV. (1685). The third row contains the famous Edict itself, signed by Henri IV. (1598), and letters of Catherine de Medicis, of Mary Queen of Scots, etc. III. Salle des Bourbons (richly decorated). On the left, within a gilded railing, is a glass-case containing, among other curiosities, the 'proces-verbaux' of the examination of Marie Antoinette at the Coneier- gerie-, records of the examination of several other members of the royal family; journal of Louis XVI. (from 1st Jan. 1766 to 31st July 1792); speech delivered by the King before the Convention after his defence by De Seze (26th Dec. 1792) ; 'proces-verbaF of the interment of Louis XVI. (21st Jan. 1793). Above the case are the will of Louis XVI., executed at the Temple on 29th Dec. 1792, and the last letter of Marie Antoinette, written in the Conciergerie on 16th Oct., 1793. (The genuineness of these two documents is, however, doubtful; the letter does not bear the queen's signature.) In the centre of the room, near the railing, is the testament of Maria Lesczinska (21st June, 1767). IV. Salle Ovale. Glass-case in the centre (right side) : record of the Tiers-Etat of Paris (1789), Declaration of the rights of men and citizens (1789), and the Constitution of 1(91 ; the resolution ordering the destruction of the Bastille, and resolutions by Mirabeau and Sieyes. — This saloon, once the drawing-room of Mme. de Rohan, has a ceiling-painting by Na- toii-e (d. 1777), representing the adventures of Psyche. V. Salle de la Republique. By the first window, several 'assignats\ or notes issued by the Revolutionary government on the security of con- fiscated church-lands. By the second window is the famous Oath taken at the Jeu de Paume (p. 269) , with the signatures. To the left of the door are documents executed lay members of the Convention or by the constitutional government. In the right corner of the central case are se- veral letters of Charlotte Corday. VI. Salle du Consulat et de VEmpire. Documents of Is'^apoleon I. A table from the cabinet of Louis XVI., on which Robespierre, when wounded, was brought before the 'Comite du Salut Public' at the Tuileries. Above it, 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 afforded an argument against them when the order was suppressed in 1762. The Musee Sigillographique, on the ground-floor, consisting of a very complete collection of seals from the time of Childeric I. (457) down to the present day, is not yet open to the public. Adjoining the Palais des Archives is the Ecole des Charles, founded in 1820, a school for the training of paleographers. 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 sums advanced vary from two-thirds to four-fifths of the value of the articles, the maximum lent being 10,000 fr. at this establishment, and 500 fr. at the branch-offices. The interest charged is 9\'2 per cent at the head-office, and 12 per cent at the branches. The pledges are sold after fourteen months from the time when the borrower has failed to redeem them or to renew his ticket or 'reconnaissance'; but within three years more the excess of the price realised over the sum lent may still be claimed. The Mont-de-Piete lends upwards of 50,000,000 fr. annually. Adjacent to the Mont-de-Piete is the church of Notre-Dame- 0. MUS^E CARNAVALET. 197 des-B lanes- Manteaux , facing the street of that name. In the Rue des Francs-Bourgeois, farther on, at the corner of the Rue Vieille- du-Temple, rises a Gothic tower with arcades and a grating, 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 Nationals (PL R, 23; ///), or government print- ing-office, established in the old Hotel de Strasbourg, which once belonged to the celebrated Cardinal de Rohan (d. 1803). The court is adorned with a copy in bronze of the Statue of Gutenberg by David d'Anyers (d. 1856) at Strasbourg. 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, and on the occasion of a visit to the establishment by Pius VII. the Lord's Prayer was printed in his presence in 150 different languages. The chief business of the office consists in priiiting official docu- ments of all kinds, books published at the expense of government, geological maps, and certain playing-cards (viz. the 'picture-cards' and the ace of clubs , the manufacture of wMch is a monopoly of the state). Visitors are admitted on Thurs. at 2 p.m. with tickets obtained from the director, but strangers who present themselves at that time are usually admitted even without tickets. The inspection takes 1-1 V2 hr. Lower down the Rue Vieille-du-Temple, to the S. of the Rue des Francs-Bourgeois, is the Hotel de Hollande (No. 47), a hand- some edifice of the 17th cent., once occupied by the Dutch am- bassador to the court of Louis XIV. The gateway is adorned with fine sculptures, and the court contains a large basrelief of Romulus and Remus, by Regnaudin. Beyond the Rue Vieille-du-Temple the Rue des Francs- Bourgeois passes on the right the old Hotel Lamoignon, dating from the 16th century. Farther off, to the left, in the Rue Se'vigne, is situated the — Musee Camavalet (PL R, 26; V; open to the public on Sun. and Thurs. , 11-4), ox Musie Municipale , 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, and it was afterwards the residence ofMme. de Sevigne for twenty years (1677-98). The building, which dates from the 16th and 17th centuries , was begun from designs by Lescot and Bullant, and completed by Ducerceau and F. Mansart. It was purchased by government in 1869, and thoroughly restored. The sculptures on the facade and those of the Seasons in the court, facing the entrance, are attributed to Jean Goujon (p. 105). The eight other statues, particularly those of four gods of mythology, are of no value. 198 9. PLACE DES VOSGES. The Museum occupies fourteen rooms on the ground-floor, part of the SLink-Iloor, a gallery in the garden at the back, and seven rooms or gal- leries on the first floor. Descriptive labels everywhere. Ground Floor. Rooms 1-8. The first rooms contain photographs of Gallo-Roman monuments ; stones from the Arena in the Rue Monge and other Eoman buildings; and fossils and monuments of the stone age. — The following rooms contain Roman mill-stones, a reconstruction of a Roman mill, and sarcophagi, some of which are made of the remains of ancient monuments. ScxK Floor. Sarcophagi. In one of the cellars are plaster casts of the skeletons found in the Arena. First Floor. On the Staircase and in Room 1 are plans for the con- version of the Louvre into a Palais National \ pictures (of no artistic val- ue) of scenes in the Revolutions of 1789, 1830, and 1848; and various other objects connected with the same epochs. — Large Room. In the middle. Model of the Bastille, made from a stone of that building. Hung from the ceiling is the banner of the Emigres, with the arms of France and the Allies, and the Hydra of the Revolution. Round the walls are various articles relating to the Revolution. — The Galleries contain por- celain objects with patriotic inscriptions (1789-1804), insignia and deco- rations, and coins. In the glass-cases in the middle are Sevres porcelain and the "Tasse a la Guillotine", made in the porcelain manufactory of Berlin. — The Salon Central, adorned with wooden panelling and ceiling from an old Paris house, contains a republican clock, the arm-chairs of Voltaire and Beranger, and other curiosities. — The Salon des Tableaux is devoted to small pictures illustrating the history of Paris . few of any intrinsic value. As the light here is insufficient, these are to be trans- ferred to another room. The ceiling-painting, representing Olympus, is an early efl'ort of Lebrun. — Staircase. Sign-boards; slabs for chimney- pieces; pictures; pottery. Ground Floor (continuation). Salle du Palais-Royal. Relief-model of the galleries of the Palais Royal, executed in 1843; medals, paintings, engravings. — The Garden contains the facade of the old guild-house of the drapers by Jacques Bruant (17th cent.) and reconstructions of other old buildings.' — In the Arcades are fragments of mediaeval, Renaissance and rococo buildings. — Rooms 10-14 contain fragments of Gallo-Roman buildings: mints, medals, glass, and pottery, of the Merovingian and medi- aeval periods , found in excavations ; funeral and monumental inscrip- tions. — We now reach the foot of the Staircase to the Library., where are exhibited facsimiles of ancient plans of Paris and casts of the chief works of Jean Goujon. The Bibliotheque de la Ville, founded in 1871, to replace the library destroyed in the Hotel de Yille, already consists of about 60,000 vols., and 40,()00 engravings and charts, all illustrative of the history of Paris and the Revolution. It occupies the rooms of Mme. de Se'vigne, the first floor of the building, and is open to readers on week-days from 10 to 4 or 5 (vacation of a week at Easter, and from 15th Aug. to 1st Oct.). A little beyond the Musee Carnavalet the Rue des Francs- Bourgeois ends at the Place des Vosges (PI. R, 26 ; F), formerly called the Place Royale. 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. The Place des Vosges occupies the site of the court of the old Palais des Tournelles, where the tournament at which Henri II. was accidentally killed took place in 1565 (p. 82). Catherine de JMe'dicis caused the palace to be demolished, and Henri IV. erected the square which still occupies 9. PLACE DE LA NATION. 199 its site. The houses, uniformly built of brick and stone, with lofty roofs, are flanked with arcades on the ground-lloor. The children who make this their playground, and the military band which plays in the square on Thursday afternoons in summer, impart a little life to this sequestered nook; but at other times it presents an almost monastic appearance. The inhabitants of the square and the neighbouring streets, called the Quarder du Marais, are chiefly retired officials and persons of small in- dependent means, who lead a quiet and secluded life. It is difCicult to believe that this was the fashionable quarter of Paris in the reign of Louis XIII.. >vhen the 'place' may be said to have formed the Palais-Koyal of the period. The Place des ^'osges was first so named after the Kevo- 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 des Vosges , to the N.E. of the square , leads direct to the BouL Beaumarchais (p. 57), near the Bastille (p. 55). II. FROM THE BASTILLE TO VINCENNES. Tramway from the Louvre to Vincennes, see below. The Tramicay from the Louvre to the Cours de Vincennes (F) passes the Ilalles Centrales (p. 165) and follows the Rue de Turbigo (p. 167) and the Boul, Voltaire (p. 170). The terminus in the Cours de Vincennes is more than 1 M. from the chateau. (Fare 30 or 15 c.) The Tramicay from the Louvre to Charenton (K) follows the Rues de Rivoli and St. Antoine (p. 83) , passes the Bastille, and skirts the quays. Terminus in the lower part of Charenton, less than 1/2 M. from the en- trance to the Bois (p. 201). (Fare 50 or 25 c.) The Tramway from the Bastille to Charenton follows the Rue de Lyon, to the right of the railway, and then the Avenue Dumesnil, which crosses a corner of the Bois de Vincennes near the Lac de Charenton (p. 203). (Fare 50 or 25 c.) The Chemin de Per de Vincennes corresponds with the Ligne de Ceinture at the Station du Bel-Air. and has another station at St. Mande (see below). (Fare from Paris to Vincennes 55 or 30 c; on Sundays and holidays 55 or 35 c.) Farther on, this line skirts the wood, passing Fontenay-sous-Bois^ Nogent-sur-Marne (p. 202), and Joinville (p. 202). The Chemin de Per de Lyon (p. 24) has also a station at Charenton (Conflans); fares 55, 45, 30 c. The Charenton Steamboats start from the Pont d'Austerlitz , not far from the Bastille; fare 10 c, Sun. and holidays 15 c. (see, however, p. 195). The Tramway from the Louvrb to Vincennes (C; 40 or '20 c.) runs by the quays and the BouL Henri IV. (p. 57) to the Bastille. It then follows the Rue du Faubourg-St. Antoine to the Place de la Nation (PL R, 31), formerly the Place du Trone, which forms the E. extremity of Paris, while the Place de TEtoile forms the N.W. end, upwards of 5 M. distant. The centre of the 'place' is adorned with a large basin and a fountain. The surrounding 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 trafflr 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 200 9. VINCENNES. till 1847. Each is adorned with two basreliefs by Desbceufs 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^/4 M.). The Foire au Pain d/Epices. or 'gingerbread fair', lield here during three week? after Easter, always presents a very lively scene. A tramway-line runs from the Place de la Nation to Montreuil, a place famous for its peaches, but otherwise uninteresting. This is also either the starting-point or a station of several other tramways (see Appx.)- To the S.E. of the Place de la Nation, Rue de Picpus 35, is the small Cemetery of Picpus (PL E, 31; adm. 50 c), which contains the tombs of members of some of the oldest families in France {Montmorency , de Noailles^ Gramont. Crillon, etc.). At the end is the 'Cimetiere des Guil- lotines', where 1300 victims of the Revolution, executed at the Barriere du Trone, are interred. In one corner is the tomb of Lafayette (d. 1834). 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. At St. Mande , to the S., a village with 9500 inhab., are two asylums for old men, and a cemetery containing a statue of Armand Carrel (d. 1836) in bronze, by David d' Angers. About 2 min. from the station is the pretty Lac de St. Mande, with an island and well-wooded environs. Vincennes [Cafe de la Paix, Square Marigny, near the tramway- terminus; Restaurant Marconi, Avenue Marigny 7; Maison Aubry, Rue de Paris 26, opposite the chateau, dej. 2^/o, t>. S'/ofr.; Cafe de la Porte Jaune, in the wood, p. 201), a town with 20,530 inhab., is a place of no importance except as one of the fortresses in the outskirts of Paris. The only object of interest in the town is the Statue of General Daumesnil , by Rochet , in the Cours Marigny, near the tramway-station. The gesture of the figure forms an al- lusion 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 Wagram. The Ch&.teaii de Vincennes was founded in the 12th cent, and afterwards gradually enlarged. It was used as a royal residence till 1740, when Louis XV. converted it into a manufactory of porce- lain. In 1751 these works were removed to Sevres, and the Chateau de Vincennes became first a military school and then (1757) a weapon-manufactory. In 1832-44, under Louis PhUippe, the cha- teau was strongly fortified and transformed into an extensive artillery depot, with an 'Ecole de Tir'. It is now seldom shown to foreigners. The chateau was used as a State Prison from the days of Louis XL (1461-83) 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 deRetz (1652). Fouquet (1661), Count Mirabean (1777), the Due d'Enghien (1804). the ministers of Charles X. (1830), and the conspirators against the National Assembly (15th 3Iay, 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 i 4 ■^dii' V 9. VINCENNES. 201 scion of the illustrious Condd family. On the suspicion that he was implicated in a conspiracy apiainst the emperor, he was arrested by order of Napoleon on 14th March iS04 . 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 the duke interred in the fosse where he was shot. In 1810 Louis XVIII. caused his remains to be removed to the chapel, where he erected a monument to his memory. In May. 1871. the chateau was one of the last places occuiiied by the insurgents. They evacuated it on the approach of the Versailles troops, leaving one of their number concealed in a casemate, with instructions to set fire to the powder-magazine when the troops had entered. As, how- ever, almost certain death awaited him in any case, the unfortunate man preferred suicide to the execution of his murderous commission. The Chapel, with its tasteful Gothic front, begun in 1379 under Charles V., and completed in 1552 in the reign of Henri II., has recently been restored. The lofty vaulting and the stained glass by Cousin are worthy of notice. The monument of the Due d'Enghien, now in the old sacristy, a poor work by Deseine, consists of four figures in marble : the duke supported by Religion , France bewailing his loss, and a figure emblematic of Vengeance. The Salle d'Armes, or Armoury, fitted up in 1819, is said to contain weapons sufficient to equip 120,000 men. The artillery stores occupy the ground-floor , and the other arms the floor above. 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 walls are 10 ft. thick. The platform, to which 237 steps ascend, commands a fine view of the surrounding district. To the E. of the chateau is the Fort de Vincennes, beyond which begins the — Bois de Vincennes, a beautiful park, much less frequented than the Bois de Boulogne, but 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 administer justice; but it was entirely replanted by Louis XV. in 1731. Since that period considerable encroachments on its extent have been made by the railway and the fortifications, but it still covers an area of about 2250 acres, including the Champ de Man(£uvres (i/o M- wide) in the middle, and the artillery 'Poly- gone'. In 1857-58 it was successfully transformed into a public park by Vicaire and Bassompierre. Having reached the (8 min.) angle of the fort, we incline to the right and take the road in the centre, the Koute de Joinville (see below), and, a little farther on, the Route de Nogent to the left (see below). About 11/4 M. from the chateau we reach the Lac des Minimes, formed in 1857 on ground which belonged to the order of that name from 1854 to 1784. The lake is 20 acres in area, and contains three islands. The smallest of these , the lie de la Porte- Jaune at the N. end, is connected with the mainland by a bridge and contains a Cafe- Restaurant. 202 9. VINCENNES. Opposite the lie de la Porte- Jaime 'begins an avenue leading to Fontenay- sous-Bois, a village and railvray-station about 1/3 M. to the $f.E.. with a number of pleasant villas (4o65 inhab.). — About 1/2 M. to the E. of the lake, at the end of the Route de Nogent, lies Xogent-sur- Marne (9500 in- hab.), another small town with numerous country-houses. A viaduct of a branch of the Strassburg railway, > '2 M. in length, crosses the 3Iarne here. Round the lake, at some distance from its banks, runs the Route Circulaire , and an avenue also skirts the bank (a circuit of 20-30 min.). Small boats may be hired on theW. side {}/2^^' per V2 ^^• for each pers.}. Proceeding towards the E. end of the lake , we pass the small Cascades by which it is fed, formed by the Ruisseau de Nogent and the Ruisseau des Minimes. Following a fine avenue to the left , a little farther on, we approach the latter brook and skirt it as far as the Route de Joinville and the Plaine de GraveUe , which divides the Bois into two distinct parts. The plain extends from this point to the chateau, nearly 2 M. distant, and is at places nearly 1 M. in width. On the left we observe the Redoute de la Faisanderie, and farther on , the Redoute de GraveUe. On the right is the Race Course (p. 34); beyond it lies the Champ de Manoeuvres, used for infantry drill : and farther distant, on the left, is the Polygone de I'Artillerie. At a crossway in the Champ des Manoeuvres rises a Pyramid., restored in 1871, where an oak under which St. Louis ad- ministered justice is said to have stood. From the outskirt of the Bois, near the Redoute de la Faisanderie, we obtain pleasant glimp- ses of the valley of the Marne and of the hills to the N. of Paris. The road skirting the Bois on the side next to the plain leads from Vincennes to Joinville-le-Pont, a village situated a little to the left of the Eedoute, and a station on the Chemin de Fer de Vincennes (p. 199). The subterranean Canal de St. Mauv, which begins here, 660 yds. in length, constructed in 1825, enables barges to cut off a circuit of 8 M. described by the Marne. Farther distant are the stations of St. Maur-Port-Creteil, Le Pare de St. Maui; and Champigny. The last of these, on the left bank of the Marne, is memorable as the scene of the battles of 30th Kov. 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 soldiers who fell on that occasion. A little beyond the Redoute we observe the Ferme de la Fai- sanderie., a model farm, where good milk is to be had. Beyond it the Avenue de la Ferme passes the stand of the race-course and ascends to the Lac de GraveUe. This small lake is fed by means of a steam-pump on the bank of the Marne, and is drained by the Ruisseau des Minimes , which flows under ground to a point near the Joinville road, and the Ruisseau de St. Mande^ which descends to the Lac de St. Mande (p. 200) , with a branch to the Lac de Charenton (see below). A few paces from the lake is the *Rond- Point de GraveUe (refreshments in summer) , which commands an admirable survey of the valleys of the Marne and Seine (see Plan of the Bois, and that of the Environs of Paris, pp. 208, 280). The roads to the right beyond the Rond-Point are closed when 9. VINCENNES. 203 artillery practice is going on at the Polygone. We follow the Avenue de Gravelle , to the left, towards the ( I74 M.) Lac de Charenton. A little to the left are the Hospice d'Alienes of Charenton-St. Maurice and the Asile de Vincennes for patients of the artizan class, the latter being much nearer to Charenton than to Vincennes. "We may then follow the Route de Charenton to St. Mande, where there is a station of the Tramway Sud de la Bastille (p. 199). The name of Charenton (11,8'2B inhab., incl. Conflans and Les Carriires) is now chiefly known in connection with its Lunatic Asylum, which stands on the hill within the district of St. Maurice., a small town with 5576 inhab., which has sprung up since 1842. In I6O6 a Protestant church was erected at Charenton with the sanction of Henri IV., but it was de- molished in 1686 in consequence of the revocation of the famous Edict of "Nantes. The Marne is crossed here by a bridge, a little above its influx into the Seine. (Steamboat and tramways, see p. 199.) That part of the Bois de Vincennes which lies to the N. of Charenton and adjoins the fortifications of Paris on the W. was laid out in 1857-58. Its chief ornament is the Lac de Charenton or de Daumesnil, a considerable sheet of water containing two pretty islands, which are connected with each other and with the mainland by bridges. Among the attractions here are an artificial grotto with a temple above it , and a cafe. Visitors to the islands may then cross to the Avenue Daumesnil by ferry flOc") instead of returning by the bridges. (Boats on the lake 50 c. to 2 fr. per hour, accord- ing to tariff.) On the farther side of the Avenue Daumesnil lies St. Mande, which has been already mentioned (p. 200). THE CIT1&. The CiUat}ieque, ( J^ etage,). 3 . HaUe de Louis XB^ (IT etxige) ^ . Salle dio Conscil ( iTctagt). 5 . VcsUfnde dcfFcolesfrrz-dc-cIv.). G . Triers d' earpressiojh (rcz-dc-ch.). 7 . Sixtaics et bas-rel. (Tcz-dx^-c/i.). 8 . rantuTcs (tp^-cLc- ditoLssee-J. ^ .SxposSiujis tmnparaires (l^et.) . 10 . Jharce des dim., ct des eazposit. Cffur iiuriei: Uj Grands ' prix Cour Eritree priTicipale^ lAnrienue chaprllr 1 p'Lxtres etPcintijres SiUle de Melpomene Peinlia-es. ExpositionB Ateliers Rue Bon 1 a r t e 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 50 professors , and is attended by upwards of 1000 pupils of different nationalities. The building, erected in 1820-38 and 1860-62 by /)e6ref and Duhan, occupies the site of the old Convent des Petits-Augustins. At the entrance are colossal busts of Puget and Poussin. The First Court contains many handsome fragments of French edifices, from the Gallo-Roman period down to the 16th century. These are the remains of the Musee des Monuments founded here 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. 1*2. PALAIS DES BEAUX-ARTS. 233 dispersed the collection , and ordered most of the objects to be restored to the churches or their original proprietors. In the centre of the court is a Corinthian column in red marble, surmounted by a bronze statue of Plenty (16th cent.). By the wall to the left is a fresco painted on lava by the brothers Baize, after the work of Ra- phael's school in the Magliana (p. 124). 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., and which now forms the entrance to the old ab- bey-chapel (see next page). The Second Court is separated from the first by part of the fa- cade of the chateau of Gaillon, which was erected in 1500 by 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, and with Corinthian semi-columns and pilasters, and is crowned with an attic. The Vestibule contains fragments of marble antiques and casts of sculptures of the Parthenon and the temple of Minerva in ^gina, the originals of which are in London and Munich. — 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. The collections in this court are supplemented by similar objects in an adjoining room. Opposite the entrance is the Amphitheatre, adorned with the celehidited* Hemicyle of PaulDelaroche{&. 1856), an encaustic paint- ing 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, let in us, the architect of the Parthenon , Siml Apel I es the painter. Four female figures in front represent (left) Greek, Gothic, and (right) Roman, 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 S'/a 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 hv Mevcier and Fleuri/. 234 12. PALAIS DES BEAUX-ARTS. Opposite the Hemicycle is a large painting by Ingres, represent- ing Romulus victorious over Acron , king of the Sabines. — We now return to the vestibule and ascend to the right to the — First Floor. On the wall of the staircase is a copy of a fine fresco by Pinturicchio, representing the Betrothal of Emp. Frederick III. and Eleonor of Portugal. On the S. and N. sides of the glass-roofed court are galleries adorned with sixty-two copies from Raphael's loggie in the Vatican , by the brothers Baize. — The Salle des Mo- deles, opposite the staircase, contains a valuable collection of casts from small antiques and Renaissance works, cork models of Roman and other buildings, part of the Musee des Copies, and a number of admirable *Drawings by ancient masters. Among the copies are represented the master-pieces of every important school , a good idea of which is thus afforded to persons unacquainted with the originals. Two other rooms on the first floor (PL 3, 4), which are not open on Sundays, contain portraits of members and the professors of the old Academy. A gallery between these two rooms affords a good survey of the He'micycle of Delaroche. Descending to the ground-floor , we cross the second court and enter the former Chapel by the portal [or, if it be closed , by a door to the left in the Vestibule des Ecoles, mentioned below). This apartment now contains the continuation of the Musee des Copies, consisting of reproductions of the finest sculptures and paintings of the Renaissance, chiefly of the Italian school. In a kind of vestibule are exhibited copies of the frescoes by Giotto in the church of the Madonna dell' Arena at Padua, of a Calvary by Frn Angelica , of the battle of Heraclius against the Persians by Piero delta Francesca., of the battle of Constantine by GiuUo Romano, and of several basreliefs. — Among the casts we observe on the right that of the pulpit of the cathedral of Pisa bv Giov. Pisano (1302-11); candelabrum of the cathedral of Milan {16th cent.); St. George by DonateUo (13S6-1466), from Or S. Michele at Florence; monument of Fil. Deeio by Slagio Stagi (about 1530) ; John the Baptist by Ben. da Majano (1442-97). A small side-chapel contains the Moses, the Slaves, the monuments of Giuliano and Laurenzio de' Medici, the Pieta, Bacchus, and other works of Mich. Angelo., and Ghiberti's doors of the baptistery at Florence. — Principal chapel : Relief of Jonah by Lot'enzetto , and others; Last Judgment of 2Iicfi. Angelo by Sigalon ; in front of it casts of statues at St. Denis and in the Louvre; stalls of the 16th cent.; figure of St. Michael from Dijon (15th cent.); the Graces by Germain Pilon (16th cent., Louvre); reliquary of St. Sebaldus by P. Vischer; statues of the cathedral of Chartres (13th cent.); Virgin from the portal of Notre-Dame at Paris; fonts from Hildesheim. — Besides the copies of paintings already mentioned: (right) 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; Ghirlandajo, Adoration of the Magi; Sodoma, Goths destroying the monastery of Monte Cassino; Raphael, Madonna of St. Sixtus. "We now cross the Vestlbule des Ecoles (PL 5), which contains a monument to Ingres, with his bust in bronze, and medallions of Flandrin and Simart by Guillaume. We next enter the — 12. ST. GERMAIN-DES-PRES. 235 CouRDu MuRiBii, with galleries containing sculptures executed at Rome by former pupils and casts of ancient basreliefs. 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 a Youth offering him an olive-branch, by 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 Ospedale del Ceppo at Pisto.ja, by the Delia Robbia (15th cent.). Opposite this wall is another vestibule containing several copies, next to which is the Salle de Melpomene , occupied with the remainder of the Mus^e 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. The rooms on the first floor on this side are also used for exhibitions. Principal copies (from right to the left) : Velazquez, Don Fernando and Philip IV.; Mich. Angela (above), Sibyls; P. Veronese (below), Adoration of the Virgin; Covveggio, Madonna and Child, with M. Magdalene and St. Jerome; Titian, Martyrdom of St. Sebastian, Death of St. Peter the Do- minican; Palma Vecchio , St. Barbara; Titian, Heavenly and earthly love. Assumption; And. del Sarto , Preaching of John the Baptist; Raphael., Jurisprudence; A. del Sarto, Baptism of Christ, Last Supper; Perugino, Marriage of the Virgin; Verocchio, Baptism of Christ; Afasaccio aud Filip- pino Lippi, 3Iiracle of St. Peter; Raphael, Adam and Eve, Attila expelled from Rome, portrait of Mad. Doni , Vision of Ezekiel, La Gravida; Fil. Lippi, Vision of St. Bernard; Leon, da Fm«, Madonna and donor; Raphael, Christ in the Sepulchre. — Rembrandt, Lesson in anatomy; Raphael, Dis- putation regarding the sacrament, Marriage of the Virgin. Power; Mantegtia^ Virgin, angels, and saints; Raphael, School of Athens; Bazzi, Swoon of St. Catherine; Masaccio, St. Paul in the prison of St. Peter; Raphael, Leo X.; Masaccio, Liberation of St. Peter. — Vestibule next the Quai Malaquais: Copies of frescoes from Herculaneum (Theseus and the Minotaur, Hercules and Telephus, Hercules and Omphale, etc.); Triumph of Galatea after Raphael ; casts from the antique (Atlas , etc.). — Lastly three rooms con- taining prize works since the end of the 17th cent, (apply to a custodian). II. FROM THE ECOLE DES BEAUX-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. Crermain-des-Pres (PL R, 19; IV), one of the most an- cient churches in Paris. It belonged to the powerful abbey of St. Germain , founded in the 16th cent. , the abbots of which were sometimes cardinals and even kings , as in the case of Hugh Capet and Casimir of Poland. The abbey was originally dedicated to St. Vincent, but afterwards to St. Germain, a bishop of Paris, and was once siirrounded 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 Uth 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 236 12. ST. GERMAIN-DES-PR^.S. used as a saltpetre-manufactory, and fell into a very dilapidated con- dition, but it was restored in 1824-36. The Intekioe was redecorated in 1852-61. To the right of the principal entrance is a marble statue of the Virgin, called 'Notre Dame la Blanche", dating from the 14th century. Nave. The admirable *Mural Paintings were executed by Hippolyte Flandrin (d. 1864) and other masters under his superintendence. There are twenty on each side , placed in pairs over the arches , representing parallel scenes from the Old and Xew 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; Melchisedek'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. — Above are figures from the Old Testament, on a golden ground. The Choir 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. 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. The S. Transept contains, on the right, the tomb of Olivier and Louis de Castellan (d. 1644, 1699), by Giravdon. To the left, above it, is a marble statue of St. Margaret, by"/. Bourlet (1705). Choir 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) and the learned MabiUon (d. 1707) and Montfaucon (d. 1641). — Behind the high-altar is the modern Chapel of Xotre-Dame, with painted •reliefs of the Adoration of the Magi and the Presentation in the Temple. — 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 chapel contains a second monument of the Douglas family. The N. Aisle contains a statue of St. Francis Xavier. by 6. Cous- tou , 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-Pre's. By the wall, opposite the pulpit, is the monument of n. Flandrin (d. 1864), the painter of the frescoes mentioned above. Tlie grounds surrounding the church have recently "been em- bellished with a bronze Statue of Bernard de Palissy (p. 1-40), by Barrias. — The S. side of the church adjoins the Boul. St. Germain (p. 214), to the S.W. of which runs the handsome Rue de Rennes^ leading to the Gare Montparnasse (p. 248). We continue to follow the Rue Bonaparte to the S. to the left of the Rue de Rennes, and in a few minutes reach the Place St. Sulpice. *St. Sulpice (PI. 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. It was rebuilt in the reign of Louis XIY. by Louis Levau, but in 1678 the works were suspended from want of funds. They were afterwards continued by Oppenord ai\A Daniel Giitard, who erected the side-portals, and were completed 12. ST. 8ULP1CE. 237 by Servandoni in 1749. Tlie latter deviated so considerably from the plans of his predecessors , that he may be regarded as the chief architect of the edifice in its present form. The church is remarkable for its imposing dimensions (length 154 yds., width 61 yds., height 108 ft.). The fa(^ade , 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. The chief portal is approached by five flights of steps, divided by the bases of the columns. The Inteeioe consists of nave, aisles, transept, and eighteen lateral chapels. The spherical vaulting is borne by Corinthian pillars. Adjoin- ing the second pillar are be'nitiers consisting of two enormous shells (tri- dachna gigas), presented to Francis I. by the Republic of Venice, resting on rock-work of marble designed by Pigalle. The church contains in- different oil-paintings by Van Loo. The chapels are adorned with inter- esting frescoes. Eight Aisle. *lst Chapel: Jacob wrestling with the Angel-, Ileliodo- rus 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: 3Iarble monument of the cure Languet (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 Sav(\v, and Ste. Chantal receiving from the saint the constitution of a new order of nuns, by Hesae (1860). — 3rd Chapel: St. Paul's Conversion, and St. Paul in 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 Guillemont (1825). Transept. Left arm : Betrayal by Judas, and the Crucifixion. Right arm : Jlesurrection and Ascension, and Prophets. These are all by Signol (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. CiioiR Chapels. N. or left side. 1st: 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 Pichon (1867). — 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, by Bin (1874). Choir 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 bv her relics during a procession, by Timbal (1864). — 4th: Nativity of the Virgin, and Her presentation in the Temple, by Lenepveu (1864). — Above the door of the Sacristy: Assumption, by Bin (1874). — The statue of the Virgin in the chapel behind the high-altar, by Pajon (d. 1809). is lighted from above. The fresco of the Assumption on the dome is by Lemoine (d. 1737). The statues of St. Paul and St. John by the sacristy are by Pradiev \ those of the twelve apostles by the pillars of the nave are by Boucfiardon. 