AKD ITS r V BAEDEKER’S GUldE BOOKS. GKEAT BRITAIN, with Ih Maps, 30 Plans, and a Panorama. J?'ourtli Edition. 1897. 10 marks., LONDON AND ITS ENVIRONS, with 3 Maps and 19 Plans. Eleventh Edition. 1S98. 6 marks. THE UNITED STATES, with an Excursion into Mexico. ' With 19 jMaps and 24 Plans. Second Edition. 1899. 12 marks. THE DOMINION OF CANADA, with Newfoundland and A 'll! Marta anrl 7 Plarte ISftA h markS . BELGIUJ Twel; THE Rl Maps NORTH] Tweli SOUTHI Ei^ht AUSTRL 1896. THE EA rama NORTH] Edit SOUTH-: a Pai SOUTH- Secoj GREECl NORTH] YEN. CENTRi^ a Pai SOUTH! Tvirel NORWA 21 PI PARIS a; Par; SPAIN A THE UNIVERSITY OF ILLINOIS LIBRARY Prom the collection of Julius Doerner, Chicago Purchased, 1918. 914.436 5l4pl3 [ans. ^rks. i 44 larks. [ans. [ irks . ans. larks. tion. |trks . ano- arks. ;h.ird arks. i and [arks. [ans. arks. larks. Ra- arks. and [0 pf. [ans. arks. laps, arks. TO arks. !898. irks. SWITZERLAND, with 54 Maps, 12 Plans, and 12 Panoramas. Eighteenth Edition. 1899. 8 marks. 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UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN PREFACE. / y, ? 8 / y j i The chief object of the Handbook for Paris, which is now ^ issued for the thirteenth time, and corresponds with the thirteenth French edition, is to render the traveller as nearly as possible independent of the services of guides, commission- naires, 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-planjhave been collected in a separate cover at the end of the volume, and may if desired be severed from the Handbook altogether. The subdivision of the Plan of the city into three sections distinguished by (different colours will be found materially to facilitate reference-, as it ob- viates the necessity of unfolding a large sheet of paper at each consultation. There is probably no city in the world which ever underwent such gigantic transformations in its external ap- pearance as the French metropolis during the reign of Na- poleon III. , and few cities have ever experienced so appal- ling a series of disasters as those which befel.Pari| in 1870-71. Many squalid purlieus , teeming with poYefty and were swept away under the imperial regime , to male 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 w^ar and the Communard rebellion. During that period the city sustained many irreparable losses, but since the restoration of peace it has in most respects resumed its former appearance, rht; ‘Go, little book, God send tbee good passage, And specially let this be tby prayere Unto them all that tbee will read or bear, Where tbou art wrong, after tbeir belp to call , Tbee to correct in any part or all 1 ’ y, -T 3 ;V 8 / V PREFACE. The chief object of the Handbook for Paris, which is now issued for the thirteenth time, and corresponds with the thirteenth French edition, is to render the traveller as nearly as possible independent of the services of guides, cominission- naires, and innkeepers, and to enable him to employ his time and his monej^ to the best advantage. Objects of general interest, described by the Editor from his personal observation, are those with which the Handbook principally deals. A detailed account of all the specialties of Paris would of course far exceed the limits of a work of this character. The Maps and Plans, upon which the utmost care has been bestowed, will, it is hoped, be found serviceable. Those which relate to Paris itself (one clue-map, one large plan, five special plans of the most important quarters of the city, and one omnibus-plan) have been collected in a separate cover at the end of the volume, and may if desired be severed from the Handbook altogether. The subdivision of the Plan of the city into three sections distinguished by different colours will be found materially to facilitate reference-, as it ob- viates the necessity of unfolding a large sheet of paper at each consultation. There is probably no city in the world which ever underwent such gigantic transformations in its external ap- pearance as the French metropolis during the reign of Na- poleon III., and few cities have ever experienced so appal- ling a series of disasters as those which befej.Pari| in 1870-71. Many squalid purlieus , teeming with poYefty and were swept away under the imperial regime, to in^e 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 w&y and the Communard rebellion. During that period the city sustained many irreparable losses, but since the restoration of peace it has in most respects resumed its former appearance, rl'se PREFACE. government having done its utmost to restore everything as far as possible to its former condition. A short account of the routes from London to Paris, and of the principal towns of Northern France, with their magni- ficent Gothic churches, will be acceptable to most travellers. In the Handbook are enumerated both the first-class hotels and those of humbler pretension. The latter may often be selected by the ‘voyageur en gargon’ with little sacrifice of real comfort, and considerable saving of expenditure. Those which the Editor has reason to believe most worthy of commendation are denoted by asterisks; but doubtless there are many of equal excellence among those not so distin- guished. It should, however, be borne in mind that hotels are liable to constant changes, and that the treatment expe- rienced by the traveller often depends on circumstances which can neither be foreseen nor