238 12. PALAIS DU LUXEMBOURG. The organ, one of tlie finest in Paris, by Cavaille-Coll, lias 6 keyboards, lis stops, and about 7000 pipes. The pulpit is supported solely by the steps which ascend to it. The Place St. Sulpicb 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), Massillon (d. 1742), and Fle'chier (d. 1710). The long building on the S. side of the Place is the Seminaire de St. Sulpice, for priests. The Rue Bonaparte , which skirts this building on the right, ends a little farther on opposite the N.W. angle of the Luxembourg Garden (p. 244). We follow the Rue St. Sulpice, to the left of the church, which passes near the Marche St. Germain , a little to the left of the street, a large covered market-place built of stone, 100 yds. in length , and 79 yds. in width. The Rue de Tournon, to the right, the second street from the church, leads direct from the Rue St. Sulpice to the Luxembourg. III. PALACE, GALLERY, AND GARDEN OF THE LUXEMBOURG. 1. Palais du Luxembourg. The Palais du Luxembourg (PI. R, 19; IV) was erected in 1615-20 for Marie de Medicis by Jacques Dehrosse, 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 resto- rations still reveals the original design , looks towards the Rue Vaugirard on the N. side, opposite the Rue 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 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 XVIII. , left it in June 1791. The Convention converted it into a state-prison , in which Marshal de NoaUles and his wife, Vicomte de Beauharnais and his wife Josephine, the future empress, Hebert, Camille Desmoulins, Danton, Robespierre, the artist David, and others were afterwards confined. In 1795 the building was named the Palais du Directoire, and afterwards, in 1799, the Palais du Consulat. The Consulate, however, sat here for a short period only, as Bonaparte remo.ed to the Tui'eries in Feb. 1800. 12. PALAIS DU LUXEMBOURG. 239 During the tirst Empire the palace was occupied by the sen- ate, and styled Palais du Senat-Conservateur. After the Resto- ration, and under Louis Philippe, the Chamber of Peers met here, lu March and April, 1848, the ^Commission des Travailleurs' under Louis Blanc held its Socialist meetings in the palace. 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 Prefet 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. The president of the senate resides in the wing called the Petit- Luxembourg , to the right of the facade. Part of the palace is occupied by the Musee de Luxembourg, which is open to the public daily, except Mondays (see p. 240); the rest of the building is shown daily, except Sundays and during the sittings of the senate, from 9 o'clock 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. We are first escorted to the first floor. The rooms on the left are used by different committees of the senate. We obtain a glimpse only into the Library , the dome of which is adorned with fine paintings by Eugene Delacroix, represent- ing the infernal regions according to Dante. — The '^Salle des Seances (to which visitors are admitted during the sittings of the senate by tickets obtainable through a senator or on written applica- tion to the 'secre'taire de la questure') is one of the most interest- ing apartments. During the sittings the entrance is by the platform in the middle, at the end of the court. This chamber, which is lighted from above, consists of a small semicircular part, occupied by the president, 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 ba'k is adorned with statues of Turgot, d'Aguesseau, IHopital, Colbert, Mole, Malesherbes, and Portalis. On each side of the president's seat is a painting by Blondel : 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 Gallery of Busts, and to the Burette, 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 *Salle 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 Bruue ; at the ends , the Apotheosis of the kings of France, by 240 12. PALAIS DU LUXEMBOURG. Lehmann. Handsome Chimney-piece of 1880. — Descending to the ground-floor, we visit, in the W. part of the palace , the small *Chamhre 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 the reign of Louis Philippe, is also richly decorated. Opposite the windows are paintings 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. 2. Musee du Luxembourg. The Luxembourg Gallery is open daily, except Mondays, 10-4, and in summer 9-5 o'clock ; on Sundays and holidays 10-4 only. The *Musee du Luxembourg, a collection of Works of Living Artists, consisting of paintings, sculptures, drawings, engravings, and lithographs, occupies the E. and W. wings and the gallery which connects them on the N. The works of the most distinguished masters are generally transferred to the Louvre , or sent to pro- vincial galleries , about ten years after their death ; so that a comprehensive survey of modern French art cannot be obtained in one place. The usual Entrance (PI. A; also the exit) Is within the railing of the garden at the N.E. corner, opposite the Theatre de I'Odeon (p. 245). On Sundays and holidays visitors are admitted by the chief entrance in the Rue de Vaugirard (PI. B), and the exit is by a large staircase at the end of the E. wing (PI. C) , or by a small staircase on the W. side (PI. D). The Sculptures are chiefly on the ground-floor (PI. I, II) and in the Rotunda (PI. Ill) on the first floor, and the Pictures (PI. 1-10) in the other rooms of the first floor. 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). Each work bears the name of the artist. Sculptures. 303. Aizelin, Psyche. 304. Allar, Death of Alceste. 305. Barriis (L. E.), Young girl of Megara. 306. Barthelemy, Ganymede. 307-310. Barye, Jaguar devouring a hare ; Tiger and gavial ; Combat of a Centaur and Lapithe ; Panther seizing a stag, all in bronze. (Xos. 307, 308, on the first floor). 311. Becquet, Ishmael. 313. Bonnassieux, Meditation. 314. Bourgeois, Ftiestess of the Delphian Apollo. *318. Carrier-Belleuse, Hebe asleep. 319, *321. Cavelier, Truth ; Mother of the Gracchi. 323, 324. Chapu, Mercury inventing the caduceus; Joan of Arc atDomremy. 325. Chatrousse, Girl reading. 12. PALAIS DU LUXEMBOURG. 241 330, *331. Crauk, Faun with an amphora; Victory, in bronze (on the first floor). 335. Degeorge, Bust of Bernardino Cenci ; *336. Delaplanche, Eve after the FalL *339, 340, 341. Dubois, Infant St. John, in bronze; Narcissus; Florentine singer of the loth cent., bronze gilt. 343. Dumont, Leucothea and the infant Bacchus. 345. Etex, St. Benedict rolling himself on thorns. 346, *347. Falguiere, Tarcisius the Martyr; Victorious cock- flghter. 348. Feugeres des Forts, Death of Abel. *349, 350. Fremiet, Rue de Vaugirard. ]S'urth I-B-i Side, r^-h-T-^ 10 LATERAL GALLEKY Rotunda LATERAL GALLERT Entrance and exit on week-days. B. Entrance on Sundays and holidays. C, D. Exits on Sundays. I, II. Sculptures on the Ground Floor. III. 1-10. the Sculptures on First Floor. Paintings on the First Floor. MUSEE DU LUXEMBOURG. o Plan of First Floor. « •-3 (Grande Cour.) O > Wounded dog, in bronze ; ^ t7«+_o«„» „„.i ^^u ^^ *< Pan with a bear. 354, 355, 356. Guil- laume , Anacreon ; the Gracchi (bronze , first floor) ; Mower, in bronze. *358, 359. Hiolle, Nar(;issus ; Arion seated on the dolphin. 360,361. Idrac, Mer- cury inventing the cadu- ceus ; Salammbo (from Flaubert). 365. Lanson, Age of iron. 367. Lenoir, Bust of St. John. 369. Loison, Day after the victory. 370. Maillet, Agrippina with the ashes of Germanicus. 371. Maindron, Velleda, a replica of the statue in the garden (p. 2441. 372. iV/an;yes 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 Philipp le Bel, by Vincent; *De- votedness of the burghers of Calais, by Ary Schejfer. The Library, with ceiling-paintings 'by Eug. Delacroix^ contains MSS. of Rousseau In the Salle des Distributions are scenes In grisaille by Ah. de Pujol. The Salle Casimir Perier is embellished with statues of Mirabeau and Bailly by Jaley. Perrier by Buret, and General Foy by Deprez, and a basrelief by Triqueti. The Salle du Tronb con- tains 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, and is entered from the Rue de I'Universite. Adjacent to it, and facing the quay, is the Ministere des Affaires Etrangeres, a handsome edifice built in 1845 and restored since 1871. The facade is embellished with Doric and Ionic columns, with balustrades on each story, and at the top with medallions of the armorial bear- ings of the principal powers. Immediately beyond this building is the Esplanade des Invalides (p. 258). We now retrace our steps, pass the Chambre des Deputes, and follow a street to the right, skirting the E. side of the building. We soon reach the Place du Palais Bourbon, adorned with the statue of Law above mentioned, and obtain a view of the S. facade of theChambre. A little farther to the S. we follow the Rue St. Dominique to the left and soon reach — Baedekkk. Paris. 8th Edit. 17 258 14. HOTEL DES INVALIDES. *Ste. Clotilde [PI. R, 14; JFl, one of the finest modern churches in Paris, erected in 1846-59 by Gau and Ballu in the Gothic style of the 14th cent, at a cost of 8 million francs. It is 110 yds. in length, 35 yds. in width, and 85 ft. in height. The facade consists of three portals, richly sculptured, and flanked with two towers, which terminate in spires , rising to a heiglit of 216 ft. The Inteeioe is simple and dignified, being decorated witli marble reliefs only. The magnificent stained-glass windows, which were damaged by an explosion in 1871, are by Mavichal , Galimard , Jourdy , Thibaut, Duval, Ltissori, and Hesse. The two small chapels of the aisles are adorned with paintings by Dtlahorde. Under the windows of the aisles and in the transept are basreliefs by Duvet and Pvadier, 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 (W.) transept. It contains scenes from her history by Lenepveu. The enclosure of the choir is adorned with basreliefs by Gicillaume, two on the right represent- ing Ste. Valere, and two on the left Ste. Clotilde. — The choir-chapels are embellished with mural paintings : 1st on the right (St. RemiJ, by Pits and Laemlein; 2nd (St. Joseph), by Bezard\ 3rd (Virgin), by Lenepveu \ 4th (Ste. Croix), by BHsset ; 5th (St! Louis), by Bouguereau. — In the left (E.) transept are two large compositions by Laugie : St. Clotilde succour- ing 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 deserve inspection. The square in front of the church is adorned with a handsome group in marble by Delaplanche, representing Maternal Education. The Rue de Grenelle passes near the back of the church , 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 Invalide.s is shown daily, 11-4: the Aetilleky Museum is open to the public on Tues., Thurs., and Sim., 12-3 (in summer till 4), and the Emperoe's Tomb on Mon., Tues., Thurs., and Fi-id., 12-3. No fees. The Hotel des Invalides (PI. 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 mutile's ou inflrmes, se trouveraient sans ressources apres avoir blanchi sous les drapeaux ou verse leur sang pour la patrie'. The building was begun in 1671 by Liberal Bruant, and completed in 1675 by Mansart. Soldiers disabled by wounds, and those who have served for 30 years , are entitled to be received into the Invalides. The building was intended to accommodate 5000 inmates, but there are now about 400 only, and the number is decreasing, as most of the 'invalides' prefer to live independently on their pensions. A 'Re- vue' and 'Defile' of the Invalides take place on Sun. at noon. The handsome Esplanade des Invalides, about 550 yds. in length, and 270 yds. in width, embellished with several rows of trees, and statues of French generals, leads from the Seine to the outer court, which is enclosed on three sides by a dry moat. A 'Batterie Triomphale' placed here is used in firing salutes on grand occasions. 14. HOTEL DES INVALIDES. 259 It consists of eight guns and a mortar on each side, besides which there are eleven unnriounted pieces within the fosse, including eight Algerian cannons with Arabic inscriptions, a Coohin-Chinese canuon on one side, and a Chinese on the other. On (he 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, • When my song resounds in the air, many a wall will fall be/ore me''; four Prus- sian 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, captur- ed at the siege of Antwerp in 1832-, a rifled cannfin 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 (igures ; a Venetian piece, of 1708; the remaining pieces correspond to those on the right side. The rest of the outer court is laid out as a garden, and is adorned with a Statue of Prince Eugene , in bronze by Dumont, originally erected in the Place du Prince Eugene, the present Place Voltaire. 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, hy Desjardins, emblematical of four con- quered nations. They formerly belonged to the statue of Louis XIV. in the Place des Victoires (p. 165), but were brought here in 1800. The building is open to visitors daily, 11-4 (fees prohibited). The Cour d'Honneur. the first court, is enclosed with arcades, parts of which are adorned with paintings by Masson, representing scenes from the epochs of Charlemagne, St. Louis, Louis XIV., and Napoleon I. On the S. side is the church (p. 262) ; on the W, the Musee d'Artillerie (see below) ; on the E. are the refectories and kitchens, beyond which, on the first floor, are the Library and Salle du Conseil, dormitories, and other apartments. The Refectories and the museum on the ground-floor are adorned with allegorical pictures , chiefly relating to the campaign of Louis XrV^. in the Netherlands (1672). Among those in the officers' dining-room are the capture of Wesel , Emmerich , and Utrecht (1672), towns which were unable to defend themselves and surrendered almost without a blow. Most of these paintings are by Martin, a pupil of the prolific Van der Meulen. The Library, on Ihe first tloor, on the N. side, containing about 80,000 vols, and several MSS. of Sully and Colbert, is not open to the public. The Salle des MAitftcnArx and Sallk du Conseil adjoin the library. The vestibule contains souvenirs of Napoleon I., flags of different nations, and armorial bearings of towns. Salle des Marechaux. Portraits of French marshals. Model of the Vendome Column; small statue of Louis XIV. by Raggi; large missal executed by two 'invalides'. Salle du Conseil: Portraits of former governors of the Invalides. To the right on entering, we observe under glass the ball which killed Tu- renne at Sassbach in 1G75, and a statuette of the marshal. Above the door are portraits of the architects Bruant and Mansart. 17* 260 14. HOTEL DES INVALIDES. The *Musee d'Artillerie (admission , see p. 258) occupies a considerable part of the W. wing of the building. When the central entrance is closed, visitors traverse a passage to the right, turn to the left into a second court, and reach the museum by a passage to the left. This extensive and interesting collection consists of 4000 specimens of weapons of all kinds. The objects of interest are furnished with explanatory labels. The Vestibule contains a number of large cannon, among which, on the side next the passage, are two Arabian pieces and a cannon from Cochin China in wood hooped with iron; then two Spanish pieces from Mexico, to the right, as we turn towards the corridor ; also casts of monuments to Roman soldiers found in the Rhine. The 1st Galeriedes Armures, to the right on the same side, con- tains a collection of armour and weapons of the 16-17th centuries. Gal . hItho gT apH q . Armes blanches etarmes^afeu Coiir de laTictolre Arinr s l)lajiclu?s et amies a f eit ^1 MdAngoxileme l.iAriiTui'eslre7.-(li"-ch,) J.Vesti- lAmuires fr.-drCh.) I iXo(lelesa:ainiIL(2?pt.)| bule |Costde guerre i2?) ,§ Eglise S^Loids Entree duimi^ee Coin* d'honneiir Entree -prinripale des Invalides n The suits of armour include those of the Connetable de Montmo- rency, the Dues de Guise and de Mayenne, the Baron des Adrets, Sully, and Turenne. At the end of the saloon are an altar, hangings, cloaks, and a collar of the order of the St. Esprit, which was found- ed by Henri III. in 1579. The glass-cases in the centre contain richly-decorated weapons and artistically-executed portions of ar- mour. Above and against the walls are French flags and standards, either originals or copies, beginning with the red Oriflamme. On the left is the white standard of Joan of Arc, enriched with fleurs-de-lys. The frescoes in this room and in that opposite, by Van der Meulen, represent the military achievements of the reign of Louis XIV. On the other side is the 2nd Galerie des Armures, containing a splendid collection of armour worn by horsemen and foot-soldiers, chiefly of the 15th and 16th centuries. Among the suits are those of the kings of France from Francis I. to Louis XIV. The glass-cases contain many other objects of interest. *lst Case : helmet, shield, 14. HOTEL DES INVALTPES. 261 and sword, 16th cent., of beautiful workmanship. At the sides, two admirable suits of the same period, that on the left being known as Tarmure aux lions' (1550), while that on the right is enriched with reliefs designed by Giulio Romano (16th cent.). — *2nd Case : helmet, armlets, mace, and head-piece of Henri II., spurs and gorget of Louis XIII. ; cross-bow of Catherine de Me'dicis ; gauntlet of Louis XIV., muskets of Louis XIII. ; carabine of Napoleon I.; sword of Charles XII. of Sweden (at the back); sword of Louis XVI. and scabbard enriched with jewels ; helmet of Bajazet, son of Mo- hammed II. — *3rdCase: helmets, morions, bucklers, maces of the 16th cent., of Italian workmanship; Russian and Tartar helmets, 15th and 16th cent. — 4th Case : helmets and morions of the 16th cent., shield of the 15th cent., hunting-horn of the 11th cent., handcuffs of the 16th cent. — 5th Case : buckler, helmets, swords, etc., 16th and 17th cent. — *6th Case: interesting firearms of the 16th and 17th cent., including an arquebus and German pistols. — *7thCase : superb firearms, damaskeened and enriched with jewels, executed by order of Napoleon I. for the sherif of Morocco. A small room on the right contains numerous helmets and bucklers, coats of mail, and swords and sabres of historical interest. A door at the end of the Salle des Armures leads into a passage, beyond which are four rooms Gonta.inmg the Ethnographical Gallery, an interesting collection of 78 wax and wooden figures of savages in their war-costume. Returning to the vestibule , we follow the passage to the left, whence a staircase ascends to the new rooms on the first floor, where there are also two long galleries parallel with the court. That on the left, divided by partitions into four rooms, contains a very interesting collection oi *Cosium€s de Guerre. The 1st is devoted to those of the Gauls, the "ind to Greek and Roman costumes , and the 3rd and 4th to those of the French from the time of Charlemagne down to the end of the 18th century. — The gallery on the right is occupied with a valuable collection of small Modeles d'ArtiUerie from the earliest period down to the present day. The passage on the ground-floor leads to the — Salles des Armes Blanches et Amies -ii- Feu. The 1st and 2nd Rooms contain Arabian. Persian, Albanian, Montenegrine. Greek, Chinese, Japanese, and Indian weapons, some of them most elabor- ately executed. Opposite the entrance is the war-costume of an emperor of China, captured in the summer-palace during the ex- pedition of 1860. — 3rd Room, on the right, divided by a partition into two sections, with a collection of firearms from the 16th cent, down to the present day. The most interesting objects are in glass cases. Against the wall of the entrance is a cabinet with specimens of French orders, military rewards, and marshals' batons. — 4th Room, on the opposite side, also divided into two parts: continua- tion of the modern arms, and a collection of cross-bows and pistols. 262 14. HOTEL DES INVALIDES. — To the left is a 5tli Room, containing modern weapons and a collection of drums. 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 naval cannon, a Russian gun and carriage from Sebastopol, and several cannons recovered in 1872 from Spanish galleons which foundered in the Bay of Vigo in 1701. On the other side is the Cour d'Angouleme, where among other pieces is placed the Griffin, a culverin captured at Ehrenbreitstein on the Rhine in 1797, cast in 1528, and weighing nearly 13 tons. By the wall here is a chain 190 yds. long, and S'/o tons in weight, used by the Turks at the siege of Vienna in 1683 for the purpose of barricad- ing an arm of the Danube. It was brought in 1805 from Vienna, where a similar chain is preserved in the imperial museum of armour. Under the carriage-entrance , by which the visitor may nowleave the Hotel, is a chain with fifty iron collars for prisoners, captured in the Morocco camp after the battle of Isly in 1844. TheEglise des Invalides consists of two distinct parts, the Eglise de St. Louis, and the Dome. The Eglise de St. Louis, consisting of a nave and two low aisles, 77 yds. long and 22 yds. wide, is entered from the S. side of the Cour d'Honneur. The nave is adorned with banners cap- tured in Algeria under Louis Philippe, and in the Crimea, Italy, China, and Mexico. On 30tli Marcli, 1814, the evening before the entry of the Allies into Paris, about 1500 flags, the victorious trophies of Napoleon I., were burn- ed in the court of the Invalides to prevent their falling into the hands of the enemy, by order of Marshal Clarke. Due de Feltre, then minister of war. The sword brought by !Kapoleon 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 destroyed by fire during the funeral obse- quies of Marshal Sebastiani in 1851. The columns of the church bear a number of monuments and tablets in memory of former governors of the Hotel des Invalides, including Marshals Mouton, Comte de Lobau (d. 1838) ; Oudinot, Due de Reggio (d. 1847) ; and Jourdan, Comte d"Ornano (d. 1833). Three bronze tablets record the names of the marshals and officers interred in the vaults of the church. Behind the high-altar is a large window filled with modern stained glass, below which is a door lead- ing into the Dome, but generally 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 , so that the visitor must go round the whole building (admission, see p. 259). This second church was built by Mansart in 1706. 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 14. HOTEL DES INVALIDES. 263 cross, 344ft. 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; the walls 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 12 colossal Victories between these reliefs were among the last works of Pradier (d. 1851). The 6 trophies consist of 60 flags which had long lain concealed in the Luxem- bourg. On the pavement are recorded the names of battles. On the mosaic pavement, which represents a wreath of laurels, rises the sarcophagus, 13 ft. long, 61/2 ft- wide, and 141/2 ft- high, 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. 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 Delafosse (_d. 1716): St. Louis offering to Christ the sword with which he had vanquished the foes of Christianity. The Evangelists in the spandrils 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. The entrance to the crypt (closed) is at the back of the high- altar. It is flanked by two sarcophagi, bearing the names oi Duroc a,nd Bertr and ^ the emperor's faithful friends. The former fell at the battle of Bautzen in 1813 ; the latter (d. 1844) was the emperor's constant companion throughout his wars and his captivity, and fol- lowed his remains when brought by Prince Joinville from St. He- lena in 1840 to their present resting-place. Above the entrance are these words from the emperor's will : 'Je desire que mes cendres reposent sur les bords de la Seine, au milieu de ce peuple fran^ais que j'ai tant aime'. On each side is a colossal Caryatide in bronze, by Buret, one bearing a globe, the other a sceptre and crown. 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 Westphalia, with a bronze statue by Guillaume, a small sarcophagus with the remains of his eldest son, and another containing the heart of his wife. The chapel 264 14. CHAMP-DE-MARS. to the right of the entrance contains the sarcophagus of Joseph Bo7ia- parte (d. 1844), once King of Spain. The tower whicti rises opposite the Place Yauban is that of the Puits de Grenelle (see below). Nearer, to the left, are the towers of the church of St. Francois Xavier, erected in 1861-75 by Lussnn and Tchard in a pseudo- Renaissance style. It is adorned with mural paintings by Lameire. E. Delaunay, Gazes, and Bouguereau, a Virgin by Bonassieux, and stained glass by ilare'chal. 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. E, 13 i admission on Wed., 1.30 to 5, by permission of the director, except during the vacation in Aug. and Sept.). This handsome editice was erected in 1839-45. The relief in the tympanum, by Jou^tfroy, represents Valentin HaUy (d. 1822), founder of the institution, instructing his pupils under the protection of Picligion. In the court is placed another statue of the founder. The chief object of the institution is the mainte- nance and instruction of blind children of both sexes. Most of the inmates are supported by government, or by the patrons of the institution, and private pupils are received for 1000 fr. per annum, ilost of the teachers are themselves blind. The Printing Office is one of the most interesting departments. Books for the blind are printed here in raised characters , which they read by their sense of touch. The inmates learn various other manual occupations, but the most important branch of instruction is Music, the pursuit which is best calculated to enable them to gain their own livelihood. Concerts are given by the pupils at 4 p.m. on Wed. in the chapel, which is adorned with frescoes by H. Lehmann. In the centre of the Place de Breteuil, at the end of the Rue Duroc, which passes the N. side of the Blind Asylum, rises the tower of the Artesian Well of Grenelle, 114 ft. in height. " The well is 1800 ft. in depth, and yields 200,000 gallons of water daily. The Avenue de Saxe leads hence to the N.W. to the Ecole ililitaire (see below). III. FROM THE INVALIDES ^"0 THE TROCADERO. Ecole Militaire. Champ-de-Mars. The Ecole Militaire (^Pl. R, 10 ; /), an imposing edifice 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 e'lever 500 gentilshommes dans toutes les sciences ne'cessaires et convenables a un offlcier'. In 1792 it was converted into a barrack for 5400 men and 1500 horses. The principal part, on the N. W. side, presents a palatial appearance and is V4^^- i^ length. The Corinthian portico in the centre is sur- mounted 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. The Champ-de-Mars [PI. R, 7, 8, 10, 11 ; /), a large sandy space extending in front of the building, towards the N.W., is 1100 yds. in length and 550 yds. in breadth. Down to 1861 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 rows of seats, which enabled hundreds of thousands of the people to witness the Fete de la Federation, which took place on 14th July of the same year. In front of the Ecole 14. CnAMP-DE-MARS. 265 Militaire was erected the Autel de la Patrie , where the king , tlie 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 similar festival , the famous Champ de Mai , was celebrated here with the utmost pomp by Napoleon on 1st June, 1815 . Here too, in August, 1830, Louis Philippe presented colours to the National Guard, and in 1852 Napoleon III. distributed to the army the eagles which were to replace the Gallic cock. The Champ-de- Mars was the site of the 'expositions universeUes' of 1867 and 1878, and its usual deserted appearance was changed for one of great in- terest and animation. The Square laid out at the N. end of the Champ-de-Mars during the latter exhibition has been left intact, while the rest of the plain is now to be used as a race-course. Near the Square is the small Gare du Champ-de-Mars (PI. R, 8 ; 7). Adjoining the Champ -de -Mars, on the right in descending towards the river, is the temporary Crarde-Meuble, which is entered by No. 103 Quai d'Orsay. It contains an interesting collection of furniture, tapestry, bronzes, and other objects of artistic and histori- cal value. This museum is open to the public on Sun. and Thurs., 10-4 o'clock. A little farther up the quay, and nearly opposite the Pont des Invalides (p. 160). rises the extensive Manufacture des Tabacs (Tl. R, 14), Quai d'Or- say 63. It is shown on Thursdays only, 10-12 and 1-4 o'clock, on written application to the 're'sisseur'; visitors ring at the principal entrance, where a flag is hung. This extensive establishment is worthy of a visit, but the pungent smell of the tobacco saturates the clothes and is not easily got rid of. About 2000 workpeople, including 1900 women and girls, are em- ployed here, and 6200 tons of tobacco are annually manufactured. The Ingenieurs aux Tabacs, or higher officials, are educated at the Polytechnic School, and study 2 years at the -Ecole d'application pour les Tabacs'. There are 16 government manufactories of tobacco in France, all dependent on that of Paris, yielding an annual revenue of 200,00(1,000 fr. Pont d'lena and Trocadero, see pp. 161, 162; Pont de I'Alma, see p. IGl. ENVIRONS OF PARIS. 15. From Paris to Versailles. Versailles is situated to the S.W. of Paris, with which it is connected by two railways, and by a high-road with a tramway-line running between them. By the railway on the Rive Droite, or right bank of the Seine, the distance is 141/2 M.. by that on the Rive Gauche, or left bank, IIV4 M., and by the road about 10 M. a. Rive Droite (Gare St. Lazare, PI. B, 18; booking-office and platform of departure in the left wing). Trains start from Paris every hour from 7.30 a.m. till 12.30 a.m., and from Versailles every hour from 7 a.m. till 11 p.m. There are also several additional trains, particularly on Sundays and holidays (see Indicateur). The journey occupies 35-50 minutes. Fares 1 fr. 65, 1 fr. 35 c; return-tickets, on which there is no reduction, are available for the Rive Gauche (p. 267). The through-trains stop at St. Cloud and Sevres-Ville d'Avray only. The train passes under the bridge of the Place de I'Europe and through a short tunnel. To the left is the Chemin de Far de Ceinture. The fortifications are then traversed. — 21/2 M. Clichy- Levallois, beyond which the train crosses the Seine, 33/4 M. Asnieres, a village on the left bank of the Seine, with 11,352 inhab. ; it is a favourite resort for boating and other amuse- ments in summer. The lines to Argentenil, St. Germain (p. 293), and Rouen diverge here to the right, and the Versailles line de- scribes a wide curve to the left. Asnieres may also be reached by tramway from the Boul. Haussmann. 5 M. Courbevoie , a town with 15,112 inhabitants. The long building to the left of the station is a barrack erected by Louis XV. for his Swiss Guard. A height on the left bank of the small river Courbevoie is crowned with a bronze group by Barrias, representing the Defence of Paris. 61/4 M. Puteaux [15,586 inhab.). The line traverses high ground, affording a view of Paris, the Bois de Boulogne, and the Seine. 7y.2 M. Suresnes. The train skirts the base of Mont Valerien (p. 156), which is crowned by the most important of the defensive forts around Paris , 650 ft. above the Seine. The summit was formerly occupied by Le Calvaire, a monastery erected in the reign of Louis XIII., and a favourite resort of pilgrims. In 1870-71 Mont Valerien played a prominent part in both the sieges of Paris. 9Y.2 M. St- Cloud- Montretout (;p.2dO~). The train passes through a short tunnel. To the right diverges a branch to Noisy-le-Roi (p. 288). Tunnel. 10 V2 M. Sevres-Ville d'Avray ; the station is 1 M. from the porce- lain manufactory (p. 291). Numerous villas. The church of Ville d'Avray contains models of statnes by Pradier, Rude, and Duret, a T.rrETai^-iS v 15. VERSAILLES. 267 St. Jerome painted by Corot, an Ecoe Homo by Aug. Hesse, etc. Near the end of the Rue de Versailles, to the left, are the pictur- esque ponds that figure so often in the paintings of Corot, to whom a monument has been erected here. About li/o M. to the W. is the chateau of La Marche, in the grounds of which horse-races take place annually (^p. 34). — 13 M. Viroflay. To the left, farther on, is seen the viaduct which crosses the high-road and unites the lines of the right and left banks. 141/2 M. Versailles. b. Rive Gauche (Gare Montparnasse, PL G, 16; booking-office and platform of departure to the left, upstairs). Trains from Paris at 6.35 a.m., and every hour from 7.5 a.m. till 11.5 p.m., and another at 12.40 a.m.; from Versailles every hour from 6.35 a.m. till 10.35 p.m., and one more at 11.25 p.m. The journey occupies 40 minutes. Fares the same as by the Rive Droite; return-tickets avail- able for either line. The finest views are to the right. — Passengers for Sevres should alight at Bellevue. This line crosses and corresponds with the Chemin de Fer de Ceinture at the Ouest-Ceinture station (see Appx.). It then passes near the villages of Vanves, which possesses a 'Lyce'e', and Issy, with the Hospice des Menages and the Hospice Devillas for the re- ception of the aged poor. On the left and right of the line rise the forts of Vanves and Issy, both of which were almost entirely destroyed during the sieges of 1870-71, but have been restored. 33/4 M. Clamart, about Y2 ^1- from the village of that name, which is also connected with Paris by a tramway-line (terminus in the Place St-Germain-des-Pres). The large hospital here is due, like those of Fleury (see below), to the munificence of the Duchess of Galliera. The Bois de Clamart, to the E. of the Bois de Meudon, is a favourite Sunday resort of the Parisian 'bourgeoisie'. The line skirts the hills above the Seine , affording a fine view of Paris and the river, particularly before Meudon is reached. 5 M. Meudon , see p. 292. — On the hill to the left is the new Hospice de Fleury, an asylum for old men and women, erected and endowed by the Duchess of Galliera, who has also built an Orphan- age lower down. — 5^2 M. Bellevue, beautifully situated on the hills of Meudon, see p. 292. — 6V4M. Shvres (p. 291). Fine view of the Seine and the park of St. Cloud (p. 291) to the right. — 8 M. Chaville. — 83/4 M. Viroflay. — IIV4 M. Versailles. c. Tramway. The cars start from the Quai du Louvre, and follow the high-road from Paris to Versailles by Sevres. Cars from Paris run every hour or oftener from 8 a.m. till 10 p.m. ; from Versailles every hour from 6 or 7a.m. till 10 p.m.; fare 1 fr., out- side 85 c. ; to Sevres in 70 min., to Versailles in PU hour. Another set of cars plies on the same line as far as Sevres (p. 291). For some distance the road skirts the Seine, passing the bridges at the W. end of the city, and leading under the new Trocade'ro bridge, which crosses the Quai de Billy from the Pont d"Iena to the Trocadero Palace. It then passes the suburbs of Passy aiui Auteuil 268 15. VERSAILLES. (p. 164), intersects the fortifications (the road to St. Cloud diverges to the right), crosses the Seine, and reaches Sevres. The drive from Sevres to Versailles occupies 40 min. more; the road passes under the railway-viaduct, and soon reaches the Avenue de Paris. Ter- minus in the Place d'Armes. Versailles. Arrival. The Station of the Rive Droite Line is nearly 1 M. distant from tbe palace: omnibus 30 c. : cabs V/t (one- horse) or IV2 fr. (two- horse), per hr. 21/2 fr. — The Station of the Rive Gauche Line is about V2 ^^^ from the palace. The tramways extend to the palace, and may be iised for passing from -one station to the other. — The Gare des Chantiers, of the Chemin de Fer de Grande Ceintui-e, is 1 M. from the palace and is called at only by a few trains (comp. the Indicateur). Hotels. 'Hotel des Eesebvoirs , Paie des Reservoirs 9 ; Hotel du Vatel, Rue des Reservoirs 2G-28 ; Hotel de France, Rue Colbert 5, to the right of the Place d'Armes on the way to the palace ; Hotel de la Chasse, Rue de la Chancellerie 6. with a restaurant. Cafes-Restaurants. Rest, du Musee, Rue des Re'servoirs 4, near the palace (a la carte) ; Neptune. Rue des Re'servoirs 14, dej. 3. D. 4fr. ; Comidie, in the park, also entered from the Rue des Reservoirs, dej. 3, D. 4fr. ; Cafd Anglais, Rue du Plessis 49, near the station of the Rive Droite; Globe, Rue du Plessis, dej. 3, D. 5 fr. 5 de Londres, Rue Colbert 7; Rochev de Can- cale, Rue Colbert 9. near the palace, dej. 2, D. 2V2-3 fr. ; Cafi de la Place d'Armes, corner of the Rue Hoche. English Church, Rue du Peintre Lebrun, corner of Rue de laPompe; services at 11 a.m. and 4 p.m. Versailles, the capital of the Seine-et-Oise department, with 48,324 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 view of the tower of St. Denis (p. 297), the royal burying-place. The site of Versailles was hardly favourable for a town, and still less so 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 l)y Voltaire '■rabime des dtpenses\ its palace and park having cost the treas- ury of Louis XIV. the enormous sum of lOlKJ 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,O0U men and GlKX) 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 3Iaintenon, a distance of 31 31. from Versailles. This aquediict was 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 1633 prevented the resumption of the works. The waterworks of Marly (p. 293) were afterwards constructed, and a farther supply of water obtained from the ponds on the plateau between Versailles and Rambouillet. After the year 1682 Versailles became the permanent head-quarters of the court, and is therefore intimately associated with the history of that period. It witnessed the zenith and the decadence of the prosperity of Louis XIV. ; and under his successor the magnificent 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 Etaf took the memorable step, — the lirst on the way to the Revolution, — of forming itself into a separate body, the Assembk'e Na- 15. VERSAILLES. 269 tionale. A few months later the unfortunate 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 Eevolutiun it narrowly escaped being sold. Na- poleon 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 Blarch 1871 the palace was the head- quarters of the King of Prussia, and a great part of the edifice 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 Emperor of Germany. To describe minutely all the events which occurred at Versailles during the above period would be to write a history of the Franco-Prussian war. The house No. 1, Boulevard du Roi, was the scene of the negociations between Prince Bismarck and Jules Favre on 23rd-24th Jan. and 26th-28th Jan., which decided the terms for the capitiilation of Paris and the prelimi- naries of peace. After the departure of the German troops (12th Mar., 1871), Versailles became the seat of the French government, and it was from here that Marshal Macn)ahon directed the struggle against the out- break of the Commune. It was not till 1879 that government and the chambers transferred their headquarters to Paris. On the way from the station of the Rive Droite to the palace, we pass on the right a Statue of General Hoche, 'ne a Versailles le 24 Juin 1768, soldat h. 16 ans, ge'neral en chef a 25, mort h. 29, paciflcateur de la Vende'e', by Lemaire. Near it is the Church of Notre-Dame, erected by Mansart in 1684, containing the monument of the Comte de Vergennes (d. 1787), minister of Louis XVI. To the S. W. of the palace is the Salle du Jeu de Paume, or tennis- court, in which the members of the Third Estate met in June 1789 (see above), after they had found the assembly-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 oil les circonstances I'exigeront, jusqu'a ce que la constitution du royaume so it etablie et affermie sur des fondements solides'. In 1883 a Mush de la Revolution was established in this famous hall (open d lily, except Mon., 12-4). Opposite the entrance is a marble statue of Bailly, the president of the sitting above mentioned, by St. Jlarceaux, 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. 139). The glass-cases contain portraits, engravings, and other relics of the same period. The high-road from Paris, or Avenue de Paris , unites with the two other chief streets of Versailles in the spacious Place d'Armes. On approaching the palace the traveller is assailed by vendors of 'complete' guides to the collection, which, however, are rendered quite unnecessary by the following explanations and the inscrip- sions on the pictures themselves. The *Palace of Versailles presents a less imposing appearance when approached from the Place d'Armes than when seen from the garden, the facade towards which is no less than */4 M. in length. 270 15. VERSAILLES. The building dates from several different periods , and its style lacks uniformity. The central part is the original chateau of Louis XIII., built of brick and stone, and the wings were added by J. H. Mansart (d. 1708) under Louis XIV. On the right rises the chapel with its pointed roof; adjoining it is a pavilion erected by Louis XV. ; and to the left of the court is a corresponding pavilion added by Louis XVIII. Other buildings of considerable size situated on each side are concealed by those of the first court, which Louis XIV. intended for his ministers. Those to the right of the chapel include the Theatre^ constructed in the reign of Louis XV., which was used from 1871 to the end of 1875 for the meetings of the As- semblee Nationale, and from 1875 to 1879 for those of the Senate. The injudicious fete given by the court to the Gardes du Corps, after which Louis XIII. was compelled to quit Versailles, also took place in the Theatre. The left wing was used as the Chambre des Deputes. The public are admitted to five different courts — the first great court, or Cour d'Honneur ; the Cour Royale, between the pavilions ; the Cour de Marbre, in front of the central building ; the Cour de la Chapelle, between the pavilion on the right and the chapel ; and lastly the Cour des Princes, on the other side of the pavilion on the left. The gardens are entered through the last two courts. The Cour d'Honneur is separated from the Place d' Amies 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 two rows of Statues. On the right: Cardinal Richelieu (d. 1642), regent of France under Louis XIII. ; Bayard (d. 1524), the 'chevalier sans peur et sans re- proche'; Colbert (d. 1683), the able finance minister of Louis XIV.; Marshal Jourdan (d. 1833); Marshal Massena (d. 1817); Admiral Tourville (d. 1701); Admiral Dugay-Trouin (d. 1736); Marshal Turenne (d. 1675). On the left: Suger (d. 1152), Abbot of St. De- nis and regent under Louis VII. ; Bertrand du Guesclin (d. 1380), Connetable of France ; Sully (d. 1641), the celebrated minister of Henri IV. ; Marshal Lannes (d. 1809); 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 Cartellier (^d. 1831), the figure by Petitot (d. 1862). The pavilions bear the inscription, 'A toutes les gloires de la France.' The *Musee 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 15. VERSAILLES. 271 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 efforts of transcendant genius. The number of rooms is so great, that a single visit suffices only for an inspection of the more important works. 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 present Entrance to the Musee (open daily, 12-4, except Mondays) is from the vestibule of the chapel, to the right (comp. the Plan, p. 272). Wet umbrellas must be left in the custody of an attendant (10 c). Ground Floor of the N. Wing. The *Palaci3 Chapbl, erected in 1699-1710, produces a better impression when seen from the first floor, as its proportions were calculated from the galleries of the court. It is riclily 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 Coy- pel. The decorations of the altar and of the side-galleries, and the ornamental details of the architecture also deserve attention. From the vestibule of the chapel we enter the I. Gallery of THE History ofFrancb, consisting of eleven rooms witli historical pictures from the time of Charlemagne to that of Louis XVI. I. Room. Ary Scheffer (lb27), 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 ) mediating between the King of England and his barons. — II. Room. Brenet, Death of Bertrand du Guesclin before Chateauneuf-de-Randon in Languedoc, 1380. Vinchon, Charles VII. anointed at Rheims, 1429. Berthelemy, The French army entering Paris, 1436. — III. Room. Jollivet^ Battle ofAgna- dello, in Venetia, 1509. Lariviere, Death of Bayard at the capture of Brescia, 1512. — IV. Room. Ary Scheffer llS^i), Gaston de Foix's death at the Battle of Ravenna, 1512. Schnetz, Battle of Ceresole, 1544. — V. Room. Large pictures of little interest. — VI. Room. Sieges and battles of the reign of Louis XIII. and the early part of the reign of Louis XIV. — Rooms VII. & VIII. Campaigns of Louis XIV. — Rooms IX. & X. Scenes from the Seven Years' War. — XI. Room. End of the Seven Years' War. 225. Hersen<(1817), Louis XVI. and his family distributing alms (1788). A handsome modern staircase here ascends to the second and 272 15. VERSAILLES. n CO ^ rm *■ Ejr 3 ':_ ^ -t^ ^ 1 1 2 cVJTJ a u ^ o Sortii q ® '^ 3 ^ [Resid. i£r3 rrnJTTTT _i ^ — +H a CO [■ 1 J^l 3. 1- o Q — ,:'!;::,: 1 J^(«PS -l=M Gkound Floor. N. Wing. 1-11 . Premih'e Galerie de Vllis- ioire de France (p. 271). Galerie des Tonibeaux (p. 274). Theatre or iSalle du Sinat (p. 270). I-V, Salles des Croisades (p. 274). Chapel (p. 271). Main Edifice. MX. Salles des Amiraux^ Gonnitables , et Mar6- chaux de France (p. 284). Salle des Rois de France (p. 284). Galerie Louis XIII. (p. 234), 1-8. Salles des Marichaux de France , modern series (p. 2S5). S. Wing. 1-13. Galerie de V Empire (p. 282). Salle de Marengo (p. 283). Galerie de Sculpture (p. 283). Chambre des Diputis (p. 283). 15. VERSAILLES. 273 FiKST Floor. N. Wing. Galerie de Sculpture (p. 274). I- VII. Galerie de Constantine (p. 274). 1-10. Seconde Galerie deVHis- toire de France (p. 276). Main Edifice. I, II. Salons d''IIercule et de VAbondance (N. wing, p. 276). Ill, IV. Salles des Gouaches (p. 277). V. Salle des Etats-Geniraux (p. 277). VI-X. Salons deVinus^ Diane, 3fars, Mercure, Apollon (p. 277). 1-5. Appartements de Louis XIV. (p. 278). Petits Appartements de Louis XV. (p. 277). B. Salle de la Guerre (p. 277). Galerie des Glaces (p. 277). C. Salle de la Paix (p. 278). I- VIII. (S. side) Appartements de la Heine (p. 278). V. Salle du Sacre de Napo- Uon fp. 279). f, g, h, i, j. k. Petits Apparte- ments de Marie Antoinette (p. 278). A. Escalier de Marbre (p. 281), adjoining which is the Escalier de la Reine (p. 281). D. Aquarelles de 1796 ii 18 14 (p. 279). S. Wing. E. Escalier des Princes (p^. 280, 282). Galerie des Batailles fp. 280). Salle de 1830 (p. 280). Second Floor. Main Edifice. A. Escalier de la Reine (i>.2Si). a-k. Salles et Cabinets des Por- traits (p. 281). K. and 8. Wings. Galerieset Salles des Portraits Bakdeker. Paris. 8th Edit. (pp. 275, 282). 18 274 15. VERSAILLES. third floors. To tlie right is the Galerie des Tomheaux, and in front of us the Theatre (p. 270). The Galerie des Tombeaux, parallel to the Historical Gallery, contains casts of funereal monuments, and formerly served as vesti- bule for the Senate. — On one side is the entrance to the five — *Salles DBS Croisades, remarkable for their sumptuous de- coration, and the magnificent modern pictures they contain : — *lst Saloon. Lariviere, Battle of Ascalon, 1099. Hesse, Taking of Beyrout, 1197. Gallait (1S47), Coronation of Count Baldwin of Flanders as Greek Emperor, 1204. — *2ud Saloon, Rouget, Louis IX. receiving the emissaries of the 'Old Man of the Moun- tain', 1251. Papety, Defence of Ptolemais hy Guill. de Clermont, 1291. Jacquand, Taking of Jerusalem by Jacques de Molay, Grand Master of the Templars, 1299. — *3rd Saloon (large hall). The armorial bearings (Ai the pillars are those of Frederick Bar- barossa, Richard Coeur 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. Blondel, Surrender of Ptolemais to Philip Augustus and Richard Cceur de Lion. Odier, Raising of the siege of Rhodes, 1480. Lari- vilre, Raising of the siege of Malta, 1565. Schnetz, Procession of Crusaders round Jerusalem, Horace Vernet, Battle of Las Navas de Tolosa, 1212. — 4th Saloon. Schnetz. Battle of Ascalon, 1099. Signal (1840), St. Bernard preaching the 2nd Crusade at Yezelay in Burgundy (1146). — 5th Saloon. Signal, Crusaders crossing the Bosphorus under Godfrey de Bouillon. 1097. Opposite : Signal, Taking of Jerusalem, 1099. Eobert- Fleury, Bald\^in jntering Edessa, 1097. Hesse, Adoption of Godfrey de Bouillon by Alexander Comnenus, 1097. Gallait, Taking of Antioch, 1098. We now return to the Galerie des Tombeaux and ascend by a small staircase, adjoining the chapel, to the • — North Wing of the First Floor. After viewing the interior of the chapel from the royal gallery, we enter a Gallery of Sculp- tures, containing several fine marble statues by Xanteuil, Foyatier, Jaley, Etex. etc. To the right, the monument of Henri Chabot (d. 1655), by Franc. Anguier. Farther on are several works by Pradier, the best of which is the *Monument of the Duke of Or- leans (p. 160), with reliefs relating to the sieges of Antwerp and Constantine. At the end, a *Statue of Joan of Arc by Princess Marie of Orleans (d. 1839), daughter of Louis Philippe. To the right is the *Galerie de Coxstantixe (PI. I-YII), consisting of seven rooms which contain some of the finest pictures in the collection, particularly the battle-scenes by Horace Vernet. Room I. : Principal wall : Chr. Muller, Opening of the Cham- bers on 29th March, 1852. Dubufe, Congress of Paris, 1856. *Gerdme. Napoleon III. receiving ambassadors from Siam. 15. VERSAILLES. 275 Room 11.: YvoT?, Retreat from Russia, 1812. Pro/a/*-, Storming of the 'Mamelon Vert' at Sebastopol. *Room IIL : Horace Vernel (1845), Taking of tlic Smalah of Abd-el-Kader (16tli May, 1843), a magniflrent picture 71 ft. in length and 16 ft. in height, containing numerous portraits, to whicli 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 per- sons, 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. Vernet (1846), Battle of Isly, 1844. Beauce, Taking of Fort St. Xavier. near Puebla, 1863. Vernet, Capture of Rome in 1849. Beauce . Entry into Mexico, 1864. Beauce, Storming and capture of Lasliouat, 4th Dec, 1852. Tissier, Napoleon III. liberating Abd-el-Kader. Room IV. : Seven large and seven small pictures -by Horace Vernet: Battle of the Habrah, 3rd Dec, 1835. Siege of Constan- tine, lOtb Oct., 1837. Preparations for the assault of Constantine, 13tli Oct., 1837; in the central group the Englisli Lieutenant Temple and other foreign officers. Taking of Constantine, 13tli Oct., 1837. Attack on the Mexican fort St. Jean d'Ulloa by Ad- miral Baudin, 27th Nov. . 1838. Storming of the pass of Tenia Mou- zaia, 12th May, 1840. Siege of the citadel of Antwerp, 1832. Room v.: Yvon, Entrance to the Malakofif tower; Storming of the Malakoff (8th Sept., 1855); Curtain of the Malakoff; Battle of Solferino (1859). Pits, Battle of the Alma (1854). Rigo, Battle of Magenta (1859). Barrias, Debarkation on the coast of the Crimea. Room VI. : *Bouchot, Bonaparte dissolving the Council of Five Hundred, 9th Nov. , 1799. Vinchon, Louis XVIII. tendering the *Charte' of the constitution, and opening the Chambers. Couder, 'Fete de la Fe'de'ration' in the Champ-de-Mars, 14th July, 1790. Coitder , Oath taken on 20th June, 1789, in the Jeu de Paume (p. 269). Couder, Institution of the Conseil d'Etat, 1799. Room VII. : Steuhen, Battle of Ivry, 1590; Henri IV. rallying his followers with the words, *Si les cornettes vous manquent, ral- liez-vous a mon panache blanc , il vous menera toujours dans le chemin de rhonneur'. Vinchon, Departure of the National Guard for the army, 1792. We now return to the Sculpture Gallery (p. 274), which we traverse to the Theatre (p. 270\ at the N. end. The slaircase to the left ascends to the Attique du Noki), a suite of ten rooms on the Second Floor, containing an immense collection of por- traits of sovereigns and other celebrated persons from the 13th to the 18th century. Most of these are uninteresting and of little artistic value, but there are a fcAv good works by Rigaud^ Mignard^ Lebrun. Vaii Loo, Coypel. and others. The rooms abso contain a few casts and medals. We descend by the same staircase. Visitors who are pressed for time may omit this part of the collection. 18* 276 15. VERSAILLES. The 11. Gallery of the History of France (PL 1-10), par- allel with the gallery of sculptures , consists of ten rooms with historical scenes from the years 1797-1835. 1st Koom (1830-1835): Court, Louis Philippe signing the well- known proclamation of 31st July, 1830, ending with the words: '■La Charte sera desormnis une verite\ The portraits deserve in- spection. — 2nd Room (1824-1830): Gemrd (1829), Coronation of Charles X. at Rheims (1825). E. Vemet, Charles X. reviewing the National Guard in the Champ-de-Mars (1824). — 3rd Room (1814 -1823): Paul DeZaroc/ie (1827), Storming of the Trocade'ro near Cadiz, under the Duke of Angouleme, 1823. Gros, Louis XVIII. quitting the Tuileries on the night of 19th March, 1815, on being apprised of Napoleon's approach. — 4th Room (1811-1814): Henri Scheffer (brother of Ary), after H. Vemet (1835), Battle of Mont- mirail, 1814. Feron, after Horace Vemet (1835), Battle of Hanau, 1813. Beaume (1837), Battle of Liitzen, 1813. — 5th Room (1809-1812): Lanaio/s (1837), Battles of Borodino (1812), Smo- lensk (1812), and Castella (1812). — 6th Room (1809-1810): Mey- nier (1812), Napoleon in the island of Lobau after the battle of Essling. Bellange (1837), Battle of Wagram, 1809 , a bird's-eye view. Gautherot, Napoleon wounded on the battle-field of Ratis- bon, 1809 (engravings from this picture are common). — 7th Room (1807-1809): ^ersenf (1810). Taking of Landshut , 1809. The- venm(1811j, Taking ofRatisbon, 1809. — 8th Room (1806, 1807): Camus (1808), Napoleon at the tomb of Frederick the Great at Potsdam, 1806. Vaffiard (1810), Destruction of the monument at Rossbach, where the French had been defeated by Frederick the Great in 1757. Over the door: J^oftn (1808), Military hospital in the chateau of Marienburg, occupied by Russians and French after the battle of Friedland, 1807. — 9th Room (1800-1805): Taunay, The French entering Munich, 1805. — 10th Room (1797-1800): Hennequin, Battle of the Pyramids, 1798. Colson, Napoleon enter- ing Alexandria, 1798. Langlois, Battle of Benouth, 1799. At the top of the staircase 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 the Cour de Marbre, parallel with the Galerie des Glaces (see below). The rooms are named after the subject of the ceiling-paintings, which are of moderate artistic value only. The walls are hung with battle-pieces by Van der Meulen and his pupils, illustrating the campaigns of Louis XIV. The gorgeous ornamentation is on the whole very effective. I. Salon d'Hercule, so named from the Apotheosis of Hercules on the ceiling, by Lemoine. — II. Salon de I'Abondance , with ceiling-painting by Houasse , emblematical of royal abundance ox 15. VERSAILLES. 277 magnificence. — III, IV. Rooms (to the left of the last, see Plan) contain drawings in crayon ('■Gouaches ) by Van Blarenberghe^ chiefly from the campaigns in tlie Netherlands in 1745-413. — V. Salle des Etats Generanx, containing four large pictures by Bezard and Alaux, and a frieze by Boulanger^ representing the Procession of the States General to the Church of Notre-Dame at Versailles on 4th May, 1789. The large picture of the States General by Couder is now in the Chamber of Deputies (p. 283). — The rooms on the other side of Room III. are tiie Petits Ap- partements du Roi (see below). — VI. (at the end of Room II.) Salon de Venus, with a ceiling-painting by Houasse and a *Group of the Graces, in marble, XiyPradier. — VII. Salon de Diane, with ceiling- painting by BLanchard. Busts of Louis XIV. by Bernini , the *Grand Dauphin, his son (d. 1711), by Coyzevox, etc. — VIII. Salon de Mars, with a fine ceiling adorned with paintings by Au- dran, Houasse, and Jouvenet. — IX. Salon de Mercure , with ceiling by J. B. de Champagne. — X. Salon d'Apollon , with ceiling by Lafosse. We now enter the *Sallb de la Guerre (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 spandrils, Bellona, Spain, Germany, and Hol- land cowering in terror. The walls are lined with particoloured marbles and embellished with bronze reliefs. On the entrance-wall is a huge plaster relief by Coyzevox^ representing Louis XIV. on horseback. — We next enter the — **Grande Galerie, also called the Galerie des Glaces or de Louis XIV., a superbly-decorated hall. 240 ft. long. 35 ft. wide, and 42 ft. high, commanding a beautiful view of the garden and its ornamental sheets of water from the seventeen large arched win- dows , opposite which are as many mirrors in gilded niches. The paintings on the ceiling, distinguished by great harmony of colour- ing and wonderfully effective , were executed by Charles Lehrun in 1679-83. They represent, in 21 large scenes and 6 imitations of reliefs, the achievements of Louis XIV. from the Pyrenaean Peace in 1659 to the Peace of Xymwegen in 1678 , in the centre is a large picture occupying the entire width of the vaulting : 'Le roi gouverne par lui-meme'. — King William of Prussia was proclaimed Emperor of Germany in this hall in 1871. The first door to the left leads from the Galerie des Glaces to the Salle du Conseil ( PI. 5), containing a time-piece with very in- genious mechanism, and adorned with the monogram of Louis XIV. The walls are richly embellished with wood-carving and gilding. Those who have time to spare may now visit the Petits Apparte- MESTs DU Roi, a series of very tastefully-decorated rooms (unnumbered on the Plan). The clocks arc almost the only relics of the original fur- niture. 1. Bedchamber of Louis XY., in which he died on May 10th, 1774. This room contains a model of the statue of Louis XV. erected in 278 15. VERSAILLES. the Place de la Concorde (p. G8) and a large picture of his coronation by Signol. — 2. Salon des Pendules, with a meridian-line marked on the floor. In the middle are several interesting old eight-day clocks. — 3. To the left, Cabinet des Chasses , with a frieze of sporting scenes; below, portraits of Colbert, Louvois, and Louis XIV. — 4. Dining-room, containing an elaborately-decorated desk of the period of Charles X. — We now return through the Salle des Pendules to the Study of Louis XV. (5). — 6. To the left, Cabinet de la Vaisselle dOr, formerly containing gold plate and jewellery. — 7. Cabinet des Mcdailles, richly decorated; on the mantel-piece, Dresden china. — 8. Library of Louis XV. and Louis XVI. — This room is adjoined by R. Ill, of the Grands Apparte- ments (p. 276). Adjoining the Salle du Consell is the Bbdchambbk of Louis XIV. (PL 4), with gorgeous mural decorations, and containing the richly adorned bed of the king. The furniture, in tortoise-shell and gilded bronze, was made by Charles Andrte Boule or Buhl^ court-cabinet- maker under Louis XIV. (16-42-1732), whose name has since been applied to this kind of work. The candelabra should also be noticed. The pictures did not form part of the original contents of the room. From the balcony of this apartment, on 1st Sept,, 1715, the first chamberlain publicly announced the death of Louis XIV, by ex- claiming 'ie roi est mort!\ at the same time breaking his wand of office; then taking another, he exclaimed, '■Vive le roi'.'' — We now enter the — Sallb de l'QEil bb Bceuf (PI. 3), so called from its oval win- dow, where the courtiers nsed to await the Hever' of the king, and celebrated as the scene of numerous intrigues. The walls are em- bellished with a frieze of dancing genii. To the left are two Ante-rooms (PI. 1, 2), containing pictures of battles. On the back- wall of the second, the Salle des Gardes, is a representation of a tournament held by Louis XIV. in 1602 (No. 2130). We now return to the Salle de ViFAl de Boeuf. A door to the left here (closed; apply to an attendant) leads to the small Appaetemexts de Marie Astoinette (g, f, h, i, j, k on the Plan), Most of the original furniture has disappeared. Le Petit Couloir. — Waiting Room of the Maids of Honour. — Boudoir. — Red Lil)rary. — Blue Library. — Bath-room, in its original state. — Saloon of the (Jueen. We now return to the Galerie des Glaces, adjoining wliich, to the left, is the *Salox de la Paix (PI. C), with ceiling-paintings by Lebrun, representing France surrounded by Abundance and other allegorical figures, while in the spandrils are figures of Hol- land , Germany, Spain, and France rejoicing in the blessings of peace. On the exit-wall: 2091. Portrait of Louis XIV. with the helm of the state, by Le Moine. We now come to the — Appartements db la Reine (Plan I-VIII) , the decorations of which are more interesting than the pictures. Room L, with taste- ful ceiling-paintings in grey and gold. To the left : 2092. Marriage of Louis XIV. and Maria Theresa of Austria, by Lehrun ; *2097. Marie Antoinette, by Mme. Lehrun ; *2096. Maria Lesczinska, by Nattier. — Room II. To the right: 2098. Louis XIV. visiting the 15. VERSAILLES. 279 Gobelins Manufactory , a reversed copy of a work by Lebrun and Van der Meulen (now at the Gobelins manufactory, p. 253), painted as a guide in tlie execution of tapestry. Ceiling-painting by Michel CorneiUe , representing Mercury as the patron of the arts and sciences. These two rooms were successively the bedroom and drawing-room of Maria Theresa, Maria Lesczinska, and Marie An- toinette. — Room III., with fine ceiling-decoration, after Leirwn, representijig Darius at the feet of Alexander. Among the pictures are the following originals: 2109. Louis XIV. on horseback, by Lebrun; 2106. Turenne defeating the Spanish troops at the Canal of Piruges (1567), by Lebrun And. Van der Meulen] 2108. 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 Gardbs be la Reine, the walls of which are lined with marble, are several interesting busts : 2122. Louis XVI., *2123. Marie An- toinette, both probably by Houdon ; 2120. Maria Lesczinska, by (r. Coustou ; 2127. Mme. Elisabeth. This room was invaded by the mob in 1789, when three guards sacrificed themselves to save the queen. The ceiling-painting by Noel Coypel represents Jupiter ac- companied by Justice and Peace. — Room V., the Salle bu Sacre DE Napoleon, contains three large masterpieces of modern French art: *2277. DauitZ (1808), Coronation of Napoleon I. and Josephine inNotre-Dame in 1804 in the presence of Pope Pius VII. Opposite, *2278. David (1810), Napoleon distributinii- Eagles to the Army in 1804; *2276. (?ros (1806), Battle of Aboukir (1799). In the centre of the room, *4949. Last moments of Napoleon I., by Vela, a sitting figure in white marble. To the right we enter — Room VI. Campaigns of 1792, 1793: Lami (1836), 2327, 2328. Battlers of Hondschooten and Watignies. — Room VII. , to the left (1793, 1794): 2326. Bellangi (1836), Battle of Fleurus. A small door 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 the landing of the Escalier de Marhre (PI. A ; p. 281). Room VIII., continuation of VI (1792): Portraits of celebrated soldiers, represented according to the rank they held in 1792. Above the door: 2363. Bonaparte, 'lieutenant-colonel'; 2375. Murat, 'sous- lieutenant', by Pau^m (^rwerm; 2360. Bertbier, 'mare'chal de camp', by LepauUe ; opposite, 2380. Bernadotte , 'lieutenant', by Amiel ; then Gerard and Marceau, 'volontaires' ; Soult and Junot, 'ser- gents', and many others. Among the large paintings here are two by H. Vernet (Nos. 2335, 2336), the Cannonade of Valmy, and the Battle of Jemappes , at both of which Louis Philippe distinguished himself (1792); then, Cogniet, Departure of the National Guard to join the army. In the centre of the room is a column in Sevres porcelain, embellished with paintings, and crowned with a statue of Victory, whicli 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 Sai.les des Aquarelles des 280 15. VERSAILLES. Campagnes de 1796 a 1814 fPl. D). The water-colours here, executed bv French staff-officers, are interesting on account of the subjects alone. South Wing. Quitting the 8th Room to the right, we cross the lauding of the Escalier des Princes (PI. E), and enter the principal room, called the — *Galbrie des Batailles. This is a magnificent hall, 132 yds. in length, and 14 yds. in width, and is divided into two parts. It contains 33 admirable compositions by modern painters, and busts of 80 celebrated generals who have fallen in battle , their names being inscribed on tablets in the corners and window-recesses. Left: 2670. Ary Scheffer { 1837), Battle of Tolbiac, near Co- logne (496); 2671. bMaiibngo(1800), so called from a picture by C.Vernet, which, however, has recently been removed. Thevenln (1806), The French army crossing the St. Bernard. The adjoining Salles des Marines (I-IV), containing sea- pieces by Gudin and others, 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 I'Empirc, chiefly contains Statues and Busts of celebrities of the republic and empire, and generals who fell in battle. To the right of this gallery is the former Chambre des Deputes, containing , above the chair of the president , a large painting by Couder, the Opening of the States General on 5th May 1789, and at the sides statues of Concord and Security. We now leave the S. Wing by the Cour des Princes (see Plan, p. 272), and enter the — 284 15. VERSAILLES. Central Part of the Ground Floor. Here we turn to the left, cross a passage leading to the gardens, traverse several vestibules, and reach a series of rooms devoted to the Admirals, Constables, and Marshals of France. Room I. Portraits of French admirals from 1270 to 1844. Between the windows: 930. Anne of Austria, by Steuben (over life-size). — Room II. Constables of France from 1060 to 1621. On the backwall , two equestrian portraits: 946. Olivier, Sire de Clisson (d. 1407) , by Emile de Lansac ; 948. Louis de Champagne, Count de Sangerre (d. 1402), by Ziegler. — Room III. Marshals of France from 1391 to 1565. On the back-wall, equestrian portraits: 963. Lohe'ac ( d. 1486), by Feron (1835); 965. Pierre de Rohan (d. 1514) and 967. Gian Giacomo Trivulzi, Marquis of Vice- vano (d. 1519), both by Mont'oism (1835) ; 969. Jacques de Cha- bannes (d. 1525), by E. de Lansac. A few marshals are commemo- rated by inscriptions instead of portraits. — Room IV. Marshals from 1339 to 1656. — Room V. Marshals of the 17th cent. : 999. Henri de la Tour d'Auvergne, Vicomte de Turenne (d. 1675), by Mau- zaisse. — Room VI., with fine rococo decorations, once the library of Marshal Conde. On the back-wall: *1002. Equestrian portrait of Count Rantzau (d. 1650), by Alaux (1834). Room VII. ( corner-room). Marshals of the 16th and 17th cent. : 1016. Charles de Mouchy , Marquis d'Hocquincourt (d. 1658), by Caminade ; 1018. Count de Miossens (d. 1676). by Mauzaisse (1833). By the windows of this and the following rooms are several plaster casts of funereal monuments. — Room VIII. (Salle Doree). Marshals of the 17th and 18th cent. : 1039. Frederic Armand, Duke of Schom- berg , properly Schonburg, who served successively in the armies of the Netherlands, France, Brandenburg, and England, and fell at the battle of the Boyne in 1690 (French school-piece of the 17th cent.). On the back-wall: 1041. Equestrian portrait of Fran(;ois Henri de Montmorency, Duke of Luxembourg ( d. 1695), by Wachsmutt ; 1045. Count de Tourville (d. 1701), by Eug. Delacroix. — Room IX. On the back- wall: *1059. Sebastien le Prestre, Seigneur de Vauban (d. 1707), the celebrated military engineer, hy Lariviere. Passing through the door on the left we now reach the — Salle des Rois de France , which contains modern portraits of the 67 monarchs of France from Clovis I. (d. 510) to Napoleon IIL (d. 1873). — In the centre: 708. Half-figure of Louis XIL (d. 1515), in bronze, by Lor. da Mugiano (original in the Louvre, p. 108); 1520. Bronze statue of Napoleon I., by E. Seurre. The adjoining Salle des Residences contains views of the royal chateaux of France. — On the other side of the vestibule are three Sallbs DBS Tableaux-Plans, with representations of sieges and conquests of the years 1627-32. — From the vestibule we pass to the right into the — Galerie Louis XIII. , embellished with statues of Louis XIII. and Anne of Austria , by Guillain. Many of the battle-pieces on 15. VERSAILLES. 285 the walls are copies, but the following are original : 1066. Battle of Kocroy (1643), with Marshal Conde in the middle, hy Schnetz; 1070. Louis XIV. receiving satisfaction from Pope Alexander VII. through Cardinal Chigi in 1664 , by Zieyler. — At the end of this gallery are several other Salles ues Marechaux. RoomI. Marshalsof the 18th century. To the left, 1086. Duke Maurice of Saxony (Marshal 8axe ; d. 1750), natural son of Augustus the Strong, King of Saxony, and the Countess of Kciuigsmark ; 1087. Count L6 wen dal (d. 1750), natural son of Frederick III. of Denmark, successively in the Austrian, Saxon, Russian, and French service ; both portraits by Couder. — Room 2. Marshals of the sec- ond half of the 17th century. Immediately to the right, 1094. Louis Fr. Armand du Plessis , Due de Richelieu (d. 1788 ; gieat- nephew of the Cardinal), by Couder. Charles de Rohan, Prince de Soubise (d. 1789), who was defeated by Frederick the Great in 1757, a contemporary French work. — Room 3. (corner). Marshals of the reign of Louis XVI. and of the Empire. 1111. Luckner, guillotined in 1794, by Couder; *1114. Joachim Murat, Grand Duke of Cleve and Berg (d. 1815), by Gerard. — Room 4. Marslials of the Empire. The artistic value of the portraits here is small*; the best is to the left. No. 1139, Joseph Lefebvre, Duke of Dantsie (d. 1820), by Dav in- Mir vault. — Room 5. Marshals of the Empire. 1155. Claude Vict. Perrin, Due de Belluno (d. 1841), by Gros ; *1160. Laurent, Marquis de Gouvion St. Cyr (d. 1830), by H. Ver- net; 1161. Prince Poniatowski, by Vauchelet; 1164. Marshal Clarke, Due de Feltre (d. 1818), by Descamps; 1167. Count Molitor (d. 1841), by H. Vernet. — Room 6. Marshals and Admirals of the roigu of Louis Philippe. — Room 7. Marshals and Admirals of the reign of Napoleon III. — Room 8. 'Guorriers Celebres', not marshals, from Godfrey de Bouillon ( d. 1190) onwards. 1204. Dumouriez, general of the Revolution and the Empire (d. 1823), by Bouiilard ; adjacent, 1213. B. C. Joubert, general of the Republic, who fell in 1799 in an engagement with Suvaroff, by Bouchot. We now reach a door near the vestibule of the chapel, by which we may pass into the Gardens. The *Garden8 (comp. Map, p. 270) at the back of the Palace of Versailles, with their small park and ornamental sheets of water, are nearly in the same condition as when first laid out by Le Notre (d. 1700), the most famous landscape-gardener of his time. A more artificial style than that of Le Notre can hardly be con- ceived. His chief object seems to have been to subject nature to the laws of symmetry, and to practise geometry, 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 keeping with the notions of art which prevailed in the time of Louis XIV. 286 15. VERSAILLES. The greater part of the grounds , wliich 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 celebrated antiques, and others originals of the 17th century. The priuiripal groups are those in the Parterres du Midi and du Nord (p. 287). Between them, near the steps descending to the lower part of the garden, are two large basins, the Fontaine de Diane to the right, and the Fontaine du Point du Jour to the left, both ad- orned with groups of animals in bronze by the brothers Keller: (r.) two lions fighting with a boar and a wolf; and (1.1 a bear and tiger, a stag and dog. This point commands a survey of the huge, monotonous fa^-ade of the palace. 456 yds. in length (with 375 windows!. The build- ing, however, presents a more pleasing appearance when seen from the Piece d'Eau des Suisses, to the S. of the Parterre du Midi. On this side 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 be upwards of -ioO years old. To the S. of the Swiss pond extend the Bois de Satory and the Plaine de Satory, with the camp of the same name. At the foot of the steps which descend beyond the Parterre d'Eau is situated the large *Bassin de Latoyie, constructed by the brothers Marsy, consisting of several steps of red marble, on which there are frogs and tortoises spouting water against a tine 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 meta- morphosed them into frogs (Ovids Metamorph. vi. 313-381). The Statues in the Pourtour de Latone are the finest in the garden. On the right as we approach from the palace is a singular statue representing Melancholy, by La Perdrix, the book, purse, and ban- daged mouth being allusions to the proneness of scholars, misers, and taciturn persons to this mood. Then Antinous . Tigranes, a Faun, Bacchus, Faustina, Commodus in the character of Hercules, Urania, Jupiter, and Ganymede, and opposite, Yenus in the shell. On the other side, as we return towards the palace, are the Dying Gladia- tor, Apollo Belvedere, Urania. Mercury, Antinous, Silenus, Venus Kallipygos, Tiridates, Fire, and Lyric Poetry. At the end of the Tapis Vert, a long lawn beginning near the basin of Latona, is the Bassin d'Apollon , with a group of the sun- god in his chariot , environed with tritons . nymphs , and dolphins (known as the 'Char Embourbe''). The figures, by Tuhy, are in lead. The cruciform Canal to the W. of the basin of Apollo, nearly 1 M. in length, extends to the vicinity of the Grand Trianon (p. 288). There are several other basins and groups of statuary in different parts of the grounds , which are worthy of a visit when the foun- 15. VERSAILLES. 287 tains play. (^Oii days when the fountains are not playing visitors are allowed to inspect these basins only if accompanied by a guide, pro- cured at the Tapis Vert.) On the S. side, on our right as we return towards the palace, are the Bosquet du Roi and the Bassin du Miroir, near which is the Bassin de iniver in the avenue of that name. Then the Bosquet de la Eeine [F\. 1 ), where the affair of the dia- mond necklace is said to have taken place. On our left as we again descend are the Salle de Bal, the Bassin de VAutomne , the Quin- conce du Midi, and the Colonnade, containing several basins of marble, and adorned in the centre with the Rape of Proserpine, in marble, by Girardon (d. 1715). On the N. side, or to the left of the Tapis Vert as we re-ascend, are the Bassin d'Encelade (PI. 3), where the giant, half- buried beneath Etna, spouts forth a jet of water 74ft. in height; the Obelisk, a fountain deriving its name from the form of the Cent Tuyaux, or hundred jets of water; the Bassin du Printemps, in the transverse walk in the centre ; the Bosquet des Domes, lower down on the right (^the 'domes' themselves which furnished the name have been removed") ; the Quinconce du Nord, the Bassin de VEte, the Rond Vert , and the *Bosquet des Bains d'Apollon (PI. 5). A grotto in this last 'bosquet' contains a fine group by Girardon and Regnaudin, representing Apollo attended by nymphs. There are also two groups of the Steeds of Apollo , at the sides . by Guerin and the brothers Marsy. The Parterre du Nord is arranged similarly to that on the S. side. Beyond it is another sloping parterre, the chief part of which is the Allee rf'Eaw, consisting of 22 groups, of three children in each, in basins, and supporting goblets whence the water descends into the Bassin du Dragon and thence to the *Bassin de Neptune, the largest in the grounds. The latter is adorned with five groups in metal : Neptune and Amphitrite, the Ocean, Proteus guarding the flocks of Neptune, and two dragons, each bearing a Cupid. — To the left (W.) is the Avenue des Trianons leading to the two Trianons, see below. The playing of the Grandes Eaux always attracts vast crowds of spectators , and on these occasions trains run between Paris and Versailles every 5 min. in the middle of the day. This imposing spectacle, which it costs 8-10,000 fr. to exhibit, generally takes place on the first Sunday of every month from May to October, and is always advertised long beforehand in the newspapers and street placards. The best way to avoid the crush is to proceed to 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. 270). First the Petites Eaux — viz. those of the Bassin de Latone, the *Salle des Rocailles (PI. 1), the Bosquet de la Colonnade (PI. 2), the Bassin 288 15. TRIANONS. d/Apollon, the Bassin d'Encelade. that of the Obelisque, and the Bains d'Apollon (PI. 5). Next the Grandes Eaux, which begin to rise about 5 o'clock, — viz. those of the Allee d'Eau, the Bassin du Dragon, and the JBassin 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 un- acquainted with the grounds had better follow the crowd. The Grand Trianon, situated about i '2 ^- to the N. W. of the terrace of the palace, a handsome villa of one story, in the form of a horse-shoe, was erected by Louis XIV. from plans by Mansart for Madame de Maintenon (shown daily , 12 to 4 or 5, Monday ex- cepted). It contains several richly-furnished apartments, and a few good modern works of art by Mignard, Lebrun, and Boucher. It was in the Pkincipal Saloox of this villa that the famous trial of Marshal Bazaine took place in 1873. Room VI. (Grande Galerie) contains a group in marble by Vine. Vela (1862). representing France and Italy giving each other the kiss of peace, presented to the Empress Eugenie by the ladies of Milan. In Room XI. are some fine malachite vases given to Na- poleon I. by Alexander I. of Russia; also portraits of Henri IV., Louis XIV., and Louis XV. Room XIII. contains fine Sevres vases, and Room XIV. (Le Petit Salon), busts of Louis XVI., Napoleon I., Louis XVIII., and Charles X. — The custodian points out the chief curiosities. Adjacent to this building is a ^Musee des Voitures' (open on Sun. and Thurs.) , being a collection of 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. for Madame du Barry, and afterwards a favourite resort of Marie Antoinette, is tastefully fitted up, but contains nothing remarkable (open from 12 to 4 or 5 on the days the fountains play; on other days by permission obtained on showing a passport at the Grand Trianon). The garden, however, which contains some beauti- ful trees, an artificial lake, a 'Temple of Love', and a 'hamlet', where the court-ladies played at peasant life, is worthy of a visit. From Veksailles to St. Germaix-ex-Late , 14 M., railway (Chernin de Fer de Grande-Gdnture) in 3/4 hr. (fares 2 fr. 20, 1 fr. 80, 1 fr. 50 c). — The train starts from the Gare des Chantiers (p. 2(58), threads a short tunnel, and passes near the Piece d'Eau des Suisses (p. 286). Fine view of the palace from behind. — 4 M. St. Cur., with a celebrated military- school , attended by 350 pupils and furnishing 250 officers to the army every year. The school now occupies the 'Maison d'Education' estab- lished here by Mme. de Maintenon. — Beyond (7 M.) Koisy-le-Roi the train enters the forest of Marly. Short tunnel. On quitting the wood Ave enjoy a fine view to the right. — IOV2 M. MareH-Marly. To the right lies the picturesquely-situated St. Germain. — 12 M. St Germain- Grande-Ceinture. The station lies in the wood, about 1 M. from the chateau. We here change carriages (continuation of the Grande Ceinture, see p. 296) and make a wide circuit, through wood and a tunnel, to the W. station of (14 M.) St. Germain-en-Lai/e (p. 293). 289 16. From Paris to St. Cloud, Sevres, and Meudon. To St. Cloud. Railway^ see pp. 266, 267. Fare 9^^ or 55 c. — Steamboats (p. 23 J, pleasant when not crowded, every 1/2 hour. Fare 30 c., on Sundays and holidays 50 c. The journey takes 1 hr. with, and Vj\ hr. against the stream. — " Tramway (TA) from the Quai du Louvre, every V2 hr. ; fare 50 c, outside 35 c. To Sevres. Railioay (either on left bank to Sevres or right bank to Villo dMvray), see pp. 266, 2G7. Fares to Sevres 35 or 55 c., to Ville d'Avray 95 or G5 c. — Steamboats ^ as to St. Cloud. — Tramway from the Quai du Louvre (comp. Appendix), stopping at Sevres near the bridge, opposite the porcelain-factory. The tramway from Paris to Versailles also passes Sevres. Fare to Sevres 50 c, outside 35 c. To Meudon. Railway^ see p. 267. Fare 80 or 55 c. — Steamboats as to St. Cloud and Sevres. The steamboat-station is Bas-Meudon. whence we ascend to the avenue leading to the chateau^ it is preferable to walk from Sevres. The Railway Route is part of that to Versailles (R. 15). The Steamboat starts from the Pont Royal, on the Louvre side. Table of hours of starting, etc., in the Appendix. The trip is very pleasant. Among the most conspicuous objects on the banks are the Chambre des Deputes and the Invalides to the left , and the Palais de Trocade'ro to the right. We pass under the Fonts de Sol- ferino, de la Concorde, des Invalides, de I'Alma, d'lena, de Grenelle, and du Jour , the last with a handsome viaduct. Fine view to the left, on quitting Paris, of the hills of Meudon and St. Cloud. The Tramway Route as far as Auteuil has been described at p. 267. The tramway-line to Versailles diverges to the left at the Porte de St. Cloud. The line to St. Cloud passes, by the Rue de La Reine, through Boulogne^ a town with 25,820 inhab., which possesses a handsome church of the 14th and 15th cent., re- cently restored and provided with a spire. There are numerous 'blanchisseries' here. The tramway-car now crosses the Seine , on the left bank of which rises — St. Cloud {Restaurants opposite and to the left of the bridge; Lion d'Or, Grande Avenue; Patisserie, Rue Royale 25), a small town with 4126 inhab., which owes its name to a mon- astery founded here by St. Clodoald , grandson of Clovis. Owing to its situation near Paris the place soon acquired importance, and for the same reason it was much exposed to danger during the mediaeval wars. Thus in 1346 it was burned by the Eng- lish, and again in 1411 by the Armagnacs. Henri IlL, when besieging Paris in 1589, pitched his camp at St. Cloud, and was assassinated here by Jacques Cle'ment. During the Prussian siege of Paris in 1870-71, the town of St. Cloud, which had been almost entirely deserted by its inhabitants, was partly occupied by the Germans, and repeatedly bombarded from Fort Valerien. The cha- teau, the spacious barracks near it, and many of the houses in the town, were completely burned down in October, 1870. No town in the environs of Paris suffered so severely during the war, or pre- Bakdeker. Paris. 8th Edit, 19 290 16. ST. CLOUD. sented so melancholy an appearance after its termination. Most of the houses and the barracks have now been rebuilt, but no steps have been taken for the restoration of the chateau or the 'grande gare' of the Versailles railway. 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 theif 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 the 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 25th 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 Church of St. Cloud is a handsome modern edifice in the Romanesque style of the 12th century, with a lofty spire. The choir is adorned with mural paintings by J. Duval le Camus, represent- ing scenes from the life of St. Clodoald. The church also contains some fine stained glass and decorations in grisaille. Opposite the church are the remains of the abbey where St. Clodoald was interred, and a little farther on is the new Mairie. Higher up in the same directidu (N.W.) lies Montvetout (see p. 26(3), where in 187U the Prussians established a redoubt, connected with the heights of Buzanval. It was taken by the Parisian troops on 19th Jan., 1871, but afforded them little advantage. From St. Cloud to Noist-le-Roi, 11 M., railway in V2 br. The first part of the line is uninteresting, but it afterwards affords a pleasant view of the Seine and St. Germain. Beyond (IV2 M.) Garches the train passes the chateau of Villeneuve-VEtang , the race-course of La Marche (p. 267), and the Hospice Drezin. an institution for old men. 3'/2 M. Vaucresson. Then a tunnel, beyond which we obtain a good view to the right. — 5M. Bougival-La-Celle-'St. Cloud; the village of La-Celle-St. Cloud is prettily situated near a small wood. Bougival , see p. 293. — 6 M. Louveciennes, a pleasant village with numerous villas. On a hill to the W. is the conspicuous Aqueduct of Marly ^ constructed under Louis XIV. to bring to Versailles the water raised by the hydraulic machine at Marly (p. 293j. — The train now crosses the 'road and tramway-line from Rueil to Marlv-le-Roi by a viaduct 780 ft. long and 100 ft. high. Good view of St. Germain. — 71/2 M. Marly-le-Roi. The celebrated chateau, built by Louis XIV., was destroyed in the Revolution. The only trace of its site is the Ahreiivoir^ a large basin near the tramway-station. The Forest of Marly is well-stocked with game and affords numerous pictur- esque walks. — 8. M. L'Etang-la-Ville, situated amid vineyards. The line joins the Grande Ceinture in the Forest of Marly. — 11 M. Noisy-le-Roi (p. 288). In order to reach the *Paek, which is the great attraction of St. Cloud, we pass through the iron gate to the left of the bridge and follow the avenue on the bank of the Seine. (On the right of this avenue are several cafe's, and bake-houses of 'gaufres', a kind of cake.) We soon arrive at the Haute and the Basse Cascade, two fountains, designed hy Lepautre and Mansart, and adorned with 16. si:vRES. 291 statues of the Seine and the Mame by Adam. The fountains gener- ally play in summer on the second Sunday of each month, from 4 to 5 o'clock , and also during the fete of St. Cloud on the last three Sundays in September, at the same hours. The 'Jef Geant\ or great jet, to the left of the cascades, rises to a height of 136 ft. Skirting the 'cascades', we soon reach the foot of the ruins of the palace, behind which is a fine old garden called the Trocadero, commanding a number of pleasing views. The Allee du Chateau, which ascends above the ponds, opposite the ruins , leads to the summit 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 ; lower down is the small town of Boulogne ; to the right is Meudon ; farther distant is the Arc de lEtoile ; in the background Montmartre ; from among the houses of Paris rise St. Vincent de Paul, the dome of the Invalides, the Exhibition Buildings, St. Sul- pice, the Pantheon, the dome of the Val-de-Grace, and other build- ings. Before the war of 1870 the top of this hill was occupied by the Lanterne de Demosthene, or 'de Diogene'. as it was popularly called, a lofty tower erected in imitation of the Monument of Lysi- crates at Athens. The broad central avenue (right) which diverges from the site of the tower leads to Ville d'Avray, a station on the Versailles railway (p. 266). The Allee du Chateau, which we have been fol- lowing, leads in 5 min. more to the small town of Sevres. A'isitors to the porcelain-manufactory take the footpath descending to the left (S.E.). — The Pavilion de Breteuil, the residence of the keepers of the park, was destroyed during the war, but has been rebuilt, and is now occupied by the 'Commission Internationale du Metre'. Sevres (Restaurant de la Terrasse, Grande Rue 27 ; Estaminet Parisien , same street. No. 61), with 6834 inhab. , is one of the most ancient places in the environs of Paris. The celebrated — *PoRCELAiN Manufactory has been the property of government since 1756, and employs about 180 hands. It now occupies a new building at the S.E. corner of the park of St. Cloud, near the bridge, the old chateau which formerly contained it having become very dilapidated. The facade is adorned with a large porcelain mosaic. The Workshops are open to visitors on Mondays, Thursdays, and Saturdays [12 to 4 or 5), by card of admission obtained on written application to the Secretariat des Beaux -Arts, Rue de Valois 3, Paris. Foreign visitors may often procure admission through the attendants in the exhibition-galleries (fee.). The Ex- hibition Rooms, which contain numerous specimens of the products of the manufactory, and the Musee Ceramique, are open to the public daily from 12 to 4 o'clock. Entrance to the museum on the side next the river, in the central pavilion. — The Musee Cera- mique , a collection founded in 1800 by Alexander Brongniart 19 * 292 16. MEUDON. (d. 1847) and enlarged by Rivereux , comprises objects of every kind relating to tlie history of porcelain-making, and specimens of modern pottery, fayence. and porcelain from all parts of the world. The collection, however, is chiefly interesting to connoisseurs. Sevres contains nothing else to interest the visitor. Ascending the first street to the left beyond the porcelain-manufactory, we soon reach Bellevue (rail, station, see p. 267j, a suburb of Meudon, whicli owes its origin to a chateau of Mrae. de Pompadour, now in ruins. Numerous handsome villas have recently been erected here, but they 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. The Rue de Bellevue, which crosses the last-named avenue, leads to the railway-station and to — Meudon {Restaurants in the Rue des Princes , running parallel with the terrace ) , a small town with 6080 inhabitants. It consists of Meudon proper , on the slope of the hill which is crowned by the chateau ; of a new quarter near the station of Meudon , with numerous prettily-situated villas ; of Bas-Meudon , on the opposite bank of the Seine (^boats), with several manufactories; and of Belle- vue (see above). The Chateau of Meudon, rebuilt by the Dauphin in 1695, and afterwards occupied by the Empress Marie Louise, the King of Rome , and lastly Prince Napoleon , 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 restored and is now an Obser- vatory. The garden was laid out by Le Notre. On the terrace below it, which affords a beautiful *View of Paris, the Prussians planted a powerful battery, which completely commanded Boulogne, Billan- court, Auteuil. Grenelle, Vaugirard, and Issy. The Wood of Meudon affords charming walks, but it cannot be reached without a fatiguing circuit of the park. The fish-pond ('Etang des Fonceaux") is surrounded with walls, and partly dried up. The Bois de Clamart, to the right, beyond Meudon, with the Hospice de Fleury (see p. 267), is a pleasant object for a walk. 17. From Paris to St. Germain-en-Laye. 13 51. Chemin de Fer de VOvest. Trains start from the Gare St. Lazare (p. 24; booking-office in central portion) every lioiir, oroftener, from 7.35 a.m. to 12.35 a. m., and from St. Germain every hour from 6.55 a.m. to 9.55 p.m., after which another starts at 11 p.m. — The journey occupies 35-50 minutes. Fares 1 fr. 65, 1 fr. 35 c. The Steamboat Journey from Paris to St. Germain-en-Laye is plea- sant hut rather long (4 hrs.) ; fares 31/2 or 2 fr., return 5 or'3 fr. The boats start from the Pont Royal iileft bank). Stations: Surcsnes (p. 266j, Asnieres fp. 266), St. Denis (p. 297), Argenteuil (p. 307), Chatou (p. 293), Bougival (p. 293). and Le Pecq (p. 293), which lies at the lower end of St. Germain. From Paris to Asnieres^ see p. 266. The Versailles line here diverges to the left , and those to Enghien (p. 305) and to Argen- 17. ST. GERMAIN-KN-LAYE. 293 teuil (p. 307) and Pontoise (p. 306) to the right. Farther on, to the right, diverges the line to Rouen, Havre, and Dieppe (see p. 338). — 71/2 M. Nanterre is a village where, according to tradition, Ste. Genevieve, the patron-saint of Paris, was born in 422 (p. 223). To the left a fine view of Mont Yalerien (p. 266). 83/4 M. Rueil, a small town with 8208 inhabitants. The Em- press Josephine is interred in the little church, 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 (p. 270), represents the empress in a kneeling posture. Queen Hortense is also inter- red in this cliurch, and a monument of similar design, executed by Bartolini of Florence, was erected to her in 1846. The hand- some organ-loft, by Baccio d"Agnolo (15th cent.), was presented by Napoleon III. From Rceil to Maklt-le-Roi, 572 M., steam-tramway in connection with the railway (fares 1 fr. 5, 65 c). There are 12 intermediate stations, of which we mention the most important. V/i M. La Malmaison, with the chateau in which the Empress .To- sephine resided after her divorce in 1809 and where she died in 1814. After the battle of Waterloo , Napoleon retired to the chateau of Blal- maison , hut quitted it on the approach of the Prussian troops on 29th .Tune, 1815. 3 M. Bougival (Caf^s-Resfaurants de Madrid and Pignon), a prettily- situated village, on the left l)ank of the Seine, much frequented by row- ing parties. Part of the church, which possesses a handsome Romanesque bell-tower, dates from the 13th century. 3^4 La Machine, a suburb of Marly, named from the hydraulic ma- chine by which Versailles and St-Cloud were supplied with water. The old machinery, constructed at a time (16S5) when mechanical science was in its infancy, consisted of 14 water-wheels, each 38 ft. in diameter. 221 pumps, and ponderous iron and woodwork, and is said to have cost 4 million francs. This huge and formidable 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, sitiiated ^/\ 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). 4'/4 M. Port Marlu, where we change cars, quit the Seine, and ascend towards the S. Before reaching (i^/o M.) Marly-U-Roi (p. 290) we pass under the Viaduct of Marly (p. 290). The train crosses the Seine, which is divided here by an island into two arms. 93/4 M. Chatou. — lO^/o M. Le Vesinet, where the train returns to the bank of the river, consists mainly of a group of pleasant villas, erected in a kind of park. About 1 M. farther on, to the right of the line, is a steeple-chase course. On the other side (comp. Map) is a hospital for convalescent artizans, like that at Vincennes. — 12 M. Le Pecq. The train now recrosses the Seine and ascends a steep gradient (1 : 29), to — 13 M. St. Germain-en-Laye. — Hotels. Pavillon Henri IV. (Pi. 10; E, 4), at the beginning of the terrace (see below), with a beautiful view (Thiers died here on 3rd Sept., 1877); Prince i>e Gai.les, to the right of the church; Hotel de i/Ange-Gakdien , Rue de Paris 74 (table-d'hote dej. 2V,;, D. 3 fr.). — Restaurants. In the above-named hotels; Crenier, 294 17. ST. GEllMAIN-EN-LAYE. near [the station; Pavilion Louis XIV. (table d'hote), Place de Pontoise (PI. A, P>, 3), with a garden, closed in winter. — Carriages with one or two horses 272 fr. (Sundays and holidays 3 fr.) per hour. St. Germain, a quiet town with 15.790 inhab., 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 iu 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 Chateau (PI. B, C, 5) was formerly known as the Vieux Chateau, in contradistinction to the Chateau- Neuf, of which the Pavilion Henri IV. (PL 10) 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 Louis the Pious. 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. 268) 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. The *MusEE DBS Antiquites Nationales , which the chateau now contains, occupies the ground-floor, the entresol, and the first and second floors. It embraces an interesting collection of objects dating from the dawn of civilisation in France down to the period of the Carlovingians (numerous casts). These are suitably arranged, and provided with explanatory 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 0p.m., and to strangers on other days (Mon. excepted) by special permission. In the fosse to the right of the entrance is a dolmen, found in 1872 at Conflans Ste. Honorine (Seine-et- Oise). The entrance to the museum is by the first door to the left in the court. Ground Flooe. Eooms R and S, to the left of the principal entrance: Casts of medallions and bas-reliefs from the Arch of Constantine at Rome ; models of Roman engines of war; ancient war-chariots, etc. — Rooms A, B, C, and D, to the right of the entrance : Casts of bas-reliefs from the Arc dTJrange and the .Tulian tomb at St. Remy, near Aries. Room B also contains a medallion of a mosaic fnund at Aiitun in 183U, representing Bellerophon and the Chimera. The other ro(.ms nn the grcund-floor are still empty. — We now return to the entrance, and ascend the handsome brick and "stone staircase, passing the Entresol for the present, to the — ST GERMAJWi r.y hxrn A6 - 'J (mrf de la Xatirrte R 7 ' '.i ■■ deslhmejSfT>«wnasXii 4Eqlise B.5 Ge7\d£[r7nerie B.6 7 Jtistitv dp J'ia\r A.3 1 A Mairiejlhh7iadte^Biex rf Debes Jeipris 17. ST. GERMAIN-EN-LAYE. 295 First Flook. Rooms I-III , to the right, contain objects of the pre- historic period. Room I. : Cut flints of immense antiquity, and fossilised I)0ne3 of animals either altogether extinct or found only in other parts of the world. In the case in the middle, casts of the heads of the rhinoceros (r. tichorinus), tiger (felis spelfea), great cave-bear (ursus spel?eus), urus (bos primigcnius), and the so-called Irish elk (Megaceros hibernicus); also a tusk and a molar of the mammoth felephas primigenius). — Room II. Models of dolmens and 'menhirs' (V20 of the real size); implements of the polished-tlint period; plan of the Alices de Carnac, in Bretagne. — Room 111. Dolmen from the tumuhis of Gav'rinis (Morbihan), Bretagne, 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 Galei'ie de Mars or Salles de Fetes., occupy- ing the whole height of the first and secimd stories next to the church, and not yet restored. It is devoted to objects to be afterwards placed in the other rooms, so that the arrangements are only temporary. At present it contains an extensive collection of Romano-Gallic earthenware, arms and armour from different sources, objects in iron and bronze, etc. Near the middle of the left side is a tomb older tlian the foundation of Rome, found in Italy in 1873. Returning to Room III , we ascend thence by a short staircase ad- joining the Galerie de Mars to the — ShXOND Floor, where we begin on the side next the church. — To the left, in the turret, is the Halle du Tresoi\ containing bronze statuettes, glass, trinkets, and Gallic coins. To the left of the door is a Gallic standard; between the windows, a collection of votive oflerings, etc., found at Vichy. — Room IV. Laciistrine and flint period (epoch of the lake-dwellingsi : polished flints, polished bone implements, objects in wood, vases. By the second window to the right: bread, grain, fruit, and cloth found iii 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 Larnaud (Jura). ~ Room VI. Prehistoric Gallic antiquities of every kind down to the age of bronze; then, ornaments, implements, weapons, etc., in iron, bronze, and gold (facsimiles), found in burial-places. Room VII. , on the other side of the staircase. Continuation of the Gallic antiquities : bracelets, rings, necklaces, brooches, vases , and belts in bronze; weapons and knives in bronze, etc. — Room VIII. Nothing to call for special remark. — Rooms IX-XII. are at present closed; R. IX is to contain Gallic tombs. — We now return to the — First Floor. Room XIII. Gallic Wars. To the left, Roman soldier armed with the pilum ; in the centre , large relief-plan of Alise (Alesia), and of the siege of that town by Csesar ; models of besieging engines and other objects found in the fosses of Alise, including a fine '^'Vase in chased silver (in the glass-case behind the plan). — Room XIV. Pottery. — Room XV. Pottery; glass; bronze articles. — Some other rooms (Nos. XVI, XXVI, XXVII) are also to be opened on this side. Entresol. The numbering of the rooms begins at the end next the church. — Room XVII. Gallic mile-stones and geographical inscriptions. — Room XVIII. Celtic an«i( Kj/*'"!! ^'4^^^ Tpil Maih 'Deniony.jl Fihelh a. I 7>,000 18. ST. DENIS. , 297 a. From Paris to St. Denis. 4V2 M. Chemin de Fer dd Nord. Trains start from the Gare du Nord in the Place Roubaix (see p. 24) , every hour from 6. 55 a. m. to 9. 55 p.m., and from St. Denis every hour from 8. 7 a.m. to 11. 7 p.m. The journey occupies 10-18 minutes. Fares 85, 65, 40 c. ; return-tickets 1 fr. 30, 85, 70c. Tramways. Two lines run to St. Denis, one starting from the lower end of the Hue de Lafayette (PI. B, 21 ; //J, the other from the Boul. Haussraann (Ptue de Piome; P1.R,18, //). These lines are very convenient, but the routes are uninteresting; the former traverses La Chapelle, with its unpleasant manufactories. IV4M. La Chapelle- Nord-Ceinture, also a station on the Chemin de Fer de Ceinture (p. 24). A little beyond the fortifications the Soissons railway diverges to the right. 2'/.2 M. La Plaine-Voyageurs. 41/2 M. St. Denia ( Hotel du Grand Cerf, Pla^e anx Gueldres, near the Rue de Paris ; Cafe- Restaurant de la Marine^ at the station ; Grande Brasserie de V Industrie, Rue du Chemin de Fer 21), an un- interesting town with 43,395 inhab., now surrounded with manu- factories, is celebrated as the burial-place of the kings of France. The railway-station is 3/^ M. from the cathedral. To reach the latter we first follow the Rue du Chemin de Fer, which contains a num- ber of small restaurants and cafes. A few hundred yards from the station, on the left, stands the new Parish Church, built by VioUet- le-Duc in the style of the 13th cent, and completed in 1867. We then follow the Rue Compoise to the right, which leads to the town and the cathedral. To the left is the Hotel-de-Ville, in the Re- naissance style, built in 1883. The *Cathbdral , popularly known as La Basiliquk , is open the whole day. The royal tombs are shown on week-days every Y2 lir. between 10 a.m. and 5.30 p.m. (except at 2 p.m.); on Sun. and holidays every V2 1^""- from 3 to 5.30 p.m. Admission to the crypt, sacristy, and treasury 1 fr., Sun. 50 c. A chapel was erected here about the year 275 above the sup- posed grave of St. Dionysius, or St. Denis, the first bishop of Paris, who is said to have suffered martyrdom on the Montmartre along with two companions. To this chapel pilgrims flocked from far and near. Dagobert I. (d. about 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. This church was repeatedly restored, particularly by Pepin the Little (A. 7 QS')] and at length Suger , the celebrated abbot of St. Denis (1121-51) and adviser of Louis VI. and Louis VIL, determined to erect a more handsome, edifice, in the construction of which no part of the old church was to be retained except the central crypt, and a few columns. Suger's building marks the beginning of the Gothic tendency in archi- tecture, the development of which from the Romanesque style can be traced here, though perhaps not in all details. The fa(;ade, completed in 1140, shows the round arch still maintaining its ground along with the pointed arch which afterwards entirely 298 18. ST. DENIS. replaced it. The choir, consecrated in 1144, is surrounded by radiating chapels, a feature of the Komanesque style, and at the same time exhibits the Gothic buttress system in an advanced stage of development. A thorough restoration, necessitated partly by the subsidence of the foundations and partly by the effects of a fire, was carried out from 1230 onwards by the abbots Eudes Clement and Matthieu de Vendome, in the pure Gothic style now 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 and the E. wall of the S. transept. From this period the church remained unaltered till 1792, when it was so ruined during the Revolution that a traveller of the period speaks of it as a 'desert riche en decombres , habite' seulement par des oiseaux de proie'. The renovations under Napoleon I. , the Restoration , and the July Monarchy were not in good taste, and did not even render the building secure. Under Napoleon III., however , who entrusted the work of restoration to Viollet-le-Duc, one of the greatest Gothic architects of modern times, the church regained much of its ancient magnificence. Under the Carlovinsian 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 Fiilvad, Abbot of St. Denis, to Rome, to procure the papal con- firmation of his title. Three years later Pope Stephen II. took refuge here from the Lombards, and anointed Pepin's sons Charles and Charle- magne. 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. 1137J, whose best adviser was the penetrating, sagacious, and liberal abbot Suger, solemnly adopted the Oriflamme ('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 person. Its last appearance was on the unfortunate day of Agincourt (p. xvi). AMlard (p. 172) dwelt in this abbey during the 12th cent., until he became abbot of Paraclete near Nogent-sur-Seine. During the absence of 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 Tombs: 1. Fridigonde ; 2. Dagobert; 3. Pepin ami Bertha ■. 4. Louis III. and Charlemagne; 5. Philippe le Bel; 6. Philippe le Ilardi ; 7. Isabella of Arragon ; 8. Clovis II. and Charles Martel; 9. Louis le Rutin and Jean I. ; 10. Jeanne de Navarre; li. Robert le Pieux and Constance d'' Aries; 12. Henri I. and Louis VI.. le Gros; 13. Philippe le Jeune and Constance of Castile; 14. Charlemagne and Hermentrude ; 15. Blanche, daughter of Louis IX.; 16. Jean, son of Louis IX.: 17. Clovis I.; 18. Childebert; 19. Unknown-, 20. Henri II. and Catherine de Midicis ; 21. Jean II. and Philip of Valois; 22. Charles IV. le Bel: 23. Jeanne d'Evreux; 24. Philippe V. le Grand; 25. Blanche of France; 26. Henri II. and Catherine de Midicis; 27. Guil- laume du Chastel; 28. Louis XII. and Anne de Bretagne; 29. Philip, sur- named Dagobert; 30. Louis., son of Louis IX.: 31. Charles d'^Anjou; 37. Louis and Philip of Alenron ; 33. Blanche of France, daughter of Louis IX. ; 34. Blanche d^Evreux and Jeanne de France ; 35. Charles, Comte de Valois ; 36. Catherine de Courtenay; 37. Louis de France, Comte d^Evreux, and Marguerite d'Artois; 38. CUmence of Hungary ; 39. Charles, Comte d''Etampes; 18. ST. DENIS. 299 o - o Saivc tuaire 40. Philippe^ Comte de Vertiis; 41. Low's d'Orh'aiis and Valentine of Milan; 4'i. Charles dWrlians; 43. Maru NoRD (PI. c ; C, 3), Rue de la Grosse Horloge 91 ; Hotel de Paris (PI. d ; D, 4), Quai de Paris 51; Hotel de France (Pl. e; D, 2), Rue des Carmes 97-99; all these of the first class. R. 21/2- 12 fr. (enquiry should be made beforehand), L. 3 4-I, A. 3 4-I, dej. a la carte, D. 31/2-4 fr. — Less pretend- ing; Hotel de la Poste (PI. f ; C. 2). Rue Jeanne d'Arc 72, R. 2 fr., A. 50c.; DE LA Cote de Baleine (PI. g; D, 3), Rue du Bac 18-20; Lisiedx, Rue de la Savunnerie 4, well spoken of; de Dieppe (PI. h; C, 1), near the station on the right bank. Restaurants. Moulin, Rue Jacques-le-Lieur 10, behind the Hotel d'Angle- terre ; I'omcf, Quai do Paris 34; Guilmet, Rue des Charrettes 46, also behind 332 Route 2d. ROUEN. From London the Hotel d'Angleterre (clej. U/2, D. 13/4 or 2 fr.)i de Paris, Rue de la Grosse Horloge 95 (same cliarges). Cafes. Thillard, Cours Boieldieu 5 ; Micliaud et Victor'., in the theatre; Hondard., Quai de Paris 58; Drieux, Place l^otre-Dame. Tramways traverse some of the principal streets and also extend to the suburbs: fares 10-50 c. — Omnibus to Bon-Secours, starting from the stone bridge, GOc. Cabs C" Citadines'' ) IV? fr. per drive, 2 fr. per hour; at night (12-6 a.m.), 2Va or 3 fr. ; each trunk 20 c. Post Office, Rue Jeanne d'Arc 45 (PI. C, 2). — Telegraph Offices at the corner of the Boul. Jeanne d'Arc and Rue Leroy (PI. C, 1) and on the Quai de la Bourse (V\. C, 4). English Church Service in the Temple Protestant.^ He de la Croix, by the stone bridge. Steamboat to La Boiiille (p. 336), several times daily (90 c.); to Havre daily in summer in 6-7 hrs. (6 fr. 6(), 5 fr. 50 c). Rouen, the Roman Rotomagus, formerly the capital of Normandy, now that of the Department of the Seine Infe'rieure , with 106,000 inhab., exclusive of the suburbs, is a very important cotton manu- facturing place, sometimes not very aptly called the Manchester of France, and is also one of the principal depots of the wines of Bor- deaux. It is the richest of French cities in mediaeval architecture, though the recent construction of handsome streets like those of Paris has swept away several of the monuments of antiquity tliat had been spared by the Huguenot wars and the Revolution. The old walls of the town, which bade defiance to Henry V. of England in 1415 and to Henri IV. of France in 1591, liave been converted into boulevards planted with trees. Tlie city is bounded on the S. by the Seine, which is here up- wards of 300 yds. in breadth, and which separates Rouen from the suburb of St. Sever (PI. D , 4, 5). The quays extend along the bank for I72 M. The river is crossed by two bridges. The Pont de Pierre (PI. D,4), the upper of these, constructed in 1829, passes over the lower end of the He Lacroix, where there is a statue of Corneille, a native of Rouen (d. 1684), by David d' Angers. Farther down the river is the Pont Suspendu [PI. D, 4), a suspension-bridge completed in 1836 , which affords an admirable view. Le Cours Boieldieu (PI. C, D, 4), a small promenade opposite the latter, is adorned with a statue of the composer Boieldieu (d. 1834). Adjacent are the Theatre des Arts (PI. 1*2; D, 3, 4) and the Bourse, the latter a building of the 18th century. At the end of the quay is the Douane (PL C, 4). In the Place St. Sever, on the opposite bank, is a statue of the Ahhe de la Salle (d. 1719), the founder of the so- ciety of 'Freres de la Doctrine Chretienne'. The ^Cathedral, or Notre-Dame (PI. D, 3), the principal parts of which date from 1207-80, is one of tlie 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 sculptures over the chief entrance , of no great merit, to Paris. ROUEN. 'Jl. Route. 333 represent tlie Genealogy of Christ, with the Beheading of John the Baptist on the left, and the Virgin and saints on the right. The two unfinished towers of the facade are of unequal lieiglit. The *Tour de Beurre, the loftier and more beautiful, 230 ft. in height, derives its name from liaving been erected with the money paid for indul- gences to eat butter during Lent. The central spire over the transept, having been ignited by lightning and burned down in 1822, was replaced by a most unsightly tower of cast iron , 465 ft. in height. A spiral staircase ascends to the summit. 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 Intkkiok of the church (149 yds. in length; transept 59 yds. in length; nave and aisles 35 yds. in width; 92 ft. in height) is in the early pointed style, and possesses three line rose- windows in the nave and transepts. Part of the stained glass dates from the 13th century. The lirst chapel on the right, in the Tour de Beurre, contains a large altar-piece, representing the Crucitixion and the Slartyrdom 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. 927j, first Duke of Nor- mandy, and the corresponding chapel on the N. side that of his son William, Longne Ej^ee (d. 943). The Chapelle du Christ, adjoining the high -altar, contains an ancient mutilated figure in limestone, 7 ft. in height, of Richard Cceur 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. Uenry II. of England ("d. 1189) is also buried in the choir. To the right in the beautiful -Chapelle de la Vierge is the magnificent 'Monument of Cardinal George d'Aniboise and his nephew, who was also a cardinal, hy Roland Lerou.v, erected in 1525. To the left is the handsome "Monument of the Due de Brezi. (d. 1530), grand seneschal of Xormandy^ erected by his widow, the celebrated Diana of Poitiers (d. 1566), mistress of Henri IT., and attributed to Jean Cousin and Jean Goujon (p. 106). — The altar-piece, an Adoration of the Shepherds, is by Ph. de Champaigne. *St. Maclou (PI. E, 3), 'un diminutif de St. Ouen'. as it has been called, is a very rich example of the florid Gothic style of the 15tli century. The modern spire was completed in 1869. The exquisitely carved reliefs on the wooden doors are ascribed to Jean Goujon. **St.Ouen(Pl.D,E, 2), one ofthe most beautiful Gothic churches in existence, far surpasses the cathedral, both in extent and in ex- cellence of style. It was founded in 1318, and completed towards the close of the 15th century. The original plan having been followed throughout, the edifice exhibits a rare harmony of design. The tower over the transept, 268 ft. in height, is surmounted by an octagonal open-work lantern , terminating in a gallery which commands a fine prospect. The rich Facade contains three portals adorned with numerous statues and reliefs. 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 As- sumption 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 pediment bearing a statue of St. Ouen (d. 678), 334 Route 24. ROUEN. From London archbishop of Roueu. The towers have recently been completed, although not in strict harmony with the rest of the edifice. The proportions of the interior (151 yds. in length, 28 yds. in width; transept 46 yds. in length-, 10(3 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 (1 fr.) 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. duor. 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 H6tel-de-Ville (PL 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. It contains the Municipal Library, consisting of 120,000 vols, with several valuable MSS. In front of the edifice rises the Equestrian Statue of Napoleon I., by Vital-Dubray. Behind the statue of Napoleon is the Rue Thiers . leading to the Jardin Solferino, at the S.E. corner of which stands the — Musee de Peinture (PI. C, 2), containing a collection of Italian, Dutch , and modern French pictures. It forms one wing of a large new building destined to contain all the collections belonging to the town. The picture-gallery is open daily from 10 to 4 or 5. First Floor. We proceed from the staircase through the large hall, and begin with the room on the left. — Eoom I. To the right of the entrance : 344. Palma Giovine , Ecce Homo ; 343-345. Pcrugino, Adoration of the Magi, Baptism of Christ, Resurrection, three panels of an altar- piece, the centre of which is at Lyons; 499. Guercmo ^ Head of a man; 355. Tiepolo, Card-players: 324. Ag. Carracci, St. Francis of Assisi; 537. Ascribed to Ji'^iara, Portrait ; 353. Ribera, The good Samaritan ; 321. Caret- vaggio. Philosopher; 334. Guercino. Visitation; 354. Solimena. Columbus receiving the papal Bull on his return from America; 322. Caravaggio, St. Sebastian attended by Irene. — Room II. 12. L. Boulanger^ Mazeppa; 550. C'oro^, Environs of Ville d"Avray; 571. Sorieul, Episode of the Retreat of Moscow in 1812; 4. Bellange, Cavalry-charge at Marengo; 489. Coui-t (Rouen), Boissy d'Anglas as president of the meeting of the Convent on let Prairial in' the 3rd year of the Republic. *37. Eug. Delacroix, Justice of Trajan; 289. Stevens,' Dog's wor^. — Room III. Works by La Hire , Deshayes, Poussin, and other French masters of the 17th century. We now return to the entrance and visit the rooms to the right, on the side next the garden. — Room IV. contains nothing of special note. — Room V. Drawings by Giricault (p. xxxiii), who was a native of Rouen. — Room VI. 231. Pit. de Champaigne, Choir of angels ; 2b'ti. Jwdaens, Jesus in the house of Lazarus. — Room VII. *2S5. Tilborg, Rustic fete; 257. Huysmans, Landscape; 258. Jordaens, Head of an old man; *301. Gerard David, The Virgin, with angels and saints, painted in 1509 for the Car- melite nuns of Bruges; 286, 287. TTmlden, Archduke Albert of Austria and his wife Isabella; 232. Coninxlo. Circumcision; 282. Snyders , Wild-boar hunt. — The other rooms contain nothing noteworthy. Second Floor. Room I. (to the right). 68-90. Paintings by Jouvenet, a native of Rouen. — Room III. 35. L. David, Mme. Lebrun ; 107. Mme. Lehrun, The opera-singer Grassini. — Room IV. Morel-Fatio (of Rouen), The 'Vengeur' engaged in combat. — The other rooms contain drawings, sketches in crayons, large pictures by La Hire, Lemonnier, and HalU, etc. to Paris. ROUEN. 24. Route. 335 Adjoining the completed wing of the museum is a statue of L. Bouillot (d. 1869), the poet. The adjacent church of St. Laurent (V\. D, 2 ), dating from the 15-16th cent., with a fine tower, is now used as a magazine. The church of St. Godard (PI. D, 2), partly of the 16th cent., contains admirable modern stained-glass windows and mural paintings. The Tour de Jeanne d'Arc (PI. C, 1), in the Rue de Jeanne d'Arc, is a relic of a citadel erected by Philip Augustus in 1204, which was the scene of the trial of Joan of Arc; the tower in which she was imprisoned was pulled down in 1809. — The church of St. Patricia (PI. C, 2), a little to the W. of the Jardin Solferino, contains some beautiful stained-glass windows of the 16-17th cent., one of which, the last in the left aisle, is ascribed to Jean Cousin. The *Palais de Justice (PI. 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 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 VEchiquier, the supreme tribunal of Normandy, which under Francis I. was styled 'parlement'. The assizes arc now held here. The concierge lives in the right wing, a modern addition. The Tour i^b la Gkosse Horlogb, or Beffroi (belfry; PLC, 3), which rises in the vicinity, was erected in 1389. The bridge across the street, and the arch which unites the tower with the U6tel-de- Ville, date from 1527. Several of the houses in this narrow, but very picturesque Grand' Rue merit inspection. Farther to the W., near the Theatre Frangais (PI. 0, 3), is the Place de la Pucelle, where Joan of Arc was burned at the stake in 1431. About 24 years later she was declared innocent of tlie crime of witchcraft by a papal bull, and the French, who it is well known had been lier 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. The adjoining *H6tel du Rourgtheroulde (PI. C, 3), which was erected at the close of the loth cent. , in the style of the Palais de Justice, contains a number of reliefs, one of which represents the in- terview on the 'Field of the Cloth of Gold'. The graceful hexagonal tower is decorated with sculptures from scriptural subjects. The building is now occupied by the Comptoir d'Escomptes, and is open to the public on week-days (on Sun. apply to the concierge). To the S.E. of this point, at the corner of the Rue atix Ours and the Rue Jeanne d'Arc, is the handsome Tour S^ Andre (PI. 0, 5), a relic of an old church. It stands in a small square, on one side of which the front of a timber dwelling of the 16th cent, ha} been re-erected. A few hundred paces to the S. is the small church of 336 Route 24. LA BOUILLE. From London SL Vincent (PI. C, 5^, a pretty GotMc building of the 16th cent., with a tower of the 17th century. The Rue Jeanne d'Arc ends, to the S. of this point, at the Quai de la Bourse. At the end of the Rue de la Repuhlique is the large Fontaine Ste. Marie, erected by Falguiere in 1879. To the left is an old con- vent, now containing the Museum of Antiquities (PL D, 1), which is open on Thurs. and Sun., 11-4 (^to strangers at other times for a fee of 1 fr.). In the Court are a few Roman and some good mediffval sculptures. — Boom I. contains Prankish antiquities and medifeval curiosities of various kinds. Among the latter are a deed of Richard Coeur-de-Lion with his seals, a model of the church of St. Maclou, a reliquary of St. Sever, 12th cent. ^ documents with signatures of important historical personages, including a 'cross' affixed as his mark by William the Con6. NAMUK. From Paris crosses the line from Valenciennes to Mezieres, and the Sambre, and passes Aulnoye and Hautmont. iM^/oM. Maubeuge (Hotel du Nord), a fortress of the first class, on the Sambre, with 17,200 inhab. , and once capital of Hainault. 147 M, Jeumont (Buffet) is the last French, and [149 M.) Erquelinnes the first Belgian station ; custom-house formalities at the former on entering, at the latter on quitting France. 160 1/2 M. Thuin is picturesquely situated on an eminence. A more interest- ing district, watered by the Sambre, is now entered. 167 M. Charleroi (Hotel Dourin ; Grand Monarque), a manu- facturing town with 15,870 inhab. , was founded by Charles II. of Spain in 1666. It is the junction forthe Paris and Brussels line. The train now passes several stations with extensive foundries, and frequently crosses the Sambre. 190 M. Namur (Hotel d' Har scamp ) , the strongly-fortified capital of this province of Belgium, with 25,766 inhab., is prettily situated at the confluence of the Meuse and Sambre. To the right, opposite stat. Marche-les-Dames , is a chateau of the Due d'Aremberg. Opposite stat. Nameche is the ruined castle of Samson. The next important station is — 209 M. Huy (Aigle Noir), with 11,420 inhab., picturesquely situated, with a Gothic church, and a handsome bridge. The citadel has recently been dismantled. Stat. Hermalle and Engis, with cha- teaux. Then, near Flemalle, to the right, is the castle of Aigremont, occupied in the 15th cent, by William de la Mark, the 'Wild Boar of the Ardennes', and said to have been built by the mythical Quatre Fils Aymon. To the left rises the chateau of Chokier. A branch-line diverges to the right to the town of Seraing, with its famous iron-works and coal-mines, which employ 9500 hands. The train continues to skirt the Meuse and soon reaches — 2271/2 M. Liege (Hotels de Suede, d'Angleterre, de VEurope, etc. ; Rail. Restaurant), the picturesquely-situated capital [126,233 inhab.) of the Walloon district, gradually rising to a considerable height above the river, and commanded by a citadel. The extensive manufactories of weapons, cutlery, and machinery established here consume a large proportion of the coal yielded by the neighbouring mines. — The Palais de Justice and the churches of St. Jacques and St. Paul are the most interesting buildings. 7 Beyond Liege the train passes the extensive zinc-foundry of the Vieille Montagne Co. To the right the picturesque watering- place Chaudfontaine ; to the left the chateau of La Rochette; then, on the right, Le Trooz, the chateau of Fraipont, Nessonvaux, the ^Chateau des Masures\ and Pepinster, the junction for Spa ['/o hr.'). + For a fuller account of this route see '^ Baedeker'' s Belgium and Hoi' land\ or (for the greater part of it) '■Baedeker s Rhine\ to Cologne. AIX-LA-CHAPP:LLE. 26'. Route. 343 2421/2 ^I- Verviers (Hotel du Chemin de Fer ,• Railway Restau- rant) , with 41,692 inhab., is a thriving manufacturing town, of which cloth is the staple product. Passsengers by express do not change carriages, but, as the trains are re-avranged bere, those who alight should take care to note the number of their carriage, which they will generally find transferred to the op- posite side of the station. Stoppage of 15-3U minutes. Near {2AS^ / 2M.) Dolhain. the last Belgian station, picturesquely situated in the valley of the Vesdre, rises the ancient ruined fortress of Limburff, a relic of the once flourishing capital of the duchy of that name, which was destroyed by Louis XIV. in 1675. 253 1/2 ^1^- Herbesthal is the Prussian frontier-station, where small articles of luggage are examined by the custom-house officials. Beyond it the train passes through two tunnels, and descends to — 2621/2 M. Aix-la-Chapelle, Ger. Aachen (Hotels : Grand Mon- arque; Nuellens; Bellevue; Empereur; English Church in the Anna-Strasse), an ancient imperial city with 85,432 inhab., situated in a fertile plain enclosed by hills. The Cathedral, the octagonal part of which was erected by Charlemagne in 796-804, is an inter- esting monument of early-Christian architecture. The Sulphur Baths of Aix and the adjacent town of Burtscheid, or Borcette, are much frequented. Beyond Aix-la-Chapelle the country is picturesque, and con- tinues to present the same busy aspect. Beyond the long tunnel of Koenigsdorf, the train reaches the fertile plain which extends from this point to (306 M.) Cologne (see Baedeker's Rhine'). 27. From Paris to Brussels, by Maubeuge and Mons. 194 M. By Express in 7, ordinary trains 11-13 hrs.; fares 34 fr. 80, 26 fr. 85, 18 fr. 70 c. — Station du Kord (p. 24). From Paris to (141 1/2 M.) Maubeuge, see R. 26. Feignies is the last French, and Quevy the first Belgian station. 156 M. Mons (Hotels de la Couronne, du Cerf, de France), Flem. Bergen, the capital of Hainault. with 24,800 inhab., owes its origin to a fort erected here by Csesar during his Gallic cam- paigns. The Emp. Joseph II. caused the fortifications to be de- molished; in 1818 the town was re-fortified, but in 1861-62 the works were again levelled. The Cathedrale de Ste. Waudru (St. Waltrudis), the finest building at Mons, was begun in 1460, and completed in 1589. Near the church, to the left, rises the Beffroi, on the highest ground in the town, built in 1662. The H6tel-de- Ville dates from the 15th cent., and the tower was added in 1718. A large statue in bronze was erected here in 1853 to the memory of Orlando di Lasso, or Roland de Lattre, the celebrated composer, who was born at Mons in 1520. The coal-mines of Mons are the most productive in Belgium. 344 Route 27. BRUSSELS. From (1631/2 M.) Jurbise branch-lines diverge to Tournai, St. Ghislain, and Denderleeuw. 1711/2 M. Soignies, a town with 7200 inhab., possesses an abbey- church of St. Vincent, erected in its present form by St. Bruno, Archbishop of Cologne, in 965, probably the most ancient edifice in Belgium. Some of the monuments in the burial-ground date from the 13th and 14th centuries. 175 M. Braine-le-Comte, a small town of ancient origin, is the junction for Namur. Carriages are sometimes changed here. 185 M. Hal (Hotel du Cygne), a small town on the Senne and the canal from Charleroi, is a celebrated resort of pilgrims on account of the wonder-working image of the Yirgin in the Church of St. Mary, a pure-Gothic edifice. The fine high-altar, executed in alabaster in 1583, and the bronze font of 1446 merit inspection. The line now traverses a hilly district, and skirts the canal to Charleroi. Near Forest it crosses the Senne and intersects a rich pastoral district; it then passes the Porte de Hal, and enters the Station du Midi, which is 1 M. distant from the Station du Nord. 194 M. Brussels. — Hotels Bellevue, de Flaxdee, Mengelle, and DE l'Eiieope, all well stuated in the upper part of the town, good, and expensive. Grand Hotel de Beuxelles, Boul. Central, in the lower part of the town. Hotels de Sc£:de, de l'Uxivebs, and de Saxe, all also situated in the lower part of the town, good, and not expensive. — English Church Service at the Church of the Resurrection in the Rue Stassart, at Christchurch, near. the Porte de Xamur, and at the Evangelical Chapel, Rue Belliard. — Cab with one Lorse 1, with two horses l',2fr. per drive. Description of the town, and journey from Brussels to Liege, see Baedeker s Belgium and Holland. Route via Liege to Cologne, see R. 26. 28. From Paris to Strasaburg, by Ch&lons and Nancy. 312 31. By ExPEESS in 11 hrs. , by fast (direct') trains in 14 hrs. ; express fares 61 fr. 35, 45 fr. 55 c. ('billet mixte", i. e. first class in France and second in Germany, 53 fr. 20 c.) ; fares by 'direct' trains 60 fr., 44 fr. 20 c., 31 fr. 35 c. — Sta"tion in the Place de Strasbourg. Soon after quitting the station, the train crosses the canal of St. Denis and the high-road from Paris to Lille, and passes Pantin (13,656 inhab.). At (51/2 M.) Noisy-le-Sec the Miilhausen line diverges to the right (p. 350). Beyond (61/.2 M.") Bondy is the forest of that name. 8 M. Le Raincy -Villemouble, a charming village sur- rounded with orchards. At (12 M.) Chelles is a ruined abbey. 171/2 M. Lagny-Thorigny, where the line reaches the Marne, and Dammart, an adjoining village, send fruit to Paris valued at a million francs annually. The valley of the Marne presents a succession of picturesque landscapes. Near Chalifert the river is crossed and a tunnel entered. 27 M. Means (Hotel des Trois Rois ; Buffet), an old town on the Marne with 11,739 inhab., was one of the first places in France EPERNAY. 28. Route. 345 where the Reformation found adherents. Bossuet was bishop of Meaux from 1681 to 1704. The handsome Gothic Cathedral dates from the 12-16th cent. ; fine view from the tower. 41 M. Laferte-sous-Jouarre, prettily situated on the Marne, and surrounded by numerous country-houses, deals largely in millstones. On a neighbouring hill is the abbey of Jouarre. Scenery picturesque. 591/2 M. Clia.teau-Thierry (Rail. Restaurant), a pretty place on the Marne, has an early-Gothic church dedicated to St. Crispin, and a ruined castle which is said to have been erected by Charles Martel. La Fontaine, the fabulist, was born here, and a monument has been erected to his memory. The Russians suffered severe losses in the vicinity in Feb. 1814. The train now enters the Champagne district. At Varennes Louis XVI. and Marie Antoinette were recognised and arrested in 1791. At Dormans there is a fine I'.hateau and an interesting Gothic church. Between Port-a-Binson and Damery, to the right, rises the Chateau de Boursault, a handsome Renaissance building erected by Madame Cliquot, a name familiar to the bon-vivant, and now the property of her son-in-law. The Marne winds through a broad and fertile valley, enclosed by vine-clad hills. 871/2 M. Epemay (Hotel de C Europe; Buffet), a town with 15,000 inhab. , one of the centres of the Champagne traffic, is picturesquely situated amidst the most productive vineyards. The spacious cellars hewn in the chalk- rock are admirably suited for stor- ing the wine, and contain millions of bottles. Epemay is an important junction, being the point of intersection of branch-lines to Romilly and to Rheims. 107 M. CMlons-sur-Marne (Cloche d'Or; Buffet), the capital of the Department of the Marne, with 23,200 inhab., is one of the principal depots of champagne. The Cathedral, dating from the 13th cent., has frequently been restored. Notre-Dame, on the other side of the town, a fine example of the transitional style, with heavy, but handsome towers, dates from 1157. — In 471, in the territory of the Catalauni nearChalons-sur-Marne, the united Roman, Visigothic, and Frankish armies defeated the Huns in a celebrated battle. — Chalons is the junction of lines to Rheims. Metz, and Troyes. The train now traverses a vast plain, occupied by a very poor population , contemptuously called 'La Champagne Pouillcusc'. To the left winds the Marne. through pleasant meadows. 127 M. Vitry-le-Fran^ais, with a handsome Renaissance church, is surrounded by vineyards and fruit-trees. The train now crosses the Marne for the last time, and follows the course of the Rhine- Marne Canal. 134 M. Blesme (Buffet at the station"). A branch -line diverges here towards the S. to Chaumont (p. 352). 159 M. Bar-le-Duc (Hotel du Cygne; Buffet), surnamed 'La Coquette', a picturesque town on the Ornain, the capital of the 346 Route 1>^\ NANCY. From Paris Department of the Meuse (pop. 17,500). The church of St. Pierre in the Haute- Ville contains a curious monument in marble to Due Rene de Chalons, Prince of Orange, who fell in 1544 at the siege of St. Dizier. — After traversing a somewhat monotonous district, the train passes by means of cuttings through the watershed between the Seine and the Meuse. 184 M. Commercy (Hotel de Paris), with 4000 inhab., pos- sesses a large chateau on the bank of the Meuse, where Cardinal de Retz (d. 1679) wrote his memoirs. It was subsequently occu- pied by Stanislaus Lesczinski. ex-king of Poland, in 1744. 191 M. Pagny-sur-Meuse , where another line to Chaumont diverges via Xeufchdteau. I98V2 M- Toul (Hotel de Metz ; Hotel de la Cloche), the Tullum Leucorum of the Romans, a fortress on the Moselle, a little to the right of the line, has been the seat of a bishop for 1200 years, and is one of the most ancient towns in Lorraine (pop. 10,085). On 24th Sept. 1870, the town was taken by the Prussians after a siege of twelve days. — The Gothic *Cathedrah dating from the 10-15th cent. , has an admirable fa(;ade with a beautiful portal and two towers. The stone pulpit dates from the 12th century. The abbey- church of St. Gengoult, a fine Gothic building of the 13th cent., with facade of the 15th , has interesting Gothic cloisters of the 16th century. The Rhine-Marne Canal and Moselle here flow side by side, and are crossed at Fontenoy , beyond which one of the most picturesque and interesting parts of the line is reached. 210 M. Liverdun is picturesquely situated on a height. The canal penetrates the hill on which Liverdun lies by means of a tunnel. Near (213 M.) Frouard (Buffet) the Meurthe unites with the Moselle. The line to Metz diverges here fp. 350). From Cham- pigneulles a line to the left diverges to Chateau-Salins. 219 M. Nancy. — Hotels de Paris, Rue St. Dizier: de France, Rue de la Poissonnerie ; d'Angleteere, ne;ir the station 5 du Commerce, Rue des Carmes. — ''-Railway Restaurant., dej. 4 fr. — Several cafes in the Place Stanisla.s. Nancy, the capital of the Department of Meurthe-et-Moselle, situated on the Meurthe, with 73,225 inhab.. was formerly the capital of Lorraine and seat of the dukes, of whom Stanislaus Lesczinski (d. 1766), ex-king of Poland, was the last. The town was greatly embellished by his predecessor Leopold (d. 1729), and is one of the best-built towns in France. The surrounding vineyards contribute much to the beauty of the situation. The Academy of Nancy has risen in importanf*e since the annexation of Strass- burg to Germany, and its Ecole Forestiere, or nursery for forest- trees, is the only establishment of the kind in France. The place in front of the station is adorned with a statue of Thiers, President of the French Republic, by Guilbert, erected in to Strnsshurg. NANCY. ^S. Route. 347 1879. The town is entered by the Porte Stanislas, one of the seven handsome gates of Nancy, leading to the Place Domhade (PI. 25 ; B, 3), where a statue of the eminent agriculturist of that name (d. 184:3), by David d'Angers, rises in front of the Lycee. The first street diverging from the Rue Stanislas to the left leads to the CouRS Leopold, adorned with a *Statue of Marshal Drouot (PL 26; B, 2), a native of Nancy, in bronze, by David d'Angers. Adjacent is the new building of the Academy^ which was removed from Strassburg to Nancy in consequence of the events of 1870-71. At the end of the Cours Leopold is the Porte Disilles (PL 20), erected in 1785 to commemorate the birth of the Dauphin and the alliance with the United States. The *P^ace Stanislas (PL C, 3), the finest point in the town, is adorned with the bronze Statue of Stanislaus (d. 1766; PL 27), by Jacquot , erected in 1831 by the three departments ( Menrthe, Meuse, Vosges) which formerly constituted the Duchy of Lorraine. The statue looks towards the Triumphal Arch (PL 24) which Stanis- laus erected in honour of Louis XY. To the left of the arch is a statue of Callot (d. 1635), the engraver, a native of Nancy. The Place is surrounded by the H6tel-de-Ville, the Theatre (PL 29), the Eveche (PL 10), and other handsome edifices. The H6tel-i)e-Ville (PL 14) contains a small Picture Gallery, with several valuable works by French, Italian, and Flemish masters. Italian School. Caravaggio, Descent from the Cross ; P. da Coriona, Cumfean Sibyl; Ag. Carracci, The risen Christ; Dttccio di Biioninsegna, Madonna (1283); Leonavdo da Fmct(?), The Saviour; (7««c/o i?i'«f, Cleopatra ; Feruyino^ Madonna and saints; Andrea del Sarto, Tobias and the angel. Gekman and Netheklandisu School. Cranach the Elder, Descent from the Cross; Gasp, de Grayer, Plague at Milan; A. van Dyck, Madonna and Child, a replica of the work at Dresden ; Lievens, Crucifixion ; Ru- bens, Transfiguration. French School. Boucher, Aurora and Cephalus ; E. Delacroix, Battle of Nancy and Death of Charles the Bold ; Feyen-Pevrin, Finding the body of Charles the Bold ; Gras, Marshal Duroc ; Isabey, Napoleon I. ; Poussin, Christ entering Jerusalem; De Troy, Diana bathing; If. Vernef, Portrait of Drouot. There is also an unimportant collection of Sculptures. At the back of the H6tel-de-Ville is the Prefecture (VI. 18), in the Rue d' Alliance, so called from the French and Austrian alliance concluded here in 1756 against Prussia, — A little farther on is the Cathedral (PL 4), built in the 18th cent., in imitation of S. An- drea della Valle at Rome. Passing through the Triumphal Arch, to the left, we reach the handsome Place Carriere (PL C, 2, 3), on the farther side of which is the former palace of Stanislaus , now the residence of the com- mandant of the town. The adjacent churcli of St. Epvre (PL 6), an edifice in the Gothic style, 95 yds. in length, with three portals, a tower 285 ft. high, and three large rose- windows, was built in 1863-75. The foun- tain (PL 28) in front of the church was formerly embellished with 348 Route 28. NANCY. a small equestrian figure of Duke Rene, now in the Muse'e Lorrain (see below) ; it is to be replaced here by a copy. Farther to the N. is the Eglise des Cordeliers (PL 5), the church of the Franciscans, which contains, on the left, the tomb of the painter Jact^ues Callot ( d. 1635 ; see above), and the richly-decorated *ChapeUe Ronde, the burial-place of the Dukes of Lorraine, with a number of interesting monuments from the 12th to the 18th century. Adjacent is the Palais Ducal (PL 16). the greater part of which was destroyed by fire in 1871. The part still standing contains the Musee Lorrain, which has to some extent recovered from the injury it sustained in the lire. Among its most valuable contents are some tapestry that belonged to Charles the Bold, a few pictures, and a collection of weapons and other antiquities mainly of local interest. The Pepiniere (PL D, 2), with its extensive grounds and fine avenues, is entered from the Place Stanislas and the Place Carriere. In the suburb of St. Pierre is the Eglise de Bon- Secours, where Stanislaus (d. 1766) and his wife are interred. The railway-station of Nancy occupies the site of the marsh where the body of Charles the Bold was found after the Battle of Nancy. The Croix de Bourgoyne, which is probably a successor to that originally erected here by the victorious Duke Rene (d. 1508), bears the following inscription : — En Tan de rincarnation Et en bataille ici transcy Mil quatre cent septante six Ou croix fut mise pour memoire Veille de FApparition Re'ne Due de Loraine me{r)cy Fut le Due de Bourgogne occis Rendant a Dieu pour la victoire. From Naxcy to Strasbourg. Quitting Nancy, the train crosses the Meurthe and the Rhine-Marne Canal. Varangeville and St. Nicolas are two small towns connected by abridge over the Meurthe. The church of the former dates from the 15th cent., that of the latter from 1494-1544. The old salt-works of Rosieres-aux- Salines are now occupied by a very important horse-breeding establishment. Blainville-la- Grande is the junction of the line to Epinal and Ve- soul (p. 352). 239 M. Luneville, a town with 18,136 inhab., at the confluence of the Meurthe and Vezouze , was the birthplace of Francis I. of Austria , son of Leopold Duke of Lorraine , and founder of the present imperial house. In a house in the Rue d'Allemagne the peace of Luneville , between France and Austria , was signed on 9th Feb., 1801. Branch-line hence to St. Die, a small manufactur- ing town, 31 M. to the S.E. 254 M. Igney-Avricourt, the last French station ; 255 M. Deutsch- Avricourt, the first German station. It should be observed that Ger- man time is 22 min. before French. Branch-lines to Dieuze and to Cirey-sur- Vezouze. 269 M. Saarburg (Hotel de I'Abondance), the Pons Saravi of Antoninus, on the Saar, which becomes navigable here, is not to VERDUN. 29. Route. 349 be confounded with Saarburg near Treves. German is the language (jhiefly spoken in the lower part of the town. The train now quits the rich plains of Lorraine, penetrates a spur of the Vosges Mts. by the tunnel of Archiviller , l'/2M. in length, through which the Rhine- Marne Canal also passes, and enters the valley of the Zorn. Opposite Lutzelbourg , the last station in Lorraine, rises a picturesque ruined fortress. Tunnels, bridges, and cuttings follow each other in rapid succession. To the right are the two old castles of Geroldseck ; then , on the top of a hill, that of Hoh-Barr. On a wooded height to the right, farther on, are the ruins of Greifenstein. The train now quits the Vosges Mts. and enters the province of Alsace. 285 M. Zabern (Hotel Ambruster ^ Sonne), French Saverne, the Roman Tabernae, with 6600 inhab., possesses a handsome Palace, erected in 1666 by a bishop of Strassburg, and afterwards occupied by the well-known Cardinal de Rohan (d. 1802). 312 M. Strassburg. — Hotels: -Ville de Paris, near the Broglie; *Maison Rocge. Place Kleber ; *Euiiope , Rue de la Kuee Bleue (Blau- wolkengasse); Hotel d'Angletekke, opposite the station. — Cabs 60 pfennigs per drive; 1/4 hr. 60 pf., 1,2 hr. 1 mark, 1 hr. 1 m. 60 pf. ; luggage 20 pf. Hee Baedekers Rhine. 29. From Paris to Metz. a. By ChfiJons and Verdun. 216 M. Railway in 10-13 hrs.; fares 42 fr. 55 c., 31 fr. 75 c., 23 fr. 20 c. — Trains start from the Gare de Strasbourg (p. 24). There are several different routes to Metz. The quickest trains take the route by Bar -le- Due and Frouard (see below); another route is by Rheims, Sedan, where the celebrated battle of 2nd Sept. 1870 was fought, and Thionville; but the present route is the most direct and the cheapest. From Paris to Chalons- sur- Marne (107 M.), see R. 28. The line to Metz diverges here to the left. — 115 M. La Veuve. — 120 M. St. Hilaire-au- Temple is the junction for Rheims (by railway in 1 hr.). — 148 M. Ste. Menehould (Hotel de Metz) on the Aisne, with 4250 inhab., has a church with double aisles, of the 13th and 14th centuries. A picturesque district is now traversed. 175 M. Verdun (Hotel de VEurope; Buffet), the ancient Vero- dunum , a fortified town with 15.780 inhab., situated on the Meuse. The town was bombarded by the Prussians in 1792, and, having surrendered after a few hours , the inhabitants accorded an amicable reception to the conquerors, to whom a party of young girls made an offering of the bonbons for which Verdun is noted. The revolutionists recovered the town after the battle of Valmy, and revenged themselves by massacring a number of these innocent maidens. The town was again bombarded by the Germans in 1870. The Cathedral dates from the 12th cent. , but has been much altered. The other objects of interest are the garden of the Episcopal Palace, the Porte Chaussee with its crenelated towers, the 350 Route 2.9. METZ. Barracks, with which portions of an ahbey of the 13th and 14th cent, have been incorporated, and the Promenade de la Roche. Etain is prettily situated on the Orne. Batilly is the last French station. The train then crosses the hattle-tield of Gravelotte. 216 M. Metz (Hotels de V Europe, de Metz. de Paris, deLondres^, see Baedeker's Rhine. b. By Frouard and Pagny. 245 M. Express in 9-91/2, ordinary trains in ii-lolirs.: fares 50 fr. 35. 37 fr. 60. 27 fr. 50 c. From Paris to Frouard (213 M.), see R. 28. At Frouard the carriages for Metz are detached from the train to Nancy and Strassburg, cross the canal and the Moselle near the station, and follow the pleasant valley of the latter, which here becomes navigable and is bounded by gently-sloping banks. 237 M. Pont-a-Mousson (Hotel de France), a town with 8210 inhab. , with the ruined fortress of Mousson (fine view) on an eminence, its church (St. Martin) with two towers, and its bridge over the Moselle, presents a pleasing picture. 243 M. Pagny-sur- Moselle has been the French frontier station since 1871 (douane). On an eminence to the left are the ruins of the chateau of Preny, once the property of the Dukes of Lorraine. Excellent wine is produced here. At Noveant, the German frontier - station (custom-house), a suspension-bridge crosses the Moselle. On the right bank of the river are perceived at intervals the extensive remains of a Roman *Aqueduct, constructed by Drusus. It was 60 ft. in height and 1220 yds. in length, and conducted water from the hills on the right bank to Divodurum, the modern Metz. At J ouy-aux- Arches eleven arches are still well-preserved, and at Ars (or rather Arches-sur- Moselle), seven others rise close to the railway. The bridge by which the train crosses the Moselle affords a good final survey of this imposing Roman structure. The train then reaches Metz (see Baedekers Rhine^, which lies so buried amidst its green ramparts, that little of the town is per- ceived from the railway. 30. From Paris to Bale, by Troyes, Belfort, and Miilliausen. 326 M. Railway in 9^ 2-16 lirs. ; express fares 64 fr. 5 , 47 fr. 88 c. ; ordinary, 63 fr. 10, 46 fr. 75, 33 fr. 95 c. The trains start from the Gare de FEst (p. 24). From Paris to Noisy-le-Sec, see p. 344. The Strassburg line diverges here to the left. At Nogent-sur-Marne (p. 202) the Marne is crossed. On the right is the park of Vincennes. The line enters the fertile, but monotonous plain of Brie. To the right lies the vil- lage of Champigny (p. 202), where important battles were fought on 30th Nov. and 2nd Dec. 1870. From (24"/2 M.) Gretz-Armain- TllOYES. 30. Route. 351 villers a branch-line diverges to LaFerte-Gaucher. 431/2 M. Nanyis, with an ancient castle and an interesting chnrch of the 14th century. From Lonyueville a branch-line diverges to Provins. At Chalmaison the line quits the plain of Brie, and enters the valley of the Seine. From Flamboin-Gouaix (Buffet) a branch-line runs to Montereau (p. 354). 69 '/2 M. Nogent-sur-Seine (Hotel de la Clef d' Argent) , a small town with 3500 inhab., where the line crosses the Seine, is 41/2 ^• from the abbey of Paraclet, now a farm, where the remains of Abe- lard and Heloise, now in the cemetery of PereLachaise at Paris, re- posed for nearly seven centuries. The empty vault still exists. The country continues flat. From liomilly, a manufacturing town with 5000 inhab., a branoh-line diverges to Epernay (p. 345). 104 M. Troyes (Hotel du Mulet^ du Commerce; de St. Lau- rent; Rail. Restaurant) on the Seine, a pleasant town with 46,000 inhab., is the capital of the Department of the Aube. The treaty by which Henry V. of England became regent of France was signed here in 1420. 'Troy-weight' derives its name from this town. The H6tel-de-Ville, built in 1624-70, is in a somewhat dilapi- dated condition ; the large hall on the first floor contains a marble medallion of Louis XIY., by Girardon. On the right, farther on, rises the beautiful Gothic church of*St. L'rbain, founded by Ur- ban IV. in 1263, but never completed. — The cathedral of St. Pierre was begun in 1208, but not completed till 1492. The choir has been recently restored. The interior, with its double aisles, is rich and elegant. Beautiful stained glass of the 13th century. Richly- ornamented portal of 1506. Curious old enamels in the treasury. The Museum (open daily, 10-2) in an old abbey to the N. of the cathedral, contains pictures , sculptures, an archaeological, a numismatic, and other collections, and a good library of 110,000 vols, and 2000 MSS. A little to the N. of St. Urbain, in a parallel street, is the church of St. Remi, and beyond it, nearer the station, Ste. Madeleine, of the 12th cent., altered in the 16th, containing a sumptuous Gothic jube of the 16th century. A little to the S. of St. Remi is St. Panta- leon, in the Renaissance style, but possessing a line Gothic S. portal. Among the interesting old houses of Troyes may be mentioned the Hotel de Vauluisant, of the 18th cent., and that of Mauroy, a few paces to the E. of the last; there are also a number of wooden houses of the 15th and 16th centuries. Branch-lines run from Troyes to Chatillon-sur-Seine , to Sens (p. 354), and to Chdlons-sur-Marne. Leaving Troyes, the train skirts the bank of the Seine, and then quits it at Rouilly. At Jessains the picturesque valley of the Aube is entered. The district between Troyes and Arcis, and as far as Langres, was the scene of the last desperate struggle of Na- poleon against Schwarzenberg and Blucher in 1814, 352 Route 30. BELFORT. The train descends the pleasant valley of the Aube, and crosses the stream near Arsonval-Jaucourt ; fine view from the station. 1371/2 M. Bar-sur-Aube (Poste), an ancient town with 4580 inhab., possesses churches of St. Maclou and St. Pierre, of the 11th and 12th cent., and a bridge with a chapel of the 15th century. At Ciairvaux the celebrated Cistercian abbey of Ctara ValLis was founded by St. Bernard in 1115, but the present abbey-build- ings, now a prison, are modern. Picturesque scenery. — The valley of the Aujon is entered near Maranville. From Bricon a line di- verges to Chatillon-sur-Seine. Beyond Villiers-le-Sec a huge viaduct of 50 arches, 160 ft. high, crosses the valley of the Suize to — 16'2'/2 M. Chaumont (Ecu de France; Buffet), the capital of the Department of the Haute-Marne, with 12,160 inhab., situated on a barren hill between the Suize and the Marne. The church of St. Jean-Baptiste of the 13th, with choir of the 16th cent., contains a sculpture of 1460 representing the Holy Sepulchre. La Tour Haute- feuille , near the Palais de Justice , is the fragment of an ancient castle of the Counts of Champagne. Branch-lines hence to Blesme (p. 345) and Nuits-sous-Ilavieres (_p. 354). The line now descends to the picturesque valley of the Marne. 1841/2 ^1- Langres (Hotel de VEurope) is a fortified town and episcopal residence with 11,800 inhab., situated on a lofty plateau (1550 ft.) near the Marne. Cutlery is largely manufactured here. Diderot (d. 1784) was a native of Langres. The cathedral of *St. Mames, in the transitional style, dates from the 12th and 13th centuries. The tower commands a fine view. To the right of the cathedral are interesting early-Gothic cloisters. — A street nearly opposite the church leads to the interesting *Porte Gallo-Romaine , which is probably of late-Roman construction. The Porte des Moulins, to the S., is of the 18th century. The church of St. Martin, of the 13th cent., witli a tower of the 18th, contains a Christ artistically carved in wood, of the 16th century. The Mu- seum contains antiquities and a few pictures. From (1911/2 M.) Chalindrey (Rail. Restaurant) branch-lines diverge to Gray and Anxonne (p. 356 j, Dijon [p. 354), and Nancy (p. 346). The train then enters the valley of the Amance, which it follows down to the Saone. Laferte-sur- Amance is the station for the (10 M.) baths of Bourbonne-les-Bains . The line soon crosses the Saone and ascends its left bank. At Port d' Atelier a line diverges to Epinal and Nancy. At Port-sur- Saone the train quits the valley of the Saone. 2361/2 M. Vesoul (Hotel de VEurope; Buffet), with 9550 inhab., the capital of the Department Haute-Saone, is prettily situated in the valley of the Burgeon. Branch-lines run hence to Besan^on, Nancy (p. 346), and Dijon (p. 354). Several unimportant stations ; then — 275 M. Belfort (Ancienne Poste; Buffet), on the Savoureuse, MONTEREAU. 31. Route. 353 a strongly-fortified town with 19,336 inhab. , which commands the Trouee cleBelfort, or passage between theVosges and Jura Mts. In the neighbourhood, near Hericourt on the Lisaine, engagements took place in Jan. 1871 between Gen. Werder's army and the French under Bourbaki , the result of which was that the French army of 84,000 men was compelled to cross the Swiss frontier near Pontarlier (p. 356). The fortress has successfully resisted many sieges , the last of which was in 1870-71 , when the Germans did not obtain possession of it until after the peace was concluded. — Branch-line to Besan^on and Dijon (p. 354). 283 M. Petit-Croix , the French frontier-station (douane for travellers in the reverse direction). 285 M, Montreux- Vieux, Ger. Altmilnsterol, is the first German station (custom-house examina- tion). The Vosges Mts. are now left behind. Three more viaducts soon carry the train to Dannemarie, or Dammerkirch. beyond which another viaduct crosses the 111 to Altkirch, a small, prettily-situated town. 306 M. Mulhausen, Fr. Mulhouse (Hotels Central, Wagner, des Etrangers; Buffet), a manufacturing town with 70,000 inhab., once a free town of the Germanic Empire, belonged to Switzer- land from 1515 to 1798, then to France down to 1871, and is now again German. It lies on the III and the Rhine-Rhone Canal. The handsome building of the Societe Industrielle contains natural his- tory and industrial collections. The Artizans^ Colony is interesting (see Baedeker's RhineX The line to Bale now traverses the broad plain of the Rhine; to the right rise vine-clad hills ; to the left in the distance are the mountains of the Black Forest. St. Ludwig is the last German station. To the left on the Rhine is situated the former fortress of Hilningen, constructed by Vauban in 1679. 326 M. B&,le (Trois Rois, Couronne, and Tete, on the Rhine ; Schweizerhof and Euler a.t the central station ; Cigogne , etc.), see Baedeker 3 Switzerland, or Baedeker'' s Rhine. 31. From Paris to Neuchatel by Dijon. 315 M. Express in 15 hrs. ; fares Gi fr. 95, 46 fr. 55, 34 fr. 25 c. — Station in the Boulevard Diderot, see p. 24. Journey to Fontainebleau, see p. 311. Thomery is celebrated for its luscious grapes, the Chasselas de Fontainebleau. Moret (BuSet), picturesquely situated on the Loing, which here falls into the Seine, has a Gothic church of the 12 -15th cent, and a ruined chateau once occupied by Sully. To the right runs the railway to Montargis, Nevers, Moulins. and Vichy. The line crosses the valley of the Loing by a viaduct of thirty arches. 49 M. Monterean (Buffet), with 7300 inhab., is picturesquely situated at the confluence of the Seine and Tonne. In 1814 Na- poleon gained his last victory over the Allies and the Prince of Baedeker. Paris. 8th Edit. 23 354 Route 31. DIJON. From Paris Wiirtemberg in this neighbourtood. Branch-line to Flamboin (p. 351), to the left. 70 M. Sens (Hotel de VEca; de Paris; Buffet), the ancient ca- pital of the Senones., "svho under the leadership of Brennus plun- dered Rome in B.C. 390, is now a quiet town with 13,500 inhabi- tants. The early-Gothic '^Cathedral (St. Etienne), dating chiefly from the end of the 12th cent., is an imposing edifice, although somewhat unsymmetrical and destitute of ornament. The stained glass of the 16th cent, and the *Mausoleum of the Dauphin, the fa- ther of Louis XVI., and his wife, by Coustou, are the chief objects of interest in the interior. The treasury contains many valuables. — Branch-lines to Troyes (p. 351) and to Montargis. The small town of Villeneuve-sur-Yonne contains two Gothic gateways and a cathedral of the 13-16th centuries. 91 M. Joigny, the Joviniacum of the Romans, a town with 6300 inhab., on the Yonne, is situated in a wine-growing district. The church of St. Jean dates from the l-ith and 15th centuries. Tim- ber is sent down in large quantities from this district to Paris in the form of rafts. 96 M. Laroche lies at the confluence of the Yonne and Arrnan- fon, and on the Canal de Bourgogne. Branch-line hence to Auxerre. St. Florentin has a handsome unfinished church of the 12-1 6th centuries. About 6 M. distant is the Cistercian Abbey of Pontigny, where Thomas a Becket passed two years of his exile. Langton, Archbishop of Canterbury , banished by King John , and other English prelates have also sought a retreat within its walls. 122 M. Tonnerre (Buffet), a town with 5700 inhab., on the Ar- man^on. The church ol St. Pierre, standing on the precipitous rocks above the town, was built in the 12-16th centuries. Tanlay possesses a fine chateau in the Renaissance style, founded by the brother of Admiral Coligny. At Ancy-le-Franc there is a handsome Chateau, erected in the 16th cent, from designs by Prim- aticcio. At Nuits-sous-Ravieres a branch diverges to Chdtillon-sur- Seine. Montbard, the birthplace of Buffon (1707-1788), contains his chateau and a monument to his memory. Near Les Lauines is Alise Ste. Reine, with mineral springs, the Alesia of Caesar. Beyond Blaisy-Bas the line penetrates the watershed (1326 ft.) between the Seine and the Rhone by a tunnel 21/2 M. long. Be- tween this point and Dijon is a succession of viaducts, cuttings, and tunnels. Beyond (184- M.) Malain, with its ruined chateau, the line enters the picturesque valley of the Ouche, bounded on the right by the slopes of theC6te-d"0r. Near FcZars rises Mont Affrique liQ'20 ft.), with the famous pilgrimage-chapel of Notre-Dame de I'Etang. I95Y2 jM. Dijon (Hotels de la Cloche, de Bourgogne, duJura; Buffet), the Roman Castrum Divionense, once the capital of Burgundy, now that of the Department of theCote-d'Or, with 55,453 inhab. , lies at the confluence of the Ouche and the Souzon. The dukes of Bur- to Neuchatel. DIJON. 31. Route. 355 gundy resided at Dijon down to the death of Charles the Bold in 1477. The buildings of that period enhance the interest of the place. The Rue de la Gare and the Rue Guillaume lead from the station to the H6tel-dt- Ville (Palais dcs Etats), once the ducal palace, but remodelled in the 17th and 18th centuries. The two towers and the Salle des Gardes are almost the only ancient parts. The *Musbum, containing valuable collections of pictures, antiquities, engravings, etc., is open on Sun. and holidays from 12 to 3 or 4, and in sum- mer also on Thurs. 12-2; strangers are admitted at otlier times ex- cept on Mon. forenoon ( fee). The Salle des Gardes contains the 'Monuments of John the Fearless and Philip the Bold, dating from the 14th and 15th centuries, two impos- ing work.-', restored in 1828. Also some plaster-casts. The ^Picture Gallery is one of the most important provincial collec- tions in France, including many line modern works by Coi/peL Glaize, Flandrin, MHiiKjue., Legros. Henncr, Bouguereau. Horace Vei'net, Ouillaumef, Neiiville ^ etc.; a few good Italian works by Domenichino. Tintoretto, Jac. Basxano., L. Bassano, Guido Rent., Luini, and Albano; and examples of Van Eyck^i Van Balen., Van der Meulen, Gaspar de Craijer, and other Dutch and Flemish masters. The Collection TrimoM., in Rooms 15-19, is a valuable collection of Renaissance furniture, pictures, drawings, and small works of art. The H6tel-de- Ville also contains the Musee des Antiquites de la Cote-d'Or, wliich occupies three rooms in the E. part of the building. Notre-Dame, to the N. of the H6tel-de- Ville, is a Gothic church of the 13 -15th cent., of very picturesque exterior. The principal portal is a beautiful Gothic composition. The interior is also inter- esting. One of the chapels of the transept contains a black image of the Virgin dating from the 11th or 12th century. St. Michel, to the E. of the H6tel-do-Ville, of the 16th cent., has a curious ia^ade, half Gothic, half Renaissance in style. *St. Benigne, the cathedral, to the S. of the Porte Guillaume, an interesting building, was erected in 1271-88. The two towers in front are covered with conical roofs, and a wooden spire, 300 ft. in height, rises over the transept. In the vicinity are St. Philibert, of the 12th cent., now a maga- zine, and St. Jean, of the 15th cent., disfigured with bad paintings. The Castle, erected by Louis XI. in 1478-1512, and afterwards used as a state prison, now in a dilapidated condition , is situated to the N. of the Porte Guillaume. Beyond the Porte Saint Bernard stands the modern Statue of St. Bernard (d. 1153), who was born at Fontaine, a village near Dijon, Dijon is the centre of the wine- trade of Upper Burgundy; the growths of Gevroy, including Chambertin, and of Vougeot, Nuits, and Beaune are the most esteemed. During the war of 1870-71 Dijon was twice occupied by the Germans, tirst on Oct. 3ist, 1870, after which it was evacuated on the approach of Bourbalii, and again in Jan. 1871. The line now runs between the Ouche and the Canal de Bour- gogne, which connects the Saone with the Seine. Near the small 23* 356 Route 31. PONTARLIER. town of (215 M.) Auzonne (Grand Cerf : Buffet), whicli possesses a Renaissance castle and a cliurcli of the 14-16th cent., the "branch line to Gray diverges to the left. The line crosses the Saone , and beyond Champvans passes through a tunnel and a long cutting. 224 M. Dole (Ville de Lyon; Buffet), a tOTvn with 13.190 in- liab.. is picturesquely situated on the Douhs and the Rhone-Rhine- Canal. The esplanade of St. Maurice commands a fine view of the Jura Mts. and Mont Blanc in the extreme distance to the right. — Branch-line from Dole to the S.W. to Chdlons-sur-Saone ; to the N.E. to Besan^on. The train crosses the canal and the river, and enters the valley of the Loue. At Mouchard the Besangon line diverges to the left. A little farther on, a branch -line diverges to (b M.^) Salins (Hotel des Messageries), a small town with saline baths, much frequented. The line now enters the Jura. Numerous viaducts and tunnels. Arbois, a pleasant little town on the Cuisance , was the birthplace (1761 ) of Pichegru. Beyond Pont d'Hery a branch-line diverges to the right to Champagnole. The next important place is — 282 M. 'Ponts^TlieT (Hotel National: Buffet), a town with 6000 inhab., on the Doubs. Travellers entering France undergo the formalities of the custom-house here. The line follows the left bank of the Doubs and crosses the river near the fortified defile of La Cluse. To the left, on a rock 650 ft. in height, is situated the Fort de Joux, where Mirabeau, Toussaint-L'Ouverture, and other state-prisoners were once con- fined To the right, on a still loftier rock, rises a new fort. Les Ver- rieres Fran^aises, or deJoux, is the last French, and Les Verrieres Suisses the first Swiss station. On 1st Feb., 1871, the French army under Bourbaki, consisting of 8-4,000 men and 10.000 horses, crossed the Swiss frontier in this neighbourhood (see p. 353). Beyond Les Yerrieres the line reaches its culminating point (2930 ft.). The scenery again becomes very picturesque. To the right in the valley lies the prettily-situated town of Fleurier, with its important watch-manufactories. BeyondBoveresse, on the oppo- site bank of the Reuse, lies Moiiers, where Rousseau wrote his 'Lettres de la Montague'. On the same side of the valley lies the pleasant little town of Couvet. Near stat. Travers , which gives its name to the valley, rises the Creux du Vent (4806 ft.). At Noiraigue, the Yal de Travers terminates, and the train enters a wooded ravine of the Reuse. Numerous tunnels and viaducts. Fine view to the right of the Lake of Neuchatel and the Alps. The train descends to Auvernier, the junction for Yver- don, crosses the i?ai'me o/^err/eres by a lofty viaduct, and finally reaches the station of Neuchatel, situated high above the town. 315 M. Hevichktel (Bellevue, on the lake; Grand Hotel du Lac, near the lake ; Faucon, in the town), see Baedeker's Switzerland. 357 32. From Paris to Geneva, by M&con, Amberien, and Culoz. 388 M. Railway in 13-20 hrs. ; fares 77 fr. 10, 57 fr. 85, 42 fr. 45 c. — Station in the Boulevard Diderot (see p. 24). Journey to (_195V2 ^^l I^ijon, see R. 31. The train crosses the Ouche and the Canal de Bourgogne (p. 355), and skirts the sunny vineyards of the Cote d'Or, which produce the choicest Burgundy wines. At Vougeot is the famous Clos-Vougeot vineyard. Near Nuits-sous-Beaune a battle was fought between the Germans and the French in Dec. 1870. 217 M. Beaune (Hotel de France), a town with 12,000 in- hab.. on the Bouzoise, deals largely in Burgundy wines. Notre Dame, a church of the 12th and 15th cent., has a fine, but mutilated portal. A monument has been erected here to the mathematician Monge, a native of Beaune (d. 1818). Pomard and Volnay, which lie to the right, are noted for their red wines, and Meursault for its white. From Chagny a branch-line diverges in several ramifications to Autun, Nevers, and Creuzot, which last place possesses important foundries. The train passes through a tunnel under the Canal du Centre, which connects the Saone and the Loire, and then enters the valley of the Thalie. 237 M. Ch§,loii-sur-Sa6ne ( Grand Hotel ; Hotel du Chevreuil), a town with 21,600 inhab., situated at the junction of the Canal du Centre with the Saone , contains little to interest the traveller. The express trains do not touch Chalon , the branch-line to which diverges from the junction Chalon-St. Cosme. Branch-lines hence to Lons-le-Saulnier and to Dole (p. 356). The line follows the right bank of the Saone ; to the left in the distance rises the Jura ; to the right in clear weather the snowy summit of Mont Blanc, upwards of 100 M. distant, is visible. 254 M. Tournus (Buffet), a town with 5550 inhab., on the Saone, possesses an interesting abbey-church, dedicated to *St. Philibert, begun in 960, and completed in the 12th century. Greuze (d. 1805) was a native of Tournus. 275 M. MS,con (^Hotel des Champs-Ely sees ; Hotel de l Europe; Buffet), the capital of the Department of the Saone and Loire, with 19,567 inhab., is another great centre of the wine-trade. The re- mains of the cathedral of St. Vincent are partly in the Romanesque style. Macon was the birthplace of Lamartine. The Lyons line proceeds towards the S., a branch-line diverges to Moulins towards theW., while the Geneva line turns towards the E. The train crosses the Saone and enters the Departement de I'Ain, following the course of the Veyle. 298 M. Bourg (Hotel de V Europe; Buffet), with 18,233 inhab., the ancient capital of Bresse, and now that of the Department of the Ain, is situated on the Reyssouse. The church of Aotre Dame, erected in the 15-16th cent., contains pictures, sculptures, and 358 Route 32. CULOZ. fine wood-carving. On the promenade Le Bastion rises a Statue of Bichat (d. 1802), the anatomist, who was born near Bourg, by David d' Angers. — Bourg lies on the direct line from Lyons to Strassburg via Besangon and Miilhausen. The celebrated * Church of Brou , in the florid Gothic style, erected in 1511-36 by Margaret of Austria, is situated Y-2 ^• from the town. It contains the sumptuous * Monuments of the foundress, her husband Pliilibert, Duke of Savoy, and her mother- in-law Margaret of Bourbon. Her motto, 'Fortune infortune forte une\ may be seen in different parts of the church. Near Pont d'Ain the train crosses the Ain. 317 M. Amherieu, a pleasant little town on the Albarine, at the base of the Jura Mts., is the junction for Lyons. The train ascends the valley of the Alba- rine, which soon becomes more picturesque, and quits it at Tenay. Beyond Rossillon, to the right, are the lakes of Pugieu. The line now enters the valley of the Rhone. 347 M. Culoz (*Buffet) is the junction for Chambery and Aix- ies-Bains, and also for Italy via the Mont Cenis tunnel. A con- siderable detention and a change of carriages generally take place here. To the N. rises the Colombier (5033 ft.). The train traverses the broad, marshy valley of the Rhone. Seyssel lies on both banks of the river, which are connected by a double suspension-bridge. Beyond Pyrimont are four tunnels. 368 M. Bellegarde (Buffet). Custom-house formalities here for travellers entering France. Immediately beyond Bellegarde the train crosses the great Valserine Viaduct and enters the long Credo Tunnel (272 M.). To the right is the 'Perte du Rh6ne\ a rocky chasm in which the river is 'lost'. To the left, near ColLonges , the last French station, rises the Fort de VEcluse. which commands the defile. 388 M. Geneva [Hotels de la Metropole. Ecu de Geneve, Cou- ronne. du Lac, de Paris, Balance, etc.), see Baedeker's Switzerland. LIST of the most important Artists mentioned in the Handbook, with a note of the schools to which they belong. Abbrcviatiuns : A = arcbitect; P. = painter; S. = sculptor; c, ca. = circa, about; Fr. = Frencb ; Bol. = Bolognese ; Flor. = Florentine: Ferr. = Ferrarese ; Lomb. = Lombardic ; Neap. = Neapolitan; Rom. = Roman; Yen. = Venetian, etc. Tbe Arabic numerals enclosed within brackets refer to the art notices throughout the Handbook, the Roman figures to the Introduction. hbbate, 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 i8. — (p. xxxix). Deviria, Eng., Fr.P., Paris, pup. of Girodet ; 1805-65. — (p. xxxvi). Diaz de la PeTia, Narcisse, Fr.P., Bor- deaux; 1809-7b. — (p. xxxvi). Dieboldt, Georges, S., Dijon, pupil of Ramey & Dumont; 1816-61. Domenichino, Domenico Zampieri, Bol. P., pup. of theCarracci; 1531-1641. Donatella, Flor. S. ; 13SG-1466. Dori, Gust.-Paul, Fr. P. (V: designer, Strassburg; 1832-83. Dosso, Giov. Lutero, also called Dosso Dossi, Ferr. P. ; c. 1479-1546. Douai, Jean de, see Bologna. Dou or Dov, Ger., Dutch P., Levden; 1598-1675. Devret, Pierre, two engravers, father and son, of Lyons; 1664-1739,1697- 1739. Drolling, Martin, Fr. P., Alsace; 1752-1817. Drouais, Fr.-Hub., Fr.P., Paris; 1727-75. Duban, Fil.-Louis-Jacq., Fr. A., Paris ; 1797-1870. Dubois, Paul, Fr. S. , Nogent-sur- Seine; b. 1829. — (p. xl). Dubufe, Louis-Edouard, Fr. P., Paris, pup. of Delaroche; b. 1818. Due, Jos.-Louis, Fr. A. ; 1802-79. Ducerceau or du Cerceau , Jacques Audrouet, Fr. A.; 1540 -?.5 Ducq or Due, Jean le, Dutch P., The Hague; 1636-95. Dughet, Gaspar, see Poussin. Dujardin or duJardin, Karel, Dutch P., Amsterdam; 1635V -78. Dumont, Jacques-Edme, Fr.S., Paris, pupil of Pajou; 1761-1844. — (p. xl). Duprd, Jules, Fr.P., Nantes; b. 1812. — (xxxix). Duran, Carolus, Fr. P., Lille, pup. of Souchon ; b. 1837. — (p. xxxix). Diirer, Alb. , Ger. P., Nuremberg ; 1471- 1528. Duret, Francisqve, Fr. S., Paris, pup. of Bosio; 1804-65. — (p. xxxix). Duval-le- Camus. Jules-Alex., Fr. P., Paris, pup. of Delaroche & Drol- ling; 1817-77. 362 LIST OF ARTISTS. Dyck. Antonius van. P., Antwerp.: 1599-1641. Efear, Ant.^ Fr. S., Paris, pupil of Dupaty & Pradier ; b. 1810. Eyck. Jan van. early Flem. P. : 1390?- 1440. "Eahriano. Gentile, da, Umbr. P. : c. 1370-1450. Falguiere, Jean-Alex. -Jos., Fr. S., Toulouse, pup. of Jouffroy; b. 1831. Fivon, Firmin-Eloi, Fr. P., Paris, pupil of Gros; 1802-76. Ferrari, Gaiidenzio, Lomb. P. : 1484- 1549. Feti, Dom., Rom. P.; 1589-1624. Feyen-Perrin, Aug., Fr. P., pupil of L. Cogniet & Yvon-, b. 1829. Fictoor or Victors, Jan, Dutch P.: ca. 1640-62. Fiesole, FraAngelico da, see Angelico. — , Mino da, Flor. S. ; 1431-89. Filipepi, see Botticelli. Flandrin, Hippolyte. Fr. P., L^'ons, pup. of Ingres, 1809-64. —(p. xxxvi). — , Jean Paul, Fr.P., Lyons, brother of the last and pup. of Ingres: b. 1811. Fleury, Lion, Fr. P., Paris, pup. of Bertin & Hersent^ 1804-58. Flinck, Govert, Dutch P., Cleve ; pup. of Rembrandt ; 1615-60. Fontaine, Pierre-Frang.-Lion., Fr. A., Pontoise; 1762-1853. Fouquet or Foucquet. jean, Fr. P., Tours; c. 1415-77? or83.— (p. xxix). Foyatier, Denis, Fr. S.; 1793-1863. Frag onard, Jean- Hon.. Fr. P., Gra.=!se, pup. of Boucher, 1732-1806. — (p. xxxi). — , Alex.-Evariste, Fr. P., son of the last; 1783-1850. Frangais, Frang. -Louis, Fr.P., Plom- bieres , pupil of Corot & Gigoux ; b. 1814. — (p. xxxix). ' Francheville or Franqueville. Pierre, Fr. S., Cambrai, pup. of Giov. da Bologna; 1548-1618? — (p. 108). Francia, Franc. (Raibolini), Bol. P. : 1460-1517. Franciabigio, Francesco Bigio. Flor. P.; 1482-1525. Frimiet, Emm., Fr. S., Paris, pupil of Rude; b. 1824. Friminet or Friminel, Martin, Fr. P., Paris; 1567-1619. Fromentin. Eug., Fr.P., LaRochelle, pup. of Cabat ; 1820-76.— (p. xxxviii). Fyt, Jan, P., Antwerp; 1609-61. Crabriel, Jacques- Ange, Fr. A.; 1710-82. Gallait, Louis, Belg. P., Tournai ; b. 1810. Garofalo. Benv. Tisio , Ferr. P.: 1481-1559. Gamier, Jean-Louis-Charles, Fr. A., Paris-, b. 1825. Gatteaux, Jacques-Edouard, Fr. S., Paris; b. 1788. GeUe (CI.), see Lorrain. Girard, Frang., Baron, Fr. P., pup. of David; 1770-1837. — (p. xxxii). Giricault , Jean-Louis-Andri-Thiod., Fr. P., Rouen, pupil of Guerin; 1791-1824. — (p. xxxiii). Girdme, Jean-Lion, Fr. P., Vesoul; b. 1824. — (p. xxxviii). Ghirlandajo or Grillandajo, Dom. del, Flor. P. ; 1449-94. — , Ben., Flor. P., brother and pupil of the last; 1468-97. — , Pddolfo, Flor. P., son of Dom. G. ; 1483-1561. Gigoux, Jean-Frang., Fr. P., Besan- con; b. 1809- Giordano, Luca. sum. Fapresto. Nea- pol. P.; c. 1632-1705. Giorgione, Giorgio, Barbarella, Ven. P.; 1477 (?)-1511. Girardon. Frang., Fr. S., Troyes ; 1628-1715. Giraud, Sib.-Ch., Fr. P., Paris; b. 1819. — , Pierre-Frang.-Eug., Fr. P., Paris, pupil of Hersent & Richomme ; b. 1806. — , Victor. Fr. P., Paris, pup. of Pi- cot & Eug. G. (his father) ; 1835 ?-71. Girodel-Trioson (Anne-Louis Gir. de Roucy-Trioson), Fr. P., Montargis, pup."of David; 1764-1824. — (p. xxxii). Glaize , Aug.-Barth., Fr. P.. Mont- pellier, pup. of Deveria ; b. 1812. Gleyre, Charles- Gabriel, Fr. P., Che- villy (Switzerland), pup. of Her- sent; 1807-1874. — (p. xxxvii). Gossaert, see Mabuse. Goujon . Jean , F. S. & A. , Paris ; 1520 ?-72? — (p. 106). Goyen., Jan van, Dutch P., Leyden ; 1596-1656. Gozzoli, Benozzo, Flor. P.; 1420-97. Greuze. J.-B., Fr. P. ; Tournus ; 1725- 1805. — (p. xxxii). Gros, Ant.-Jean, Baron, Fr. P., Paris, pup. of David; 1771-1865. — (p. xxxii). Gudin, TMod., Fr. P., Paris, pupil of Girodet ; 1802-80. Guercino, II ( Giov.-Franc. Barhieri), Bol. P.; 1590-1666. Guirin, Pierre-Narc, Baron, Fr. P., Paris, pupil of J.-B. Regnault; 1774-1833. — (p. xxxii). Guido Reni, Ital. P.; 1575-1642. Guillain, Simon, Fr. S. & engraver, Paris ; 1581 or 92-1679. — (p. 108). LIST OF ARTISTS. 363 Guillaume, Claude- J. -B.-Eug.^ Fr. S., Montbard, pupil of Pradier; b. 1822. — (p. xl). Gumery . C'h.-Alph., Fr. S., Paris; 1827-71. Halli , Claude-Guy. Fr. P., Paris; 1561-1736. Hals, Frans ^ Dutch P., Haarlem; 1584-1666. Jlamon^ Jean-Louis^ Fr. P., St. Loup (Brittany) , pup. of Delarocbe & Gleyre; 1821-74. — (p. xxxvlii). Ilibert, Ern.-Ant.-Aug., Fr. P., Gre- noble, pupil of Delarocbe; b. 1817. — (p. xxxvii). Ileem , Jan Davidz de. P., Utrecht : 1600(?)-1683S4. Heim^ Fi'ang.-Jos., Fr. P., Belfort, pup. of Hersent; 1787-1865. Ilelsl , Bavth. van der, Dutch P., Haarlem; 1613(V)-70. Ilenner, J.-J., Fr. P.. Alsace, pup. of Drolling & Picot ; b. 1829. Herrera, Franc, the Elder. Span. P.; 1576-1656. Hersent^ Louis, Fr. P., Paris, pup. of J.-B. Regnault; 1777-1860. Hesse, Nic.-Aug., Fr. P., Paris, pup. of Gros ; 1795-1869. — , Alex.-J.-B., Fr. P., Paris, pupil of Gros ; 1806-79. Heyden (Heijde), J. van der, Dutch P., Gorcum; 1637-1712. Hiolle, Ern.-Eug., Fr. S., Valen- ciennes, pup. of Jouffroy; b. 1834. Hittorf, Jac.-Ign.^ A., Cologne, pup. of Fr.-.Tos. Bellanger in Paris; 1793-1867. Hobbema, Melndert, 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- 1666. Hooch or Hoogh, Pieter de, Dutch P. ; 1632-81. Houdon. Jean-Ant., Fr. S., Versailles ; 1741-1828. - (p. 110). Ingres, J.-A.-Dom., Fr. P., Montau- ban, pup. of David; 1780-1867. — (p. XXXV). Isabey, Louis-Gab.-Eug., Fr. P., Paris, pup. of his father, J.-B. Isabey, the designer ; b. 1804. Sacquemart, Aflle.Nelie, Fr. P., Paris, pup. of L. Cogniet; b. 1845. — (p. xxxvii). Jeanron, Philippe-Auguste , Fr. P., Boulogne-sur-Mer, pup. of Sigalon . Rosnv 3.37. Rossi'llon 368. Rouen 331. Rouilly 351. Rovaumont 3'J5. Rue 321. Rueil 293. Saar, the 34^. Saarburg 348. Salins 356. Sambre, the 342. Samson 342. Sannois 307. Saune, the 352. Sarcelles 305. Sartrouville 296. Saveme 349. Savigny-sur-Orge 310. Savoureuse, the 352. Sceaux 308. Scie, the 331. Seine, the 23. 45. 299. 332. etc. Selle, the 326. 341. Senlis 318. Senne, the 344. Sens 354. Seraing 342. Serrieres 356. Sevres 291. Seyssel 358. Soignies 344. Soisv 305. Solle, la 317. Somme. the 326. 341. Sotteville 336. Southampton 338. Souzon. the 354. Spa 342. Stains 317. Strassburg 349. Suize, the 352. Suresnes 157. 266. Survilliers 317. Tanlay 354. Taverny 307. Tenay 358. Tergnier 341. Thalie, the 357. The'rain. the 319. Theve, the 317. Thomery 353. ThorisnV 344. Thuin 342. Tonnerre 354. Toui 346. Touque^, the 340. 376 INDEX, Tournus 357. Travers 356. — , Val de 356. Trianon, Grand and Pe- tit 2SS. Trooz, Le 342. Trouville-sur-3Ier 340. Troves 351. St. Vaast 331. Val, Abbaye du 307. Valerien. Mont 266. 156 St. Valery-en-Caux 340. St. Valerv-sur-Somme 326. Valmondois 306. Valserine, the 358. Vanves 267. Varangeville 348. Varennes 345. Vanboven 310. Vaucresson 290. Vaugirard, see Appx., p. 23. Velars 354. Verdun 349. Vernon 337. Verrieres, Les 356. Versailles 268. Verton 326. Verviers 343. Vesdre, the 343. Vesinet. Le 293. Vesoul '352. Veuve, La 349. Veyle, the 357. Vezouze. the 348. Viarmes 305. Vieille Montague 342. Vieux Moulin 321. Ville d'Avray 266. 291. Villejuif 309. Villemouble 344. Villeneuve St. Georges 311. — TEtang 290. sur-Yonne 354. Villiers-le-Bel 317. Villiers-le-Sec 352. Vincennes 200. Viroflay 267. Vitry-le-Francais 345. Volnav 357. Vosges, the 349. 353. Yeres. the 311. Yonne, the 353. Yvetot 340. Yvette, the 310. Zabern 349. Zorn, the 349. ' 377 Alphabetical List of the Hotels, Restaurants, and Cafes of Paris mentioned in the Handbook. The words Hotels Restaurant, etc.. are omitted for the sake of brevity. Hotels and Maisons Meublees. Alexandrie (d'J, 6. Alma (de Ij, 5. Ambassadeurs (de.s), 8. Americains (des), 8. American Home, 6. Amiral (de Tj, 6. Amiraute (de Tj, R. Daiinou, 5. Amiraute (de 1'), R. Du- phot, 6. Angleterre(d'),R.Jacob,8. Angleterre (d"), R. Mont- martre, 7. Angleterre & des Antilles (d'). 6. Anglo-Americain. 2. Anglo-Francais, 5. Antin (d\). 5. Arcade (de FJ, 5. Arts (des). 7. Athenee (de T), 6. Bade (de), 6. Bade & Florence (de), 6. Balcons (des), 9. Bale, 2. Balmoral. 5. Baviere (de), 8. Beam (de), 8. Beaujolais, 7. Beau-Sejour, 7. Bedford, 5. Beige, 2. Beiges (des), 8. Belgique & Hollande, 8. Bellevue, 5. Bergere, 7. Bernaud, 7. Binda, 5. Bon Lafontaine (du), 8. Bordeaux (de), 7. Boston (de), 5. Bourse Iaison meubl.),5 Place du Chateau d'Eau (de la), 8 Place du Palais-Royal (de la), 4. Port-Mahon (de), 5. Prince des Galles (du), 5 Princes (des), 6. Rastadt (de), 5. Rhin (du). Cite Bergere 7. Rhin (du). Place Ven- dome, 5. Rhone (du), 7. Richelieu, 6. Richepanse, 6. Richer, 7. Richmond. 6. Rivoli, 4. Rossini, 6. Rouen (de), R. Notre Dame-des-Vict., 7. Rouen (de), R. St. Denis, 8. Rougemont, 7. Russie (de), 6. St. James, 4. St. Laurent, 2. St. Louis, 9. St. Michel, 9. St. Petersbourg (de), 6. St. Phar, 7. St. Pierre, 9. St. Romain, 4. St. Sulpice, 9. Ste. Marie. 4. Saints-Peres (des), 8. Sebastopol (de). 8. Senat (du), 8. Splendide. 5. Strasbourg (de), Boulev. de Strasbourg. 2. Strasbourg (de), R. de Ri- chelieu, 7. Suez (de), 9. Suisse, R. Lafayette, 6. Suisse. R. Notre-Dame- des-Vict., 7. Taitbout, 6. Tamise (de la), 4. Terrasse-Jouflfroy (dela), 7. The'rese, 5. Tibre (du), 6. Trevise (de), 8. Trois-Princes (des), 5. Turgot, 8. TJnivers (de T), 2. Univers & de Portugal (de F), 7. Universite (de T), 8. Valois (de), 7. Vauban, 8, Vendome, 5. Victoria. 6. Victoria & de Famille, 6. Ville de Londres, 7. Violet, 8. Vivienne, 7. Voltaire, 8. Vouillemont, 4. Wagram, 4. Westminster, 5. Wienrich's Maison Meuble'e, 8. Windsor, 4. Restaurants and Cafes. Alcazar d'Ete' (Cafe Chant.), 33. Alcazar d'Hiver (Cafe Chant.), 33. Ambassadeurs(des)(Caf^JBaucour jeune, 15 Chant.), 13, 33. Beretta, 14. Americain, 13, 18. [Berthier, 16. Anglais, 13, 18. IBesson, 14. Armenonville (Pavilion d'), 13. Bataclan, 34. Bignon, 13, 18. Blond (Table d'hote), 16. Blot, 14. Boeuf a la Mode (au), 12. Bonvalet 13. Bouillod (Table d'hote), 15. Bouvier, 14. RESTAURANTS AND CAFlfiS. 379 Brebant, 13. Bruneanx, 15. Cadran Bleu, 16. Cardinal, 18. Caron, 14. Cascade (de la), 14. Catelain aine, 14. Central, 18. Cercle (du), 15, 18. Champeaux, 13. Chauveau, 15. Cinq Arcades (aux), 14. Congres (du), 18. Constant, 14. Corazza, 12. Corinthe (Ville de), 14. Darras, 15. Debes, 17. Desire Beaurain, 13. Dorillat, 13. Dreher (Brass.), 17. Durand, 13, 18. Duval (Etablissements). 16. Eden, 17. Eldorado (Cafe Chant.), 33. Etablissements de Bouil- lon, 16. Europeen (Diner), 15. Excoffier, 16. Finance (Brass, de), 15. Foyot-Lesserteur, 14. Francais, 18. Francais (Diner), 15. France (de)(Guillaut). 13. Frontin, 18. Gaillon, 13. Galeries (des). 15. Garen, 18. Gamy, 15. Gillet, 13. Giroux 13. Grand Cafe, 18. Grand Cafe-Restaurant, 15, 18. Grand Concert Parisien, 34. Gruber, 17. Gymnase (Tav. du), 17. Harcourt (d"), 19. Helder (du), 13, 18. Henri IV, 14. Hill, 13, 14. Horloge (de 1') (Caf^ Chant.), 33. Hupet, 15. . Imoda, 19. Janodet, 12. Jardin Turc, 13, 19. Jewish Restaurants, 14. Laperouse, 14. Laveur(Table d'hote), 16. Lecoeur, 16. Lecomte, 13. Ledoyen, 13. Lemardelay, 13. Lion d'Or, 13. Lion Rouge (Cabaret du), 17. Lipp. 17. Logette, 15. Londres (Cafe de), 18. Londres (Taverne de). Place Boieldieu, 14. Londres (Taverne de), Rue Gre'try, 13. Madrid (Cafe de), 18. Madrid (Rest, de), 14. Magny, 14. Maire, 13. Maison Dorec, 13. Malte (de), 18. Marguery, 13. Mazarin, 18. Montmartre (Tav.), 17. Morel, 13. Muller, 17. Munich (Brasserie de), 17. Musee de Cluny, 19. Napolitain, 18, 19. Noel-Peters, 13. Notta, 13. Nouveau Cafe, 18. Nouvel-Ope'ra (du), 13. Opera-Comique (de T) (Benard), 13. Orleans (d'). 12, 18. Orsay (d'), 18. Ory, 13. Paix (de la), 13, 18. Paris (Cafe de), 13. 18. Paris (Diner de), 15. Paris (Rest, de), 14. Pavilion d'Armenonville 13. Pavilions Chinois, 13, 155. Poissonniere (Notta), 13. Porte Jaune (de la), 14. Porte Montmartre (dela), 18. Porte St. Martin (de la), 15. Princes (des), 18. Procope, 18. Progres (du), 15. Quatre Sergents (aux), 13. Regence (de la), 18. Renaissance (de la), 18. Rhe'nane (Brass.), 17. Richard, 14. Richard-Lucas, 14. Richardot, 16. Riche, 13, 18. Richefeu, 14. Richelieu, 15. Richelieu (Dejeuner de), 18. St. Roch, 18. Rocher (Diner du), 15. Rochers (des), 15. Rosbif (au), 15. Rotonde (de la), 14, IS. Rougemont, 13. Rouze, 19. Scala (Cafe Chant.), 33. Schvparz (Brass.), 17. Soufflet, 19. Suede (de), 18. Suflfren, 15. Sylvain, 13. Taverne Alsacienne , 15. Taverne Flamande, 17. Tavernier Aine, 14. Terrasse (de la), IS. Terrasse Jouffroy (de la) 15. Tissot, 14. Tortoni, 19. Tour d' Argent. 14. Tournier (Brass.), 17. Univers (de T), 15. Vachette, 19. Varietes, 18. Vefour (Grand), 12. Vefour (Petit), 12. Veron, 18. Vian, 13. Ville de Corinthe, 14. Vivienne (Table d'hote), 16. Voisin, 13. Voltaire, 18. Weber, 14. Ziesel, 17. Leipsic. Printed by Breitkopf & Hartel. 3J L^ 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 railways, tramway lines, and limits of the special plans. 3. Large Plan of Paris, in three sections. 4. Five Special Plans of the most important quarters of the city. 5. Plan and List of the omnibus and tramway lines. This cover may be detached from the rest of the book by severing the yellow thread which will be found between ^os. I. and II. of the special plans. 3x 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, B, G, following the name of a street or building , refer to the different sections, while the numbers correspond with those on the squares in each section. AVhen the name required is also found on one of the special plans, this is indicated by an italicised Roman numeral. Thus, Ruedel'Abbaye will be found on the red section, square 19; and also on the fourth special map. Names, to which Ancienne, Petite, 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. 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. Tbe 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-/^ 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 31 13 23 Albouy Ill 27 Abbaye (de T) t . . . .IV 19 Alembert (d') 17 Abb^-de-rEp^e (de 1') IV, V 19 Al(5sia (d') 14 Abb^-Gr^goire IV 16 Alexandre-Dumas 31 Abbd-Groult (de 1") . . . . 10 Alger (d') // 18 Abbesses (des) '20 Alibert /// 27 Abbeville (d) 24 Alienes (asile clinique d') . 20 Abel-Leblanc (passage) . . 28 Aligre (cour d') . . . . /// 'io Aboukir (d^) /// 24 Aligre (rue et place d') . . 28 Acacias (des) 9 Allemagne (d) 29 Acclimatation (jardin d') . 3 AUerav (rue et place d') . • . 10 Adolphe-Adam V 23 Alma (avenue, place et pont Affaires Etrang. (ruin. des) // 14 de D / 12 Affre 23 Alouettes (des) 30 Aguesseau (d') .... // l^i 10 Alpes (place des) 03 Alain-Chartier . Alphand (passage) •23 Baedekek. Paris. 8th Edit. LIST OF THE PRINCIPAL STREETS, B. R. G. B.R.G. Alphonse Alsace (d') Ambassade d'Allemagne // — d'Angleterre .... // — d'Antriche // — de Russie II Ambigu (rue et tb. de F) /// Amboise (d^) /// Ambroise-Pare Amelie (rue et passage) IT Amelot Ill, V Ampere Amsterdam (d") Amyot V Anatomie (amphitheatre d") Ancienne-Comedie (de F) /F, F Ancre (passage de T) . /// Anglais (passage des) . . . Anglais (des) F Angouleme (d') .... /// Anjou (quai d') V Anjou (d") // Annam (d') Annelets (des) Annonciation (de F) . . . Annonciation (egl. de F) . Antin (d ) // Antin (avenue d") . . . II Antin (cite d') // Antoine-Duboia . . IV, V Antoinette Anvers (place d') Apennins (des) Appert Aqueduc (de F) Arago (iDOulevard) Arbalete (de F) Arbre-Sec (de Fj . . . /// Arc de triompbe du Car- Arousel // Arc de tr. de FEtoile . . / Arc-de-Triomphe (de F) . . Arcade (de F) // Arcet (d') Archeveebe (quai et pont de F) F Archives (des) Ill Archives Nationskles . . Ill Arcole (pont et rue d') . V Arcueil (d') Arcueil (porte d') Ardennes (des) Argenson (d\) II Argenteuil (d') .... II Argonne (rue et place de F) Argout (d^) /// Armaille (d') Armorique (de F) Arquebusiers (des) . . /// Arras (d^) F 26 13 Arrivee (de F) Arsenal (gare de F) . . . . Arsenal (biblioth. de F) F Arsenal (rue et place de F) F Artistes (des) Arts (pont des) . ... IV Arts-et-Metiers (sq. des) /// Asile-Popincourt (rue et pas- sage de F) Asnieres (porte d') .... Asnieres (route d') .... Assas (rue d") IV Assomption (de F) Assomption (^glise de F) // Astorg (d^) // Athenes (d") Atlas (de F) Auber // Aubervilliers (d') Aubervilliers (porte d') . . Aubigne (d') F Aubriot /// Aubry-le-Boucher . . . /// Aude (de F) Aumaire Ill Aumale (d') Austerlitz (quai et pont d') F Auteuil (gare d') Auteuil (place d") Auteuil (porte d') Avron (d') Babile Ill Babylone (de) IV Bac (du) II, J V Bagneux (de) IV Bagnolet (porte et route de) Bagnolet (de) Baillet /// Bailleul /// Baillif //,/// Bailly /// Balagny Balkans (des) Baltard /// Balzac / Banque (de la) .... /// Banque de France //, /// Banquier (du) Bara Barbanegre Barbes Barbet-de-Jouy . ... IV Barbette /// Bargue (rue et passage) . . Baron BarouUlere (de la) . . IV Barrault (pas.) Barrault Barres (des) F Barthelemy IV SQUARES, PUBLIC BUILDINGS, etc. B. R. G. B.R.G. /// Basfour (passage) Basfroi Bas-Meudon (porte du) . . Bassano / Basse-du-Rempart . . . II Bassins fdes) / Bassompierre F Bastille (place et me de la) V Batignolles Oioul. et r. des) Batignolleg (place des) . . Battoir (du) V Bauches (des) Bandelique Baudin Baudoyer (place) . . . . F Baudricourt Baume (de la) // Bausset Bayard // Bayen Beam (rue et impasse de) F Beaubourg /// Beauce (de) /// Beau-Grenelle (place) . . . Beauharnais (cite) Beaujolais (de) . . //, /// Beaujon (rue et hopital) . Beanlieu (ruelle) Beaumarchais(bovilev.)///i F Beaume (de) IV Beaunier Beauregard /// Beaurepaire /// Beausejour (boulevard) . . Beautreillis F Beauveau (place) . . . II Beaux-Arts (des) . . . IV Beaux-Arts (ecole des) IV Becquerel Beethoven / Bel-Air (avenue du) .... Bel-Air (station du) .... Belfort (de) Belgrand Bellart IV Bellay (du) F Bellechasse (de) . . II, IV Bellecbasse (place de) . // Bellefond Belles-Feuilles (des) . . . I Belleville (de) Belleville (boulevard de) . Bellevue (de) Belliard Bellievre Bellini / Bellot Belloy (de) / Beloni Bel-Respiro (du) Belzunce 20 23 34 25 Benard Benouville Beranger /// Bercy (de) F Bercy (boulevard de) . . . Bercy (pent de) Bercy (entrepots, quai, port et porte de) Berger /// Bergere /// Bergfere (cite) /// Bergers (des) B^rite IV Berlin (de) Bemardins (des) . . . . F Bernard-Palissy . ... IV Berry (de) / Berryer . • Berthe Berthiev (boulevard) . . . Berthollet Bertin-Poiree /// Berton / Bertrand IV Bertrand (cite) Berzelius Bessieres (boulevard) . . . Bestiaux (march^ aux) . . Bethune (quai de) , . . F Beudant Beuret Bezout Bibliotbeque Mazarine IV Biblioth. Rationale //, /// Bicetre (porte de) Bichat /// Bidassoa (de la) Bienfaisance (de la) ... . Bievre (de) F Billancourt (rue et porte de) Billettes (rue et temple des) ///, F Billv (quai de) / Biot Birague (de) F Biacornet F Bisson Bitche (place de) . . . . / Bizet / Blainville F Blaise Blanche (cite) Blanche (rue et place) . . Blancs-Manteaux (des). . . Bleue Bleus (cour des) . . . /// Blomet IV Blondel /// Blottiere Bochart-de-Sarou Boeufs (ancien chemin des) I* 29 22 22 '20 LIST OF THE PRINCIPAL STREETS, B. R. G. B. R. G. // Boieldieu (place) Boilean Bois (du) Bois de Bonlogne (av. du) / Bois de Boulogne (passage dn) 7/7 Bois-le-Vent Boissiere 7 Boissonnade Boissy-d'Anglas .... 77 Boiton (passage) Bolivar Bonaparte IV Bonaparte (quartier). . 77 Bondy (de) 777 Bonne-Nouvelle (bonl.) 777 Bons-Enfants (des) . 77, 777 Borda 777 Borrego (du) Borrome'e Bosquet (avenue) .... 7 Bossuet Botzaris Bouchardon 777 Boucher 777 Boudon (avenue) Boudreau 77 BoufiFes-Paris.(tlie'atre des)77 Boufflers (avenue) .... Bougainville JV Boulainvilliers (de) .... Boulangers (des) . . . . V Boulard Boulay (rue et passage) . . Boule Boule-Rouge (de la) . . 777 Boulets (des) Boulogne (de) Bouloi (du) 777 Bouquet-de-Longchamp (du) 7 Bourbon (passage) Bourbon (quai) V Bourbon-le-Chateau . . JV Bourdon (boulevard) . . V Bourdonnais (des). . . 777 Bouret Bourg-rAbbe (r.et pass) . 777 Bourgogne (de) . . 77, IV Bourgon Bourtibourg (du) . . . . F Boursault Bourse (palais de la) . 777 Bourse (rue et pi. de la)77,777 Boutarel V Boutebrie V Bouvines (avenue et rue de) Boyer Brady (passage) .... 777 Brancion Brancion (porte) 30 26 21 24 24 Brantome 777 Braque (de) 777 Brea IV Breche-auxLoups (ruellede la) Breda (rue et place) . . . Breguet V Bremontier Bretagne (de) 777 Bretenil (av. et place de)7F Bretonvilliers 777 Brey Brezin Bridaine Brignolle (de) 7 Brisemiche 777 Brissac V Brocbant Broussais Bruant Brune (boulevard) Brunei Bruxelles (de) Bucherie (de la) . . . . V Buci (de) 7F Bude F Buffon F Bugeaud (avenue) .... 7 Buisson-Saint-Louis (du) . Buot Burq Butte-Cbaumont (de la) . . Buttes (des) Buttes-aux-Cailles .... Buttes-Chaumont (pare des) Buzanval (de) Cabanis Cadet 777 Cafarelli 777 Gail Caillaux (impasse) Caillie Cailloux (des) Caire (pi. et rue du) . 777 Caisse des Depots ... 77 Calais (de) Cambaceres 77 Cambon 77 Cambrai (de) Cambronne (rue et place) . Camou 7 Campagne-Premiere .... Campo-Formio (de) .... Canal St-Denis Canal St-Martin Canal-St-Martin (du) . • . Canal de TOurcq Canettes (des) 7F Canivet (du) 7F Capiat 23 SQUARES, PUBLIC BUILDINGS, etc. B R G. B.R G. Capron 17 Chapelle (boulevard de la) 23 Capucines(boul. etr. des) // lb Chapelle (cite de la) . . . 2;^ Cardinale' IV 19 Chapelle (place de la) . . . 22 Cardinal-Lemoine . . . . V 22 Chapelle (rue et stat. de la) 22 Cardinet \'\ Chapelle Expiatoire . // Chapon /// IS Carmes (des) V 22 24 Carnavale t (hotel etmusee) V 2tJ Chappe 20 Carnot (avenue) 12 Chaptal 18 Caroline . 17 Chaptal (college) Charbonniere (de la) . . . \^ Caron V 26 23 Carpentier IV 16 Chardin / 8 Carrieres (des) 32 Charente (quai de la) . . . 28 36 II. IV 20 Charenton (de) V 28 •X-\ Charenton (porte de) . . , Charite (hopital de la) IV 32 Casimir-Delavigne . . IV 19 17 Casimir-Perier . ... IV 14 Charlemagne (lycee) . . V 22 Cassette IV 16 Charlemagne (rue et pass.) V 22 Castellans // 18 Charles V F 25 Castex V 25 18 Charles-Dallery 28 Castiglione (de) . . . // Charles-Nodier 20 Catalogne 8 Chariot /// 26 Catinat Ill 21 Charolais (du) 98 20 18 18 32 31 Caumartin // Charonne (boul. de) ... Cave 23 Charras II IS Celestins (qnai des) . . . V 22 Charretiere V 19 ceis . . ; 16 Chartres (de) Chasseloup-Laubat .... Chateau (du) . . 03 Cendriers (des) 30 '>() 22 17 Cerisaie (de la) V 25 Chateau-des-Rentiers (du) . 9fi Cevennes (des) 7 Chateaubriand / 1? Chabanais // 21 Chateau-d'Eau (du) . . /// 24 24 Chabrand (cite) . ... II 18 Chateau- d'Eau (th. du) III 27 Chabrol (de) 24 Chateaudun (de) 21 Chaillot (de) / 12 Chateau-Landon (de) . . . 26 Chaise (de la) IV 27 16 Chatelain i\ Chalet (du) Chatelet (pi. etthe'atre du) V 20 Chalgrin 9 Chatillon (avenue de) . . . . IS Chalignv •->,s Chatillon (porte de) . . . . Chauchat //. Ill 15 Chalons (de) 98 91 Chambertin 28 Chaudron . '>6 Chamberv (de) 11 Chaufourniers (des) .... 27 Chambre des deputes . // 14 Chaume (du) /// 23 Champagnv IV 14 Chaussee-d\\ntin (de la) // 18 21 Champ-de-rAlouette (du) . 20 Chausson (passase) . . /// 24 Champ-dWsile (du) .... a Chauveau-Lagarde . . . II 18 Chamo-de-Mars / 11 11 Chauvelot 11 Champ-de-Mars (du) . . / Chazelles 12 Champ-de-3Iars (stat. du) / 8 Chemin-Vert (du) . . . F 29 Champerret (porte de) . . 8 Chemiu-Vicinal (du) . . . 31 Championnet 19 Chenier 94 Champollion V 19 Cherche-Midi (du). . . IV 16 13 Champs-Elysees(avenue des) Cherrov 14 /, // lb Cherubini // 21 Champs-Maillard (des) . . 27 Cheval-Blanc (passage du) F 25 Chanaleilles (de) . . . IV IH Chevaleret (r. et chemin du) 29 Chanez 1 20 Chevert IV Chevreuse (de) 14 Change (pent au) . . . . V Chanoinesse V 22 22 Chine (de la) 33 21 Chantiers (des) V Choiseul (rue et passage) II LIST OF TUE PRINCIPAL STREETS, B. R. G. B. R. G. Clioisy (avenue et porte de) 27 Comete (de la) . . . . 7F 14 Chomel JV IB Commandant Paviere (du) . 15 Choron 21 Commandeur (avenue du) . 17 Christiani 28 Commerce (tribunal de). V 20 Christine IV, V 20 Commines 777 26 Christophe-Colomb . . . I 12 Compans (rue et impasse) . 33 Cimarosa / 9 Comptoir d'escompte . 777 21 Cimetiere du Mont-Parnasse 16 Conciergerie F 20 Oimetiere du Pere-Lachaise 32 Concorde (place et pont de (Jimetiere Montmartre . . 17 la) ........ . 77 18 Cimetiere-Montmartre (ave- Condamine (de la) .... 17 nue du) 17 Conde (de) .... 7F. F . 19 Cinq-Diamants (des) . . . 23 Condorcet 21 Cirque (du) // 15 Conference (quai de la) 7, 77 15 Cirque d'Ete // Cirque d'Hiver .... /// lb 27 Conflans . . 36 Conseil d'Etat 77 20 Cirque Fernando i) Conseil de Guerre, . . 7F 16 Ciseaux (des) IV 19 Conservatoire des Arts et Cite (lie de la) V 20 Metiers 777 24 Cite (rue et quai de la) V 23 Conservatoire de Mus. 777 •k Citeaux (de) . ... '>S Conservatoire (du) 777 91 Civry (de) 1 Constantinople (de) .... 15 Clairault 17 Conti (quai) . . . . 7 F, F 20 Clapeyron 17 Contrescarpe (boulevard) F 25 1M Contrescarpe (place). . . F Copernic 7 'y) 31 q 1 13 Claude-Pouillet 14 Coq (du) F 23 Claude-Vellefaux . . . Ill 27 Coquilliere 777 21 Clausel 21 Corbeau 777 27 Clavel 30 Corbes (passage) .... 777 32 Clef (de la) V 22 Corbineau 2« Clement IV 19 Cordelieres (des) 23 Cler / 11 Cordiers (des) F 19 Clery (de) /// 24 Corneille 7 F, F 19 Cllchy Glichy (avenue, rue et pi. de) 1H Cornes (des) '>'> 17 Cortot 20 Clichv (boulevard de) . . 20 13 Corvisart '>() Clichy (porte de) Cossonnerie (de la) . . 777 23 Clignancourt (de) Clignancourt (porte de) . . Clisson '^3 Cotentin (du) 13 19 Cotte ''S 26 Cottin (passage) 20 Cloche-Perce V 23 Coucous (des) 34 Cloitre-Notre-Dame (du) V 22 '^3 17 Cloitre-Saint-Merry (du) /// Clopin V Courat . . . 35 22 Courbevoie 1 3fS Courcelles (de) .... 77 11 Glotilde V 19 Courcelles (boulevard de) . 15 Clovis V 22 Courcelles (porte de) . . . 11 Cloys (des) 19 Cour-des-Noues (de la) . . 32 Cluny (de) V 19 Couronnes (rue et imp. des) 30 Cluny (musee de) . . . F 19 Cours-la-Reine ... 7. 77 15 CocMn V 22 Courty (de) 77 17 Coetlogon IV 16 Coutellerie (de la) . . . F 23 Colbert (rue et pass.) 77, 777 21 Contures-St-Gervais(des)777 26 Coligny (de) V 25 Crebillon 7F. F 19 Colisee (du) 77 15 Credit Funcier .... 77 18 College de France . . . V 19 Crillon F 25 Colombe (de la) . . . . F 23 Crimee (de) 29 Colonnes (des) . . 77. 777 Combes 7 •>l Croisades (des) l''i . 11 Croissant (du) 777 21 .SQUARES, PUBLIC BUILDINGS, etc. B. R. G. B.R. G. Croix - des - Petits - Champs //, /// Croix-Nivert Croix-Rouge (carrefour de la) JV Crouin (passage) Croulebarbe Grozatier Orussol (rue et cite dej . Jll Cugnot Cujas F Curial Custine Cuvier V Cygne (du) /// Cygnes (allee des) . . . . I Daguerre Dalayrac // Dames (des) Damesme Damiette (de) /// Damoy (passage) . . . . F Damremont Dancourt (place et rue) . . Dangeau Dante (du) F Dantzig (de) Danube (place du) .... Darboy Darcy Dareau Darn Daubenton Daumesnil (avenue et place) Daumesnil (lac) Daunou // Dauphine(pl.,r.,pass.) /F, F Dauphine (porte) Daval F David David-d'Angers Davoust (boulevard) . . . Davy Debarcadere (du) Debelleyme /// De Brosse V Debrousse / Decamps Dechargeurs (des) . . . Ill Decres Deguerry Dcjazet (theatre) . . . Ill Delambre De Lanneau F Delessert / Delorme (passage) . . . II Delonvain Delta (du) Demours Denain (boulevard de) . . 32 Denfert-Rocherau . . . IV Denfert-Rochereau (place) . Denoyez Deparcieux Depart (du) Departement (du) Depotoir (du) Deputes (chambre des) II Desaix / Desbordes-Valmore .... Descartes F Descombes Desgenettes II Desir (passage du) . . /// Desnouettes Desprez Desrenaudes Deux-Ecus (des) .... /// Deux-Gares (des) Deux-Ponts (des) . . . . F Deux-Portes (des) . . ///, F Diderot (boulevard) . . F Didot Dier (passage) Dieu /// Dijon (de) Domat F Dombasle Dome (du) / Domremv (de) Dore (cite) Dosne Douai (de) Douane (de la) ... . /// Douane (hotel de la) . /// Doubles (pont avix) . . . F Doudeauville (rue et pass.) Douze-Maisons (pass, des) / Dragon (rue et cour du) / F Drevet Droit (ecole de) . . . . F Drouot //,/// Dubail (passage) .... Ill Duban Dubois (passage) Ducange Duee (de la) Dufrenoy Dugommier Duguay-Trouin . ... IV Duguescliu I Duhesme Dulac (passage) Dulaure Dulong Dumas (passage) Dume'ril Dumont-d'Urville . . . . I Dunkerque (de) Dunois Duperre LIST OF THE PRINCIPAL STREETS, B. R. G. B. E.G. Dupetit-Thouars . ... Ill 27 Epinettes (chemin des) . . 16 Duphot // Dupin IV Dupleix fplaee et rue) . / 18 Erard '>S 1fi 1 1 10 Ermitage (rue et villa de F) 33 Dupont (cite) 29 Ernestine 'ii Dupuis /// 27 Esperance (de F) 24 Dupuytren IV, V, Dnquesne (avenue) . . IV 19 Esquirol ''3 13 Essling (av. d'), v. Carnot. Durance (de la) Duranti 31 Est (de F) 33 29 Est (gare de F) 24 Durantin . 20 Estrapade (rueetpl. de F) F 19 Duras (de) // 15 Estrees (d^ IV 13 Duret / Etat-Major (ecole d') . IV 14 38 13 Etats-rnis (place des) . / Etienne-Dolet 9 30 Duroc IV Dutot 13 Etienne-Marcel . ... Ill Etoile (de F) 12 21 Duvivier I, IV 14 Etoile (rond-point de F) / 12 Eaux (passage des) . . . I 8 Etuves /// . 23 Eble IV 13 Eugene-Delacroix . b Echaude (de T) . . . .IV 19 Euler / 12 Ecbelle (de T) .... // Echiquier (de F) . . . /// ''1 Eupatoria (d^) 30 24 Europe (place de F) ... 18 Eclnses-Saint-Martin (des) . 27 Evangile (de F) 2b Ecole Centrale (nouv.) /// 24 Excelmans (boulevard) . . 1 Ecole de Droit V 19 Exposition (de F ) . . . / 11 Ec. de Me'decine . . . . V 19 Eylan (avenue et place) / 6 Ec.-de-Medecine (rue et pi. de r) V 19 Fabert // 14 19 '>3 Ec. des Beaux-Arts . . IV 17 Faisanderie (de la) ... . 6 Ec. des Mines . ... IV 19 Fallempin (passage) .... 7 Ec. des Ponts-et-Cliauss. /F 17 Faubourg-du-Teniple(du) /// 2^ Ec. d'Etat-Major . . . IV 14 Faub.-3Iontmartre (du) /// 21 21 Ec. Militaire IV 10 Faub.-Poissonniere (du) /// 24 24 Ec.-Polyteclinique . . . F 22 Faub.-St-Antoine (du) . . F 28 Ec.-Polytechnique (de D F 22 Faub.-St-Denis (du) . . /// 24 24 Ecoles (des) F 22 Faub.-St-Honore (du) . // 15 lb Ecosse (d^) F 19 Faub.-St-.Tacques (du) . . . 19 Ecouffes (des) F 23 Faub.-St-Martin (du) . . . 2/ 24 Ecuries-d'Artois (des) . // 15 Fauconnier (du) . . . . F 22 Edgnr-Quinet 1H Favart //,/// 21 Edimbourg (d') 15 Favorites (des) 10 Eginbard F Eglise (de T) '>(; 3'-' 7 Federation (de la) . . . / 10 Elysee (pal. et rue de V) II 15 Felicite (de la) 14 Elysee (passage de F) . . . 20 Fenelon (cite) 24 Elzevir /// 2H Fer-a-Moulin (du) 22 Emeriau I 7 Ferdinand-Berthoud . . /// 24 Enfants Malades (hop. des) / F Enf.-Kouges (marche d.) /// IS 13 17 26 Fermiers (des) 14 Enfer (boulevard d') . .IV 16 Ferou IV 19 Enfer (passage d') .... 16 Ferronnerie (de la) . . /// 23 Enirhien (hospice d') . . . Enghien (d') /// 31 Ferrus '^1 24 24 Fessard (rue et impasse) . 30 Entrepot (de F) . . . . /// 27 Fetes (rue et place des) . . 33 Entrepreneurs (des) .... 7 7 Feuillade (de la) . //, /// . 21 Envierges (rue, cite et pas-* Feuillantines (des) . . . F 19 sage des) 3( Feuillants (des) .... // 18 Epee-de-P.ois (de F) . . . . 22 Feuillet (passage) 27 Eperon (de F) F 19 Feutrier 20 SQUARES, PUBLIC BUILDINGS, etc. B. R. G. B. R. G. Feydeaa HI 21 Froissart . /// 26 Fidelite fde la) ... . /// 24 22 26 19 Fignier (du) F Fromentel . . V Filles-da-Calvaire (boul. et Fromentin 20 rue des) /// Filles-Dieu fdes) . . . Ill • 26 24 Fulton 20 '>5 Fur3tenberg(rue et place)/ V Filles-St-Th(>mas(des)//,/// 21 Fillettes (des) Finances (min. des) . . // '>f> ■M 20 Gabriel (avenue) . . . II 15 Flandre (de) 26 Gabrielle 20 Flandre (pont et route de) . 28 Gaillard 18 Flandrin (boulevard) . . . 6 Gaillon 21 Fleurs (quai aux) . . . V . 22 Gaite (rue et impasse de la) 16 Fleurus (de) IV 16 Gaite (theatre de la) 24 Florence (de) 17 Galande 22 Foin (dn) V 26 Galilee . 12 Folie-Mericourt (de la) /// 27 G.dliera (r. et muse'e de) . 12 Folie-Regnault (de la) . . . 29 Galvani 8 Folies-Dramatiques (theatre Gambey 27 des) /// 27 Garanciere 19 Fontaine-du-But (de la) . . 19 Garde-Meuble .... 11 Fontaine-anx-Clercs (de la) . 24 Gardes (des) .... 23 Fontaine-Mulard (de la) . . 24 Gare de FEst .... 24 Fontaine-au-Roi .... HI 27 Gare de Lyon .... 28 Fontaine 20 Gare de Sceaux . . 20 Fontaines (des) . ... Ill 24 Gare de Vincennes . . 2b Fontanes (Ivce'e) . ... II 18 Gare d'Orleans . . . 25 ■V n 10 Gare Montparnasse (de rOuest. rive gaucLe) . . Fontenelle (de la) 20 16 Fontenov (place de) . . . . 10 Gare St-Lazare (de TOuest, Fontis (chemin des) .... 1 rive droite) .... . . . 18 Forest 17 Gare (boulevard de la) . . . 26 Forez (du) /// 28 Gare (porte de la) . 30 Forges (des) /// 24 Gare (quai de la) . . 29 Fortin (avenue) Fortin / '>'H Gare (de la) }\ '>5 12 Gares (des Deux-) . . '24 Fortuny 11 Gaston-de-St-Paul . . 12 Fosses-St-Bcrnard (des) . V 22 Gatbois (passage) . . 28 Foss^s-St-Jacques (des) . V Fouarre (du) V |M 11 Gatines (des) 33 22 Gaudon (ruelle) . . . 27 Fougeat (passage) 10 Gauthey 16 Four (du) 16 Gavarni . . / 8 Fourcy (de) V 23 Gay-Lussac . . V 19 19 Fourneaux (r. et ch. des) I V . 13 Gaz (rue et impasse du) . 26 Foyatier %) Gazan 21 Francids (the'atre) . . . II 21 General-Brunet (du) 32 Francaise /// 24 General-Foy (du) . . lb Francoeur 19 Geneve (de) 28 4 23 Gentilly 9A Francois-Miron V Gentilly (porte de) . 21 Francois ler (maison de) // 15 Gentilly (de) .... 23 Francois ler (r. et pi.) /, II 15 Gentillv (station de) 21 Francs-Bourgeois (des)///, V . 23 Geofi'roy-Didelot . . 14 Franklin / . 8 GeolTroy-Langevin . . /// 23 10 13 Geoffroy-Lasnier . . GeolVroy-Marie . . . ■ /// 21 23 Frere-Philippe (du) . . IV Fresnel / 12 Geoffroy-St-Hilaire . . . V 22 Frevcinet / 12 Georama (du) .... 17 Friedland (avenue de). . . 12 Gerando 'i» Frochot 20 Gerard 23 10 LIST OF THE PRINCIPAL STREETS, B.R.G. Gerbert 98 Guerre (min. de la) 77 , 7F 17 29 16 \h Guicbard ■ 11 5 29 Gerbillon JV Guilhem Gergovie (de) Guillaume-Tell Germain-Pilon 20 Guillemites (des) . . . 7/7 • 23 Gerson (place et rxiej . . V 19 Guisarde 7F 19 Gesvres (quai de) . . . . F 23 Guy-Labrosse . F 22 20 7 Guvot Guv-Patin 11 2.8 Girardon Gironde (quai de laj . . . 28 Gvmnase (theatre du) . /// 24 Git-le-CcEur V 19 Glaciers (de la) 90 Haies (des) .85 Glaisiere (de la) . 6 Hainaut (du) 32 Gluck // IS Halevy 77 18 Gobelins (avenue et rue des) • 28 23 Halle 17 Gobelins (manufacture des) Halle-au-Ble 777 20 Godot-de-3Iauroy . ... II iH 18 Halle-aux-Vins .... . F 22 Gomboust // 18 Halles-Centrales . . . 777 20 Gourgaud (avenue) .... 11 Halles (des) 777 20 Goutte-d'Or (de la) ... . 23 Hambourg (de) .... 18 Gouvion-St-Gyr ("boulevard) 8 Hameau (^du) 8 Gozlin (rue et place) . IV 19 Hamelin . / 9 Gracieuse V 22 Hanovre (de) // 21 Grammont (de) II . 21 Harlav-au-Palais (de) . . F . 20 Grand-Cerf (passage du) /// ■ 24 Harpe (de la) ... . . F 19 9 27 '-'6 Grande-Armee (avenue dela) Haudriettes (des) . . . 777 23 Grande-Chaumiere (de la) . . 16 Haussmann (boulevard) 77 18 Grande- Truanderie (dela) Hautefeuille . F 19 III 23 Hauteville (d') .... 777 24 24 Grandes-Carrieres (ch. des) 16 Haut-Pave (du) .... . F 22 Grands- Augustins (rue et quai Hautpoul (d ) 29 des) V 20 Havre (du) // 18 Grands-Cbamps (des) . . . 34 Haxo 36 36 Grands-Degres (des) . . . F 22 Hebert (place) 25 Grange-Bateliere (de la) /// 21 Helder (du) // 21 Grange-aux-Belles . . . /// 27 Helene 17 Gravelle (avenue de) . . . 86 Henri-Chevreau .... ^^^ Gravilliers (des) . ... Ill 24 Henri-Martin (avenue) . 7 9 8 Greflfuihe II 18 Henri IV (boul. et quai) F 25 Gre'goire-de-Tours . . . IV 1(1 Henri IV (Ivcee) . . . 22 Grenelle (de) . . . . 7, /F 14 Henri-Kegnault .... 18 Grenelle (boulevard de) . / 10 Hericart 7 Grenelle (gare de) 7 7 Herold 4 Grenelle (pont de) .... Grenelle (quai de) ... 7 1\ Herr 7 7 Herscbell . 7F . 19 Grenelle (station de) ... 4 Hevmes (avenue) . . . 4 Greneta 7/7 24 Hippodrome . / 12 Grenier-sur-lEau . . . . F '23 Hirondelle (de F) . . . . F . 19 Grenier-St-Lazare . . . Ill 23 Hocbe (avenue) .... 12 Gretry 77 21 Homme-Arme (de 1") . /*// 23 Greuze 7 9 Honore-Cbevalier . . . IV 16 Gribeauval 7F 17 Hopital (boul. et pi. de D F . 25 Gros 4 24 Hopital-Saint-Louis (d Horloge (quai de V) . e D . F 2/ 20 Grosse-Tete(imp. de la) 777 Grotte (de la) s Hospices (des). . . . 9/ Guadeloupe (de la) ... . 25 Hospitalieres-Saint-Gervais Gudin 1 (des) Hotel-Colbert (de V) . /// . F 23 22 Guenegaud 7F, F 20 Guenot (cite) 31 Hotel-Dieu . F 23 Guerin-Boisseau .... 777 24 Hotel de viUe . F . 23 .SyUAFiP:S, PUBLIC BUILDINGS, etc. 11 B. R G. B. R. G. H6tel-de-Ville (rue, quai et place de r) V Houdart (passage) 23 30 19 20 8 19 8 6 24 23 30 27 22 32 4 Jean-Robert Jean-Tison 777 Jeanne . . 23 20 14 Houdon Huchette (de la) . . . . F Humboldt 20 Jeanne-d'Arc (rue et place) Jemmapes (quai de) . . 777 Jenner 27 27 26 lena (avenue d"). . 12 12 8 Jessaint (rue et place). . . Jeu-de-Boule (pass, du) 777 Jen-de-Paume .... 77 JeunesAveugles (institution des) 7F Jeunes De'tenus (prison des) Jeuneurs (des) .... 777 Joinville (de) Joquelet 777 Joubert 77 Jouffroy Jouffroy (passage) . . . 777 Jour (du) 777 Jourdan (boulevard) . . . Jouvenet 23 29 18 11 21 27 18 13 29 21 21 21 lena (place d') / lena (pont d') / Immacule'e-Conception (col- lege de V) . . Immeubles Industriels (des) Imprimerie Rationale . JIJ Industrie (palais de F) JJ Ingres (avenue) . 31 23 15 5 20 20 20 17 15 13 14 14 Innocents (des) .... // Institut de France . . IV Institut (place de F). . JV Instruction Publique (minis- tere de F) JV Interieur (min. de F) . // Invalides (boulevard des) J V Invalides (hotel des) . IV Invalides (esplanade et pont des) II, IV Irlandais (des) F Islettes (des) Isly (de F) II Issy (porte d') 23 18 21 1 Jouy (de) F Juge 23 7 23 12 25 25 30 Juifs (des) F Juigne (de) 7 Juillet (colonne de) .... Jules-Cesar F Julien-Lacroix ... •V) Jussienne (de la) . . . 777 Jussieu (rue et place de) F Justice (palais de). . . . F Justice (min. de la) . . 77 Keller " 21 22 20 18 29 12 9 15 11 Issy Italic (avenue et porte d') Italie (boulevard et place d') Italiens (boul. des) //, /// Ivrv 21 Ivry (avenue et porte d') . Jabach (passage) . . . IJI Jacinthe F IT 23 22 20 25 19 22 26 4 7 16 26 19 5 15 21 20 14 Kellermann (boulevard) . . Kepler 7 Kleber (avenue) .... 7 Labat 23 9 15 25 18 21 24 Jacob IV Labie .... Jacquemont La Boetie . . Jacques-Coeur IV Jardin dWcclimatation . . Jardin des Plantes . . . F Jardinet (du) . . . . IV, V Jardiniers (des) Labois-Rouillon Laborde (de) 77 La Bourdtinnaye (av. de) 7 La Bruyere \\ Jardins-Saint-Paul (des) . F IS Jarente (de) F Javel (quai de) Lacdpede F 29 22 Javel (de) Lacordaire 7 .Tean-Bart IV Jean-Beausire (r. et imp.) F Jean-de-Beauvais . . . . F Jean-Boulogne Lacroix Lacu^e F La Fayette (de) .... 77 La Fayette (place de) . . . Laferriere (passage) .... La Feuillade (de) . . .77/ LatTitte //. /77 La Fontaine (de) Laghouat (de) Lagny (de) 16 21 24 21 21 23 25 21 21 4 341 Jean-Cottin Jean-Dijon Jean-Goujon .... 7, 7/ Jean-Jacques-Rousseau 77/ Jean-Lantier 77 Jean-Nicot 77 25 19 12 LIST OF THE PRINCIPAL STREETS, B. R. G. B.R. G. Lahire Lakanal Lalande Lamarck Lamartine Lamblardie La Michodiere (de) . . // La Motte -Piquet (avenue de) / Lancette (de la) Lancry (de) /// Landrieu (passage) . . . I Languedoc (de) Lannes (boulevard) .... Lantier La Perouse / Laplace V Lippe (de) La Quintinie Lard (au) /// La Reine (cours) . . /. // La Reynie (de) . ... Ill Lariboisiere (bopital) . . . LaRocbefoucauld (hospice) La Rocliefoucauld (de) . . Laromiguiere V Las Cases (de) .... IV Latour-Maubourg (boulev.) //, IV Latran (de) V Laugier Laumiere (avenue) .... Lauriston / Lauzun Laval . Lavandieres (des) . . . /// Lavoisier' // La VriUiere (de) . //. /// Leblanc Lebouis Lebouteux Lebrun Lecluse Lecourbe IV Ledru-Rollin (avenue) . V Lefevre (boulevard) .... Lefort Lefuel / Legendre Legion d'Honneur (palais de la) // Lemaignan Lemaire Lemarrois Lemercier Lemoine (passage) . . /// Lemotilt Le Notre / Ldon Leonard-de-Vinci . . . . I Lepage (cite) 26 24 31 Le Peletier . ... II, III Lepic Leregrattier F Leroux / Lesage Lesdiguieres V Lesueur Letellier Levallois-Perret Levert Levis (rue et place de) . . Lbomond V Liancourt Libert Lilas (des) Lille (de) II, IV Lincoln / Lingerie (de la) ... . // Linne' V Linois Lions (des) V Lisbonne (de) Lobau (place) V Lobineau IV Logelbach (de) Loire (quai de la) Lombards (des) .... /// Londres (de) Longchamp (de) / Longchamp (allee de) . . . Loos (de) Ill Lord-Byron / Lorraine (de) Louis-Blanc V Louis-le-Grand (lycee) . . V Louis-le-6rand . . . // Louis-Thuillier V Lourcine (de) Lourmel Louvois //, /// Louvre, (palais, quai et rue du) .' //. /// Lov^endal (avenue de) / V Lubeck (de) / Lully // Lune (de la) /// Lune'ville (de) Lutece V Luxembourg (du) Luxembourg (palais et jar- din du) IV Lyannes (des) ....... Lyon (de) Lyon (gare de) Mabille (jardin) .... // Mabillon IV ;5Iacdonald (boulevard) . . Madame IV Madeleine (boul. de la) // SQUARES, PUBLIC BUILDINGS, etc. 13 B. B. G. B.B.O. Madeleine feglise, marchd et place de la) . . . II Madelonnettes (prison des) Mademoiselle Madone (de la) Madrid (de) Madrid (porte de) .... 3Iagasins Generaux .... Magdebourg (de) Magellan / Magenta (boulevard de) /// Mail (du) /// Maillot (boulevard) .... Maillot (porte) Main-d'Or (cour de la) . . Maine (avenue du) . . IV Maine (place et rue du) Maison-Dieu (de la) ... . Maison pompeienne . . . I Maistre (de) Maitre-Albert F Malakoff (avenue de) . . / Malaquais (quai) . . . IV Malar / Malebranche V Malesberbes (boulevard) // Malher V Malmaisons (des) Malte (de) /// Malte-Brun Mandar /// Manin Mansart Manutention (de la). . . / Maraichers (des) Marais (rue et imp. des) /// Marbeau Marbeuf (avenue et rue) / Marcadet Marceau (avenue) .... 7 Marche-aux-Bestiaux . . . Marche-des-Blancs-Manteaux (place et rue du) . . /// March^-de-Montr. (pi. du) . Marche-Neuf (quai du) . . Marche-Saint-Hunore (du)// Mare (de la) Marengo (de) ...//. /// Marguettes (des) ..... Marie (pont) V Marie-et-Louise .... /// Marie-Stuart /// Marignan (de) / Marigny (avenue) . . . II Marine (min. de la) . . // Mariniers (sentier des) . . Marivaux // Maroc (rue et place du) . . Maronites (des) Marronniers (des) Marseille (de) /// 26 28 33 27 34 Marsollier // Martel /// Martignac (rue et cite') IV Martin Martyrs (des) Massena (boulevard). . . . Masseran IV JIassillon V Masson Maternite (hospice de la) . ilathis Mathurins (des) . ... II Matignon (rue et avenue) // Maubert (place) V Maubeuge (de) Maublanc Maubuee /// Mauconseil /// Manre (du) /// Maurice (passage) Mauvais-Garcons (des) . . V 3Iayet. . . .' IV Mayran Mazagran (rue et imp.) /// Mazarine IV Mazas (place) V Mazet V Meaux (de) Mechain Mcdeah (de) Medecine (ecole de) . . V Me'dicis (de) . . . . IV, V Megisserie(quaidela)///, V Mehul // Meinadier Menages (square desl . IV Menars //./// Menilmontant (boulev. de) Menilmontant (porte de). . Menilmontant (de) .... Mercier /// Mercoeur Merlin Meslay /// Jlesnil / Messageries (des) Messine (avenue de). . . . Metz (de) Meuniers (ruelle des) . . . Mexico (de) Meyerbeer // Mezieres (de) IV Michal Michel-Ange Michel-Bizot Michel-le-Comte . ... Ill Midi (hopital du) Miiinottes (des) Mignon V Milan (de) Militaire (e'cole) . . . .IV 14 LIST OF THE PRINCIPAL STREETS, B. E. G. B. R. G. Millaud (avenuej . . . . F Milton Mines (ecole de) .... IV Minimes (des) V Ministeredela Guerre //, IV Min. de la Justice . . // Min. de la Marine . . // Min. de riustruction Publi- que IV Min. de Tlnteriear . . // Min. des Affaires Etrang. // Mifl, des Finances . . // Min. des TravauxPubliques IV Miollis Mirabean Miracles fcour des) . . /// Mirbel (de) Miromenil (de) .... // Missions-Etrangeres . . IV Mogador // Moines (des) Moliere (fontaine et rue) // Molitor Moneeaux (rue et pare de) Moncey Moncey (place) ou Clichy . Mondetour /// Mondovi // Monge (ecole) Monge (rue, place etsq.) V Monjol Monnaie (de la) . . . . /// Monnaies (hotel des)/F, V Monsieur IV Monsieur-le-Prince . IV, V Montagne-Noire (de la) . . (place de la) .... Montagne-Sainte-Genevieve (de la) V Montaigne (avenue) . /, // Montaigne // Montalivet // Montbrun Montcalm Mont-Cenis (du) Montchanin Mont-Dore' (du) Mont-de-Piete /// Moatebello (quai de) . . V Montempoivre (rue et porte de) Montenotte (de) Montesquieu . . . //, /// Montessuy (de) / Montfaucon IV Montgallet Montgolfier /// Montbolon (rue et square) Montiboeufs (des) Montlouis 21 34 31 Montmartre (boulevard et rue) . /// Montmartre (cimetiere) . . Montmorency (avenue de) . Montmorency (boulevard) . Montmorency (de). . . /// Montorgueil' /// Mont-Parnasse (gare) . IV Mont-Parnasse (^boulevard, cimetiere et rue du) IV Montreuil (porte de) . Montreuil (rue de) . . Montrouge Montrouge (boulev. de) Montrouge (porte de) . Montsouris (avenue et pare) Mont-Thabor (du) . . . II Montyon (de) /// Morand Moreau V Moree (de) Moret Morgue (la) '. Morillons (des) Morland (boulevard) . . V Mornay V Mortier (boulevard) . . . . Moscou (de) Moselle (de la) Mosnier Mouffetard V Moulin-de-Beurre (du). . . Moulin-de-la-Pointe (du). . Moulin-des-Pre's (du) . . . Moulinet (du) Moulins (des) // Moalin-Vert (meet imp. du) Moussy (des) . . . ///, V Mouton-Duvernet Mouzaia (de) Mozart Muette (chateau de la) . . Muette (ehemin de la) . . Muette (porte de la) ... Mulhouse (de) .... /// MuUer Murat (boulevard) .... Murillo Murs-de-la-Roquette (des) , Musset (de) Myrrha Nansouty Nantes (de) Naples (de) Nation (de la) Nation (place de la) . , National (boulevard) . , National (pont) Nationale Nations (th. des) ou Hist. SQUARES, PUBLIC BUILDINGS, etc. 15 B. R. G. B.R. G. Nativite (rue, place et t'glise 20 11 de la) 29 21 Navarin (de) 21 Ope'ra (avenue de Y) . . II Navarre (de) V 22 Opera (passage de Y) . II 21 IS Opera (theatre et pi. de Y) II Opera-Comique(th,de 1') // Oran (d') Oratoire (rue et temple de Y) IK Necker V Nemours (de) 26 27 20 23 21 Nesle (de) IV, V Neuf (Pont) .... ///. V 20 II, III 2(J Nenilly 5 Ordener 19 Neailly (avenue de) .... 2 Orfevres (quai des) . . . F 20 Neuilly (porte de) .... Neuve-des-Boulets H Orfila SS 31 Orillon(rue et impasse de Y) . 30 Nevers (de) IV. V 20 Orleans (avenue d') . . . . . 17 Newton / 12 Orle'ans (gare) 25 Ney (boulevard) 22 Orleans (porte d') 18 Nice (de) HO 11 Orle'ans (quai d') . . . . F Orleans-St-Honore (d^) /// Orme (de T) ')') Nicolai 32 20 Nicolas-Flamel . ... Ill 93 14 Nicolet 00 SI Nicolo fi Ormesson (d") . F Ofi Niel 11 Ornano (boulevard) .... 22 Nil (du) /// 24 Orsay (quai d') . . . /. // 11 Nitot / 12 Orsel (d^) 20 Nollet 17 22 Orteaux (des) 35 13 Nonnains-d'Hyeres (des) . V Oudinot IV Normandie (de) .... /// 23 Ouest (rue et impasse de Y) 13 Nord (gare du) 24 Ourcq (de V) 28 Norvins 20 Ourcq (canal de T) . . . . 29 Notre-Dame (e'glise) . . . F 22 Ours (aux) (Etienne-Marcel) Notre-Dame (pont) . . . F '23 /// 24 Notre-Dame-de-Bonne -Nou- velle (eglise et rue) . /// 9A Paix (de la) IK N.-D.-de-Clignancourt (e'gl.) 19 Pajol 26 N.-D.-de-la-Croix (egl.) . . N.-D.-de-la-Gare (e'gl.) . . SO Paiou . . . ... f> 26 Palais (boulevard du) . . F 20 N.-D.-de-Lorette (rue et egl.) 21 Palais-Bourbon (place du) // 14 N.-D.-de-Nazareth ///. . . 24 Palais-Royal // 21 N.-D.-de-Recouvrance . /// 24 Palais-Royal (place du) // 20 N.-D.-des-Blancs-Manteaux Palatine IV 19 /// 23 Palestine (de) 33 N.-D.-des-Champs . . . IV 16 16 Palestro (de) /// 24 N.-D.-des-Champs (e'gl.) IV N.-D.-des-Victoires (rue et 16 Pali-kao (de) 30 Palmyre 20 Eglise) /// 21 Panorama (des Champs-Ely- Nouveaute's (th. des) . /// 21 sees) // lb Nouvelle-Californie .... 12 Panorama National . . /// '27 Nys . . . HO Panoramas (rue et passage des) ... \ ... ^ /I/ 21 Oberkampf /// Oblin /// SO 'SO 20 Pantheon F 19 Observatoire 19 Pantheon (place du). . . F Pantin 31 19 Observatoire (avenue et car- refour de T) 19 Pantin (porte de) 32 Odeon (place, rue, carref., Paon-Blanc (du) F '23 et theatre de T) . IV,V 19 Papillon 21 Odessa (d^) IV 16 Paradis (de) /// 24 Odiot (cit^) / 12 Parcheminerie (de la) . . F 19 Ofif^mont (d^) 14 Parc-Royal (du) . ... Ill '26 Olier 8 Paris (de) Parme (de) 34 18 Olive ai 25 16 LIST or THE PRINCIPAL STREETS, B. R. G. B. R. G. Parmentier favenue) . /// 30 Philippe-de-Girard .... 26 Partants (chemin des) . . . 33 Piat 30 30 Parvis - Notre - Dame (place du) V 22 Picard . . . 99 Picardie (de) /// 27 Pascal 23 Piccini 9 9 Pasquier 18 IS Picot Passy Cpont de) / Passy fquai de) / s 31 31 8 Picpus (boulevard de) . . . 31 34 Passy (me et place de) . / b Picpus (porte de) 3b Passy (station de) 5 Pierre-au-Lard .... /// 23 Pastourel Ill 23 Pierre-Charron / 12 Patay (de) 07 Pierre-Guerin 1 Paul-Lelong /// 21 Pierre-le-Grand 12 Paul-Louis-Courier . . IV 17 Pierre-Lescot /// 23 Pauquet / Pavee V . 12 Pierre-Levee /// 2? 23 Pierre-Picard 20 Payen (impasse) /I Pierre-Sarrazin V 19 Payenne /// 26 Pigalle (rue et place) . . . 20 Pechoin 'i? Pinel (rue et place) .... . 26 Peclet 10 Pitie (hop. et rue de la) V Pixerecourt 33 33 22 Pelee (ruelle) /// 26 Pelican (du) ... //. /// '^1 Plaine (de la) 34 Pelleport 33 36 Plaine (poterne de la) . . 8 Penthievre (de) . ... II 15 Plaisance (porte de). . . . . 11 Pepiniere (de la) . . . // Perceval . IS Plancbat 31 13 Plantes (des) Plat-d Etain (du) .../// 20 17 Perchamps(rue et place des) . 4 Perche (du) /// 26 Platre (du) /// 23 Percier (avenue) . . . II 15 Plumet 13 Perdonnet 23 Point-du-Jour (rue et porte Pereire (boulevard et place) Pere-Lachaise (cimet. du) . 11 du) 4 1 32 Point-du-Jour (pont du) 4 Pergolese 9 Point-du-Jour (station du) 1 Perignon IV 13 Pointe-dlvry (de la) . . . 27 Perle (de la) /// 26 Poissonniere (rue et boule- Pernelle /// 23 vard) /// 21 Pernetty 1/1 Poissonniers (des) 9 Perrault /// 20 Poissy (de) V 22 Perr€ /// 27 Poitevins (des) V . 19 Perronet IV 17 Poitiers (de) 17 Petel 10 Poitou (de) /// 26 Petit . . . 29 25 Poliveau (de) 7?. Petit-Musc (du) V Polonceau 23 Petit-Pont V 22 Polvtechnique (ecole) . . V . 22 Petit-Pont (rue du) . . . F 22 Pommard (de) . 29 Petite-Pierre (de la). . . . 32 Pompe (de la) / 5 Petite rue de Paris .... 11 Ponceau (rue et pass.du)/// 24 Petites-Ecuries (rue et pas- Poncelet 12 sage des) /// 24 Poniatowski (boulevard) . 32 Petits-Carreaux (des) . /// 21 Pont (du) 2 Petits-Champs (des) //. /// 21 Pont-aux-Choux (du) . /// 26 Petits-Hotels (des) 24 Pont-de-Lodi (du) . . . . F 20 Petits-Peres (rue et place Ponthieu (de) . ... I, II 15 des) //,/// 21 Pont-Neuf (du) . ... Ill 20 Petrarque / 8 Pontoise (de) V 22 Petrelle 24 Ponts-et-Chaus. (ec. des) IV 17 Peupliers (avenue des) . . Peupliers(rueetpoternedes) 1 Popincourt . . ... V9 24 Portalis (avenue) . . . II 15 Phalsbourg (de) 14 Porte-Foin l^^ 24 Pharmacie (ecole de) . IV 19 Porte-St-Martin (theatre < Philippe-Auguste (avenue) 31 la) ./ . 24 SQUARES, PUBLIC BUILDINGS, etc. 17 B. R. G. B.R. G. Port-Mahon (du) . . . II Port-Royal (boulevard dej . Possoz fplace) Postes fadministr. des) /// Pot-au-Lait (duj Pot-de-Fer (duj F Poteau fdu) Poterie (de laj . . . . /// Poucault / Pouchet Poalet PouUetier V Pourtales /// Poussin Pradier Pre-aux-Clercs (du) . . IV Pre-St-Gervais (le) .... Preclieurs (des) .... /// Prefecture de la Seine // Prefecture de Police . . V Pre-St-Gervais (porte du) . Pre-St-Gervais (poterne du) Presbourg (de) / Pre'sentation (de la) ... . Presles (de) / Pretres- St- Germain- TAux. (des) /// Pretres-St-Severin (des) . V Prevost (passage) Prevot V Princes(passagedes) //, /// Princesse IV Prison des Jeunes Detenus — de la Roquette Procession (de la) Prony Prouvaires (des) . . . /// Provence (de) . . . //, /// Providence (de la) .... Prud'hon (avenue) .... Puits-de-rErmite (du) . . V Puteaux Py (de la) Pyramides (rue et pi. des) // Pyrenees (place des) . . . Pyr^n^es (des) Q,uatre-Chemins (des) . . . Quatre-Fils (des) . . . /// Quatre-Septembre (du) // Quatre-Vents (des) . . IV Quinault Quincampoix /// Quintinie (de la) Quinze-Vingts (hospice des) Rabelais // Racine IV, V Radzivill //. Ill Raffet Raguinot (passage) .... Bakdeker. Paris. Stli Edit 33 20 81 10 28 Rambouillet (de) Rambuteau (de) .... /// Rameau // Ramey Rampon /// Ramponneau Ranelagb (aven. et rue du) Raoul (passage) Rapee (quai de la) . . . V Raphael (avenue) Rapp (avenue) / Rataud V Ravignan Raynaud (cite) Raynouard / Reaumur /// Rebeval R^collets (des) .... /// Reculettes (ruelle des) . . Regard (du) IV Regis IV Regnault Regnier Reille (avenue) Reine (Cours la) . . I, II Reine-Blanche (de la) . . . Reine-de-Hongrie (passage de la) /// Rembrandt Re'musat (de) Renaissance (th. de la) /// Renard (du) /// Rendez-vous (du) Rennequin Rennes (de) IV Republique (av. de la) /// — (place de la) . . . . /// Reservoirs (des) . . . . I Restaud V Retrait (du) Reuilly (boulevard de) , . R,euilly (porte de) Reuilly (de) — (station de) Reunion (passage de la) /// Reunion (rue et place de la) Reunion (villa de la) . . . Reynie (de la) .... /// Rhin (du) Ribera Riblette Richard-Lenoir (boulevard) ///. F Richard-Lenoir Richard-Wallace (boulevard) Richelieu (de) . . //. /// Richelieu (square). . . // Richepanse II Richer /// Richerand (avenue) . . /// Richomme II 18 LIST OF THE PRINCIPAL STREETS, B. K. G. B.B. G. Rieaud / 9 St-Ambroise (eglise et rue) 29 Rigny (de) // 18 St-Anastase 777 26 K-igolles (rue et cite des) . 33 33 St-Andre-des-Arts (rue et Rimbaut 17 place) IV, V 1(1 Riquet 26 St-Antoine V 25 Riverin (cite) /// 24 St-Antoine (hopital) .... 28 Rivoli (de) . . //, ///. V 20 St-Augustin 77 21 Rochebrune 29 St-Augustin (eglise) .... 15 Rochecbouart 21 St-Benoit IV 17 Rocbecbouart(b(mlevard de) 2U St-Bernard (eglise) .... 23 Rocber (du) lb St-Bernard (quai) . . . . F 25 Rocroy (de) 24 St-Bernard (rue. passage et Rodier 21 impasse) 28 Roger 17 St-Blaise . 35 23 Roban (de) // 20 St-Bon 777 Roi-de-Sicile (du) . . , . F 23 St-Bruno 23 Roi-Dore (du) /// 26 St-Cbarles 7 7 7 Rollin V 22 St-Claude 777 26 Rollin (college) 20 St-Cloud (avenue de) . . . 2 Romainville (r. et porte de) 36 St-Cloud (porte de) . . . . 1 Rome (de) // 18 St-Denis (boulevard, rue et Rome (passage de) . . /// 24 porte) 777 24 3(1 '>S Rondeaux (des) 33 28 St-Denis-du-St-Sacrement (eglise) 777 St-Didier 7 26 9 Rondelet . Ronsard 20 Roquepine // 15 St-Dominique .... 7, 77 14 Roquette (aven. et r. de la) 29 St-Dominique (passage) . 7 11 Roquette (prison de la) , . 29 St-Etienne-du-Mont (rue et Roses (des) 2b eglise) F '.>'? Rosiers (des) V 23 St-Eugene (eglise). . . 777 21 Rossini 77, 777 21 St-Eustacbe (eglise. place et Rotrou V 19 impasse) 777 21 Rottembourg 'V\ St-Fargeau St-Ferdinand (chap., rue et S6 SO Rouelle 7 1 Rougemont (rue et cite) 777 Rouget-de-risle . ... II V1 9 . 18 St-Fiacre 777 21 Roule (du) 777 20 St-Florentin 77 18 Roule (avenue du) .... 5 St-Francois-de-Sales . . . 20 Roussel 12 St-Francois-de-Sal. (egl.) . 11 Rousselet IV 13 St-Francois-Xavier (place Roussin . . 10 et eglise) 7F St-Georges (eglise) .... 30 18 Rouvet 28 Roy 77 lb St-Georges (rue et place) Royal (pont) 77 . 17 77 21 Royale 77 18 St-Germain (boul.) . . 77, 17 Royer-Collard (rue et imp.) 7F, F 19 V 19 St-Germain (ile) 3 23 St-Germain (marcbe) . 7F St-Germain-de-Charonne 19 Ruisseau (du) 19 Ruty ;-^'i (eglise) H'^ Ruysdael (avenue) .... 15 St-Germain-des-Pres (eglise Sabliere (de la) 17 et place) 7F 19 Sablonniere (ruelle de la) 10 St-Germain-rAuxerrois Sablons fdes) 7 9 (eglise et rue) . . . 777 . 20 Sablons (porte des) .... 6 St-Gervais (eglise) .... •23 Sablonville 5 St-Gilles 777 26 Sabot (du) IV 16 St-Gothard (du) 20 Sacr^-CfEur («?glise du) . . 20 St-GuiUaume 7F 17 Sai'da (de la) 11 St-Hippolyte 00 St-Amand 14 St-Honore (cloitre) 77, 777 20 SQUARES, PUBLIC BUILDINGS, etc. 19 B. B. O. B. R. G. St-Honore // 18 St-Petersbourg (de) .... 17 St-Honore (marche) . . // 18 St-Philibert (avenue) . . . 5 St-Hyacinthe V 22 St-Philippe /// . 24 St- Jacques (boulevard) . . 2U St-Philippe-du-Roule (Eglise) St-Jacques V 19 19 // 15 St-Jacques (square et tour) St-Pierre-de-Chaillot. . . / 12 /// 23 St-Pierre-de-Montmartre St - Jacques - du - Haut - Pas (place et 6glise) 20 (eglise) V 19 St-Pierre-de-Montrouge St-Jean-Baptiste-de-Belle- (eglise) 17 ville (eglise) 33 St-Pierre-du-Gros-Caillou St-Jean-Baptiste-de-Grenelle (eglise) / 12 (eglise) . 7 St-Pierre-du-Temple (pass.) Ill St-Joseph /// 21 26 St-Joseph (eglise et cha- St-Pierre-St-Antoine (pass.) pelle) '>7 V Of) St-Julien-le-Pauvre . . . V 22 St-Placide IV 16 St-Lambert 7 10 St-Roch (eglise et rue) . // St-Romain IV 18 16 St-Laurent (e'glise) .... St-Laurent (passage) . /// 24 St-Sabin ///, F 26 St-Lazare (prison) .... '2i St-Sauveur /// 21 St-Lazare (rue et gare) . // 18 St-Se'bastien /// 26 St-Leu (eglise) . ... Ill 23 St-Severin (rue et eglise) F 19 St-Louis (hopital) . . /// 27 St-Simon IV 17 St-Louis (lie) F 22 St-Sulpice (rue, place et St-Louis (lycee) . . . . V 19 Eglise) IV 19 St-Louis (pont) F 22 St-Sulpice (seminairede). . • 6 St - Louis - aux - Invalides St-Thomas-d'Aquin (Eglise, (eglise) IV 14 rue et place) . ... IV 17 St- Louis -d'Antin (Eglise) St-Victor V 22 // 18 St- Vincent, Montmartre . . 20 St-Louis-en-rile (rue et St-Vincent-de-Paul (Eglise) 24 eglise) F 22 St-Vincent-de-Paul (soeurs S^ de) 16 porte de) St- Yves . IK St-Marc //, /// • 21 22 Ste-Alice . . 17 St-Marcel (boulevard) . . . Ste-Anne (rue et pass.) // 21 St-Marcel (eglise) 22 Ste-Anne-Pop. (pass.) . . . 27 St-Martin /// 23 Ste-ApoUine /// 24 St-Martin (bonlev. et porte) • Ste-Avoye (passage) . . /// 23 III 24 Ste-Barbe (college) . . . F 19 St-Martin (canal) 'SI 27 Ste-Catherine F 19 St-Martin (marche) . . /// 24 Ste-C^cile /// '2!^ St-Maur-Popincourt . . /// 27 39 Ste-Chapelle F 20 St-Medard V 22 22 Ste-Claire 5 14 St-Medard (eglise) .... Ste-Clotilde (eglise) . . IV St-Merrv /// 23 Ste-Croix-de-la-Bretonnerie St-Merry (eglise) . ///, F 23 (rue et pass.) . . . ///, V 23 St-Michel (boul.) . IV, V 19 19 Ste-Elisabeth (rue et eglise) St-Michel (hospice) .... 34 /// 2-/ St-Michel (pont, place et Ste-Eug^nie 28 quai) . .. . : .\ . . F St-Nicolas (port) . . . II . 19 Ste-Eugdnie (hopital) . . . 17 2C Ste-Euphrasie 19 St-Nicolas - des - Champs Ste-F^licit^ (impasse) . . . 10 (Eglise) 0^ Ste-Foy (rue et pass.) /// Ste-Genevieve (Eglise) . F 'M St-Nicolas-du-Chardonnet _ 19 (Eglise) O') Ste-Genevieve (place) . . V Ste-Marguerite (rue et r^ St-Ouen (av. et porte de) 16 St-Paul (rue et pass.) . . F St-Panl-Saint-Louis (eglise) ')F> Eglise) '>H Ste-Marie 20 F 25 Ste-Marie (cour et passage) '27 20 LIST OF THE PRINCIPAL STREETS, B . E. G. B .R. B. Ste-Marie-des-Batignolles Singer If) (eglise) 1 V Smala (de la) 7 Ste-Marthe Ill 2 7 Soeur-Rosalie (avenue) . . . 23 Ste-Opportune(rue et place) Solferino (rue et pont de) // . 17 /// 2U Solitaires (des) 3 i Ste-Pelagie (prison) . . . F . £i Sommerard (du) . . . . F . 19 Ste-Perine (institut. de) . . \ Sorbier 3;-i Saintonge fde) .... /// 26 Sorbonne F . 19 Sts-Peres (des) . ... IV 17 Sorbonne (place . rue et Sts-Peres (pont des) //,/F 2U passage de la) F . 19 Salneuve 1 4 Soufflot F . 19 Salomon-de-Caus . . . /// 24 Soult (boulevard) 34 34 Salpetriere (de la) .... . 26 Source (de la) 4 Salpetriere (hopital de la). 2b Sourdiere (de la) . . . // . 18 Sambre-et-Meuse (de) ... 2 7 Sourdis /// 23 '->3 Sourds-Muets(instit. des). F 15^ Saute (impasse de la) . . . 19 Soyer 5 Sante (rue de la) Santeuil 'X) 6 99 Stanislas (rue et passage) IV Steinkerque (de) 2 16 Sartine /// 21 Sauflfroy 1 Saules (des) 2 6 Stendhal 32 S tender (cite) 3 Saulnier (passage) . . /// 2 1 Stephenson 2 6 Satunon (passage du) . /// 21 Stinville (passage) 28 31 Saussayes (des) .... // lb Strasbourg (rue et gare de) 2 4 Saussure 1 26 Strasbourg (boulevard de) /// 2 4 9A Sauval /// 21 Suchet (boulevard) .... 2 Savoie (de) V 20 Sud (passage du) 2 9 Saxe (avenue de) . . . IV 13 2U Suffren (avenue de) . . . / lU Sceaux (gare de) 21 Suger F 19 Sceaux-Ceinture (station de) Scheffer I 1^ . 8 Sully (de) F 25 Schomberg V . 25 13 Sully (pont) F 22 Schemer 22 Surcouf // Suresne (de) // 14 18 Seipion (rue et place) . . Scribe // . IS Surmelin (du) . 36 Sebastopol (boulev. de) /// . 24 Sycomorea (avenue des) . . . 1 Secretant £ ^1 Sedaine V . 29 Tabacs (manufacture des) // . 14 Segnier V . 19 Tacherie (de la) . . . . F . 23 Seguin i h Tage (du) 9^ Segur (avenue de) . . IV . 13 Taillandiers (desj . 29 Seine (de) IV . 2U Taillebourg (avenue de) . . 31 Seine (quai de la) , . . . x >9 Taillepain /// . 23 Senat (palais du) . . . IV . 1^ Taitbout II U 121 Senegal (du) Sentier (du) /// H( Talma h 9,1 Talma (cite) Ic Serpente V . 19 Tanger (de) i 6 Serurier (boulevard) . . . [ i2 Tanneries (des) 'A Servan . 29 . 19 Tarbe J Tardieu U 4 Servandoni IV Sevestre 1 >0 Taylor /// . 24 Sevigne V . 26 Teheran (de) II \ 5 Sevres (de) IV . 16 f) Telegraphe (du) i {3 33 Sevres (porte de) Telegraphes(administr. des) . 14 Seze (de) // . la 34 Temple (du) /// . 23 Sibuet Temple (boulevard du) /// . 2r Simon-le-Franc .... /// . Qi 23 Temple (marche du) . /// . 27 Simonet (passage) Temple (square du) . /// . 24 Simplon (du) il Teniers 1 SQUARES, PUBLIC BUILDINGS, etc. 21 B. R. G. B.R. G. Ternaux Ternes (av., cite etporte des) Terrage (du) Terrasse (de la) Terre-Neuve (de) Terres-au-Cure (des) . . . Tertre (place dn) Texel (du) Thann (de) Theatre (du) Theatre-Francais(pl. du) // Theatre Beaumarchais . V Th. Dejazet /// Th. de lAmbigu . . . Ill Th. de la Gaite . . . /// Th.de la Porte-St-Martin IJJ Th. de la Renaissance /// Th. de rOde'on . . . . V Th. de rOpera .... // Th. de rOpera-Comique // Th. de rOpera Popul. (Cha- teau-d'Eau) /// Th. desBoufles-Parisiens // Th. des Folies-Dramat. /// Th. des Xouveautes . • // Th. des Varie'te's . . . /// Th. du Ghatelet . . . . F Th. du Gymnase . . . /// Th. du Palais-Royal . . / Th. du Vaudeville . . // Th. Francais // Th. Historique (des Nat.) V Thenard V Therese // Thermopvles (passage des) Thery . ' Thevenot /// Thibaud Thiboumery Thierre (passage) Thiers Tholoze Thorignv (de) /// Thonin '. F Tilleuls (avenue des) . . . Tilsitt (de) Timbre (hotel du) //, /// Tiphaine Tiquetonne /// Tiron F Titon Tlemcen Tocanier (passage) .... Tocqueville Tolbiac (de) Tolbiac (pont de) Tombe-Issoire (de la) . . . Torcy (rue et place) . . . Toullier V Tour-d'Auvergne (de la). . Tour-des-Dames (de la) . . 20 27 26 27 22 Tour (de la), Passy . . . / Toureiles (des) ."..... Toarlaque Tournefort V Tournelle(quaietpontdela) F Tournelles (des). . ///. V Tournon (de) JV Tourtille (de) Tourville (avenue de) J. IV Toussaint-Feron Tracy (de) /// Traktir (de) / Travaux Pub. (min. des) /F Traversiere-St-Antoine . F Treilhard Trcvise (de) Tre'vise (cite) /// Tre'zel Tribunal de commerce . F Trinite (passage de la) /// Trinite (rue et eglise de la) Trocade'ro (avenue du) . / Trocadero (stat. de Tav. du) Trocadero (pal. et place dn) / Trois-Couronnes (des) . . . Trois-Freres (des) Trois-Portes (des) . . . . V Tronchet // Troncon-Ducoudray . . // Trone (avenue du) .... Troyon Trudaine (avenue) .... Truffault Tuileries(jardin,paliiis,quai et rue des) // Turbigo (de) /// Turenne Ill, V Turgot (rue et place) . . . Turin (de) Ulm (d\) F Union (passage de T) . // Universite (de V) /, //, IV Ursins (des) F Ursulines (des) V Usines (des) Uzes (d') /// Val-de-Grace (hopital du) . Valence (de) Vi.lette F Valhubert (place) . . . V Valmy (quai de) . . . /// Valois (rue et place de) // Vandal Vandamme Van-Dye k (avenue) .... Vaneau IV Vanncs (de) /// Vanves Vanvea (de) Vanves (porte de) .... 22 LIST OF THE PRINCIPAL STREETS, SQUARES, etc. B. K. G. B.R. G. Varenne (de) IV 16 Varietes (theatre des) . /// 21 Vauban (place) . ... IV IB Vaucanson /// 24 Vaucouleurs (passage) . . 30 Vaudeville (theatre du) // 21 Vaudoyer / 9 Vaugirard (de) . . . IV, V 16 Vaugirard (boulevard de) IV Vaugirard (place de) . . . Vaugirard (station de) . . Vauvilliers /// 20 Vavin IV Velasquez (avenue) .... 15 Velpeau IV 16 Vendome (passage) . . /// 27 Vendome (place) . . . II 18 Vendrezanne . Venise (de) /// 23 Ventadour II 21 Ventes (hot. des) . . . /// 21 Vernet / 12 Verneuil (de) IV 17 Vernier Vero-Dodat (passage) //■ UI 20 Veron •iu Verrerie (de la) . ///, V 23 Versailles (avenue de) . . 4 Versailles (porte de) . . . Versigny ly Vertbois (du) /// 24 Verte (alle'e) /// 26 Vertus (des) /// 24 Viala 7 21 Viarmes (de) /// Vicq-d'Azir 27 Victoire (de la) '21 Victoires (place des) . /// 21 Victor (boulevard) .... Victor-Cousin V 19 Victor-Hugo (avenue) . . / 6 Victoria (avenue) . . II, V 23 Vieille-du-Temple ///, V 23 Vienne (de) 18 Viete 11 16 Vieux-Colombier (du) . IV Vigan (passage du) . . /// 21 Vignes (des) b Vignolles (des) . • S^i Vignon // 18 Vilins 30 Villa-des-Fleurs (cite) . . . 16 Villars (avenue de) . . IV 13 23 Villedo // Ville-Hardouin . ... Ill Villejuif (de) Villejust (de) / Ville-FEveque (rue et place de la) // Villeneuve (de la) . . /// Villette (de la) Villette (bassin de la) . . Villette (boulevard de la) . Villette (porte de la) . . . Villiers (de) Villiers (avenue de) . . . Villiers (porte de) .... Villiot Vinaigriers (des) . . . /// Vincennes (bois de) .... Vincennes(cours et porte de) Vincennes (gare de) . . V Vincent Vineuse / Vingt-Neuf-Juillet (du) // Vingt-Quatre-Fevrier (pont du) V Vintimille (rue et place) . Violet (passage) . . . /// Violet (rueetpl.), Grenelle Virginie, Grenelle .... Visconti IV Vistule (de la) Vital Vitruve Vitry (porte de) Vivienne (r. et pass.) //, /// Voie-Industrielle Voie-Verte (de la) .... Volney // Volontaire (ruelle) .... Volta /// Voltaire (boul. et place) /// Voltaire (quai) . ... IV Vosges (place et rue des) V Vouille (de) Voute (de la) Vrilliere (de la) . //, /// Wagram (avenue et pi. de) Washington / Watt Watteau Wattiaux (passage) .... Wattignies (de) Wilhem Xaintrailles Yvette (de r) Zacharie V 30 PIAH DENiSEMBLE CE PARIS. % ,^ .%^^ ra'^v^' ' \^h r^i (• OrUHKNM)lK. ^ ^ .11 V i;- g ^o^eh:' V>., ^ B-' ^.--^.^A-^ *r> F '^ 'W5' <■,■■■ i'l'p^T^^I":; f i ^^.-^y-i. '> \ SW ^T PpTt^ Pa-tjnein-b- 5>. '.^^-^-' '^ig^^r^ ''" ^ Mr W'^V'^'^"^ ' . .-^, ^ii-^iX-tJ '.-r^^ ^'"^ ^/Irlr^i^^V',.*^ -^' '.^ )^' ^^^e.-^ ,; / .^ \ V •^. I ^' T'V'^ / ■^ Cedr r ^* < i £* t nbunrs ^J* / V», "^ ^ «> ' / / II '«- »i»i V> °- ■ ^ ^^. -j^>>:^^,J^ \ "*5S 'Virtmrtioii/ •* ^ ^'~ ^ ^ ,-> ;^J^i^P*^a. e^'W >^V^ ^>^ \ ^ ^ -^^ l^J' V Pop* «iu Jo"' / '^ / ^ -^■^^^^^^- CHAMP DE MARS TROCADERQi.CHAMPS ELYSECS ~'>::^'>-" r Bl S vff' <- '*' A^a .at ^ ^ V O X > ?C0 1^- R H 1^ *NpWa^t3 li „^ S / k CO m CO o c < JO m CD 3D > z C/) CO o c r- m a C/) ^ :>» i^ ,l Grave et imprime par iuer t.T)e"be3 ieipiitf-. r. <^ 3 23 List of the Stations of the Chemin de Fer de Ceinture. (Comp. the annexed Plans and p. 24 of the Handbook.) 3Iil€ 21 Ai 3V. 33/4 4 5 7V4 7-74 9 93/4 10"2 ii':4 123/4 131/2 14'/4 15V4 lt)'/2 17 171/2 IS1/4 19 193/4 201/2 21 Gave St. Lazare (p. 24). Place de TEurope (p. 190). Tunnel. Les Batignolles , where the St. Germain , Normandy, and Ver- sailles lines diverge. Courcelles-Levallois. Passengers for Clichy or Belleville change hero. Porie- Maillot- Neuilly . the station for Neuilly (p. 160). Avenue du Bois de Boulogne^ at the entrance to the Bois de Bou- logne by the Porte Dauphine, not far from the lakes. Avenue du Trocadero, 1/2 M. from the Palais du Trocade'ro. Two small tunnels. Passy. adjoining the Bois de Boulogne (p. 163). Auteuil , at the S. end of the Bois de Boulogne , near the new race-course (p. 164). Beyond Auteuil the line is carried for 11/4 M. along a handsome viaduct of stone. On the right, beyond the fortifications, are the Bois de Boulogne, Mont Vale'rien (p. 266), St. Cloud ^^ith its park (p. 2S9), the wooded heights of Sevres and Meudon (p. 292), Issy (p. 262), etc. Point-du-Jour. "View still more picturesque, embracing the course of the Seine for a considerable distance, the city itself to the left, and Sevres in the opposite direction. The Seine is now crossed by an imposing bridge. Grenelle^ where a branch-line diverges to the Champ-de-Mars. Fine view. Vaugimrd-Issy. To the left, a Jesuit college. Tunnel. uest- Ceinture ^ where the line passes under the Rive Gauche railway ; carriages changed for Versailles fsee p. 267). Montrouge. The next tunnel intersects the Catacombs. La G lacier e-Gentilly^ where pas.=engers for the Sceaux railway alight (p. 308). To the left is the Pare de Montsouris. Goods station. The train then crosses the two arms of the Bievre Cp. 308). La Maison Blanche. To the right is the Hospice de Bic-fre, for old men. Orleans-Ceinture , where the line intersects the Orleans railway. The train now crosses the Seine by the Pont-Xational. La Rapde-Bercy, adjoining the Halle aux Vins. The train crosses the Lyons line and the Aven. Daumesnil by a viaduct. To the right," the Bois de Vincennes (p. 201) and the Lac de Daumesnil. Bel-Air. where carriages are changed for Vincennes. Aventie de Vincennes. On the left lies the Place de la Nation (p. 199). C/iaronne. Long tunnel on the E. side of Pere-Lachaise fp. 171). Minilinontant. A long tunnel passes under part of Belleville, and a cutting intersects a corner of the Buttes-Chaumont Tp. IST). Belleville-Villetfe. To the left are the cattle-market and the 'abattoirs' of La Villette (p. 1S8), a view of which is obtained as the train crosses the Canal de VOurcq (p. 187). Pont-de-Flandre., the station for the 'abattoirs'. Est-Ceinture. Carriages changed for the Ligne de TEst. iVord-Ceinture, the junction of the Ligne du Nord. To the left, the Montmartre Boulevard Ornano, near the cemetery of St. Ouen. Avenue St. Ouen. Adjacent is a new r; ce-course (p. 192). Avenue de Clichy. The train p; sses under the Ouest line. Courcelles-Ceinture. At this station the two ends of the line en- circling the city unite. Passengers returning to St. La/.are alight here, enter the St. Lazare train at the adjacent Courcelles- Levallois station, and passing Batignolles as before, soon reach the (23 M.) Gare St. Lazare. 24 List of the Omnibus Lines. (Comp. the following Tables and Plan, and p. 21 of the Handbook.) Starting Point Destination Omnibus Lanterns A Auteuil(to theW., or left of A, 3) Madeleine (C, 2, 3) yellow red B Trocadero (A, 3) Gare de TEst (E, 2) brown red and green C Porte Maillot (W. of A, 2) Les Ternes (A, 1) or H6tel-de-Ville (E, 4) yellow red D JBoul. des Filles-du- yellow, red 1 red Place des Ternes l Calvaire (F, 3) yell., black/ E Madeleine (C, 2, 3) Bastille (F. 4) brown red F Place Wagrana (B, 2) Bastille (F, 4) dark-brown red G Batignolles (C. 2) Jardin desPlantes (E.5) pale-brown green H Clichv (C. 1) Odeon (D, 5) yellow red I Place" Pigalle (D, 1) Halle aux Vins (E, 5) ere en red J Montmartre (above D. 1) Gare du Nord (C, 1) Place St. Jacques (D,63 yellow red K Boulevard St -Marcel yellow green and red (E, 6) L La Villette (F, 1) St. Sulpice (D, 5) brown red M Lac St. Fargeau (G, 2) Arts et Metiers (E, 3) dark-brown red and green N Belleville (G. 2) Louvre ( Rue du Louvre: D. 3) green red Menilmontant (G, 3) Gare Montparnasse (C, 5) Place dltalie (E, 6) green red and green P Charonne (to the E. of H, 3) Plaisance (B, 6) yellow red Q HGtel-de-Ville (E, 4) brown red R Gare de Lyon (G, 5) St. Philippe-du-Roule (B.2) brown green and red S Barriere de Charenton (G. H. 6) Place de la Re'publique (F, 3) green red and white T Gare d^Orle'ans (F, 6) Square Montholon (D, E, 2) Place de la Re'publique yellow orange - colour TJ ParcMontsouris (belovs^ yellow green and red D. 6) (F, 3) V Place du Maine (B, C, 6) Vaugirard (Rue Ger- Gare du Xord (E, 1) pale-brown green and red X Gare St-Lazare (Rue yellow red and green bert: A. 6) du Havre ; C, 2) Y Grenelle (Rue du Theatre: A, 5) Porte St. Martin (E,2,3) pale-brown red and white Z Grenelle (A, 5) Bastille (F, 4) pale-brown green AB Passv (to the W. of A, 2) Petite Villette (G, H.l) Place de la Re'publique La Bourse (D, 3) green green AC Champs-Elysees (C, 3) yellow red and green AD Ecole Militaire (B, 4) green green (F.3) A£ Forges d'lvrv (below G, 6) PontSt.Michel(D,E,4) green green and white AF Pantheon (D, 5) Place Courcelles (A, 1) green red AG Porte de Versailles (below A, 6) Louvre (D, 3) dark-brown green and white AH Auteuil (to the W. of A. 5) Place St. Sulpice (D, 4) yellow green and white AI Gare St. Lazare (C, 2) Place St. Michel (D, 4) blue red AJ Pare Monceaux (B, 2) La Villette (G, 1) green green and orange 25 List of the Tramway Lines. fComp. tbe following Tables and Plan, and p. 22 of the Handbook.) Starting Point I Destination Tramway Car Lanterns a / T. A. Louvre (D, 4) T. B. Louvre (D, 4) T. C. Louvre (D. 4) T.D. Place de PEtoile (A, 3) T. E. La Villette (G, 2) T. F. Cours de Vin- cennes (H, 5) T. G. Montrouge (beyond C, D.6) T. H. La Chapelle (B, 1) T.I. St. Ouen (E, 1) T.J. Louvre (D, 4) T. K. Louvre (D, 4) T. L. Bastille (F, 4) T. M. Gare de Lyon (G,5) T. N. Rue Taitbout or Boul. Haussmann (D. 2) T. 0. Gare dWuteuil (beyond A, 3) T. P. Trocadero (A, 3) T. Q. Halles (E, 3) T.R. Boulogne T.AB. Louvre (D, 4) St. Cloud (W. of A 4) Sevres (W. of A 4) Vincennes (E. of H,5) La Villette (G,2) Place de la Nation (H, 5) Louvre (D, 4) Gare de TEst (E,2) Square Monge (E, 5 La Bastille (F,4) Passy (A, 4) Charenton (G, 6) Pont de FAlma, Rive Gauche (B, 3) Place de PAlma, Rive Droite (A, B, 3) La Bluette or Passy (A, 4) Rond-Point de Boulogne (p. 289) La Villette (G, 2) Porte d^vry (to the S. of E. F, 6) Billancourt Versailles (PL, p. 268). green blue brown brown brown blue brown yellow green brown yellow blue yellow green brown yellow yellow blue yellow orange green red red red red red green orange red orange green orange green red orange white and red red red O r a • 1. L^Etoile (A, 2) 2. La Madeleine (C, 2) 3. La Madeleine (C, 2) 4. La Madeleine (C, 2) 5. Boul. Haussmann (D, 2) 6. Boul. Haussmann (D,2) 7. Rue Taitbout (D, 2) 8. Place de la Republ. (F,3) I 9.PlacedelaRepubl.(F,3) Courbevoie (to theW.ofA,2) Courbevoie (Suresnes) Boul. Bineau (Neuillv) Levallois(to theN.of'A, 1) Asnieres, Gennevilliers (to the N. of B, 1) St. Ouen, St. Denis (to the N. of C, 1) St.Denis(totheN.ofE.F,l) Aubervilliers (to the N. of F, G, 1) Pantin (to theN. of G, H, 1) red yellow red green green brown red yellow red green red white green green red green red green -B B CO 1. 1 f 1. St. Germain-des-Pres (D, 4) 2. St. Germain-des-Pr^s (D, 4) 3. L^Etoile (A, 2) 4. Montparnasse (C,5) 5. Champs-Elysees(B,2) 6. Square Cluny (E,4) 7. Square Clunv (E,4) 8. Gare d'Orleans (F, 5) 9. Gared'Orleans (F, 5) 10. Bastille (F, 4) 11. Place de la Nation (du Trone ; H, 5) Fontenav - aux - Roses (to the S. of C, 6) Clamart (to the S. of C, 6) Montparnasse (C, 5) Bastille (F, 4j Vanves (to the S. of A, 6) Bicetre.Vitry(to theS.ofE.63 Ivry (to the S. of F, 6) Villejuif (to the S. of E, 6) Place de la Nation (H, 5) Charenton (to the E. of 11.6) Montreuil (to the E. of H,4) brown yellow green brown brown green yellow green green green brown red red red green red green red red green red red 26 'Correspondances' of the Omnibus Lines, f u. Omnibuses and Tramways in 'Correspondance'. 0. AH. — 0. AB. — 0. B ; 7". P, N. — T. A, B, J, M, AB ; T. S. 3. — 0. D, E, X, AC, AF; T. N. 2, 3, 4. 0. A; T. N, P. — 0. C. — 0. D, R. AB. — 0. AF; T. N; T. N. 2, 5, 4. — 0. F, X, AI; T. N: 5, 6. — 0. G. — 0. H, I; T. N. 7. — 0. J. T, AC. — 0. L, M ; T. G, H, I. 0. AB ; T. D. N, P; T. S. 3. — 0. B. — 0. D, G, H, Y, AG, AI. — 0. 1, :N, V;' T. A, B, C, F, J, K, AB. — 0. G, J, K, O, R, AD, AI: r. C, G, H, K, Q. — 0. Q. T. D, P. — 0. AB : T. N. — 0. B, R. — 0. A, E, X, AB, AC, AF ; T. J^. 2, 3, 4. — 0. C, G, H, R, Y, AG, AI. — 0. I, N, V, AI; T. A, B, C, F, J, K, AB. — 0. F, J; T. F, Q. — T. F, G, H. 0. A, D, X, AB, AC, AF ; T. N. 2, 3, 4. — 0. H. — 0. K. — 0. L, M, N, T, Y ; T. G, H. — 0. N, U, AD ; 7". I, F •, T. N. 8. 9. — 0. D, 0. — 0. F, P, R, S, Z ; T. C, K, L ; T. S. 4. 10. 0. AJ. — T. D,P. — 0. B,X,AI; T.N. 5,6.— 0. I,AB. — 0. N, V. — 0. D. .7; T. F, Q. — 0. T. — 0. E, P, R, S, Z ; T. C. I, K, L ; T. S. 4, 10. 0. AJ. — 0. H; r. D, P: T. A^. 5, 6. — O.B.— 0. C, D, H, R. Y, AG, AI. — 0. I, N, V, AI :' T. A, B, C, F, J, K, AB. — 0. C, J, K, O, Q, R, AD, AI; T. C. G, H, K, Q. — 0. I, K. T, U, Z, AE :, T. L, M. 0. G : r. D, P ; T. N. 5, 6. — 0. B, I, AC ; T. N. 7. — 0. E, AB. — 0. C, D, G, R, Y, AG, AI. — 0. Y, AG ; T. A, B, J, AB. — 0. L, 0, V, AD. AG; y. L, M; T. S. i, 2. — 0. L, Q, AH. — 0. Z. AF. T. D, P. — 0. B, H, AC: T. N. 7. — 0. F, AB. — 0. N, V. — 0. C, D, G, R, V, AG, AI : T. A, B, C, F, J, K, AB. — 0. J, L, Q, AE, AI ; T. G, H, Q. — T. L,'m. — 0. G, T, U, Z. AE ; T. K, L, M. 0. AJ. — T. D, P. — 0. B, T, AC. — 0. D, F ; T.F.— 0. C, G, K, O, R, AD, AI; T. C, G, H, K, Q. — 0. I, L, Q, AE, AI ; T. G, H. — T. G, H. L, M; y. .S. 6, 7. — 0. AF; 7". G, Q. 0. V, AC; T. I. — 0. E, ^^ T. — 0. C, G, J, 0, Q, R, AD, AI; T. C. G,H, K, Q. — 0. A, E, G, I, T, U, Z ; T. L, M. — 7. Q ; T. S. 4, 6, 7' 0. M, AC; T. D, E, P; T. iV. Y^^^ ^*' f /«u / ® ,£< i ^ A IT JJ itaio Id }«^ \/f •^ ^ 1^ A W T 1 ^ ^ _T^' CARTE ROUTIERE Echelle 1 : 7.000 00 Departements. '. IJfard, 7 Ardennes 2Pas-de'Calais SMime/ 2 Somme 9 Seiner et-Mame 1 Seine- inf. 10 Sane- et-Oise 5 Pise 11 Seine' GAisne 12 Sure I -^ G j ]V E et impnme par UCSOUTHEPr. -Ej "ologT 000 165 426 i>%fsr7?' 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