controlled. The Editor begs to tender his grateful acknowledgments to travellers who have sent him information for the benefit of the Handbook, and hopes that they will continue to favour him with such communications, especially when the result of their own experience. Hotel-bills, with annotations showing the traveller’s opinion as to his treatment and accommodation, are particularly useful. To hotel-proprietors, tradesmen, and others the Editor begs to intimate that a character for fair dealing and courtesy towards travellers forms the sole passport to his commen- dations, and that advertisements of every kind are strictly excluded from his Handbooks. Hotel-keepers are also warned against persons representing themselves as agents for Bae- deker’s Handbooks. CONTENTS, Introduction. Page I. Language. Money. Expenses. Season. Passports. Custom House xii II. Railways xiii Cycling xiv III. Outline of History xv a. History of France xv b. History of Paris xxi IV. General Remarks on Paris xxvi V. Weights and Measures xxxi VI. Remarks on Northern France . ' xxxiii Remarks on French Art, hy Prof.. Anton Springer . xxxv Preliminary Information. 1 . Arrival in Paris 1 2. Hotels, Pensions, and Apartments 2 3. Restaurants 9 4. Cafes. Brasseries. Confectioners 17 5. Cabs 20 6. Omnibuses and Tramways. River Steamboats 22 7. Railway Stations. Chemin de Fer de Ceinture .... 24 8. Post and Telegraph Offices 26 9. Theatres , Circuses, Music Halls, Balls, etc 29 10. Concerts, Art Exhibitions, Sport, and Clubs 36 11. Shops and Bazaars 38 12. Booksellers. Reading Rooms. Libraries. Newspapers . . 45 13. Baths, Physicians, Maisons de Sant^ 47 14. Divine Service 49 15. Embassies and Consulates. Ministerial Offices. Banks . 50 16. Preliminary Drive 52 17. Distribution of Time. Diary 53 Eight Bank of the Seine. 1. The Palais-Royal, Rue de Rivoli , Bastille, and Boule- vards 59 I. The Palais -Royal and thence to the Hotel de Ville. — St. Germain -I’Auxerrois. Tour St. Jacques. Place du Chatelet. St. Merri 59 II. From the H6tel de Ville to the Bastille. — St. Gervais. St. Paul et St. Louis. Colonne de Juillet 09 viii CONTENTS. Route Page III. The Boulevards from the Bastille to the Madeleine. — Place de la Repuhlique. Porte St. Martin, Porte St. Denis. The Opera . . , . ~ 72 IV. From the Madeleine to the Palais-Royal by the Place de la Concorde. — Colonne Vendome. St. Roch .... 82 2. Palace and Galleries of the Louvre. The Tuileries ... 86 I. The Palace of the Louvre 86 II. The Galleries of the Louvre 89 Ancient Sculptures 90 Asiatic Museum 99 Egyptian Museum 100 Mediaeval and Renaissance Sculptures 102 Modern Sculptures 105 Picture Gallery 108 Galerie d’ Apollon 134 Salle des Bijoux 136 Collection La Caze 137 Ancient Bronzes 139 Collection of Drawings .... 139 Smaller Mediaeval, Renaissance, and Modern Objects 140 Antique Pottery 144 Musee de Marine 145 Musee Ethnographique 146 Musee Chinois 147 Salle des Boites 147 Musee de Chalcographie 147 Collection Grandidier . . . 147 III. The Tuileries 148 Arc de Triomphe du Carrousel. Jardin des Tuileries 148 B. Champs-Elysees and Bois de Boulogne 152 I. From the Place de la Concorde to the Place de TEtoile. 152 II. From the Place de PEtoile to the Bois de Boulogne. — Hippodrome de Longchamp. .Tardin d’Aeclimatation . . 155 4. The Trocadero, Passy, and Auteuil 160 I. From the Place de la Concorde to the Trocadero. Musee de Galliera. Musee Guimet. Musees du Trocadero . . 160 II. Passy and Auteuil (Bois de Boulogne) 168 5. Halles Centrales, Conservatoire des Arts et Metiers , and Pere-Lachaise 170 I. From the Palais -Royal to the Halles Centrales. — St. Eu- stache 170 II. From the Halles Centrales to the Conservatoire des Arts et Metiers and the Place de la Rdpublique 173 HI. From the Place de la Repuhlique to Pere-Lachaise . . 179 6. Neighbourhood of the Exchange and Quartiers de la- Chaussee-d’Antin and de I’Europe 190 I. From the Palais-Royal to the Bourse. — Bibliotheque Nationale 190 II. From the Bourse to Notre-Dame-de-Lorette , La Trinitd, and the Gare St. Lazare i99 III. From the Gare St. Lazare to St. Augustin and the Parc Monceaux. — Les Batignolles 201 7. 1-a Yillette and Montmartre 204 1. From the Boulevards to I^a Villette. — St. Laurent. Gare de TEst. Gare du Xord. Bnttes-Chauraont. lUarket and Abattoirs at La Yillette . 2t>4 CONTENTS. ix Route Page IT. Montmartre. — St. Vincent-de-Paul. Butte Montmartre. Cemetery of Montmartre 208 8, The Quartier du Temple and Quartier du Marais . . . 214 Archives et Imprimerie Kationales. Miisee Carnavalet. Place des Vosges 214 The Cite and the Left Bank of the Seine. 9. The Cite and the Quartier de la Sorhonne 223 I. Palais de Justice and Sainte-Chapelle. Notre-Dame. — . Tribunal de Commerce. Pont-Neuf. Hotel-Dieu . . . 224 II. From the Citd to the Mus^e de Cluny. — Fontaine St. Mi- chel. St. Severin. Ecole de Medecine 232 III. From the Musee de Cluny to the Panthdon. — Sorbonne. College de France. Bibliotheque Ste. Genevieve. St. Eti- enne-du-Mont 243 10. Quarters of St. Germain and the Luxembourg .... 250 I. Institut. Hotel des Monnaies. Ecole des Beaux-Arts . . 250 II. From the Ecole des Beaux-Arts to the Luxembourg. — St. Germain-des-Pres. St. Sulpice 257 III. Palace, Gallery, and Garden of the Luxembourg . . . 260 11. The Jardin des Plantes and the Gobelins 267 I. From the Louvre to the Jardin des Plantes 267 II. Jardin des Plantes 268 III. From the Jardin des Plantes to the Gobelins .... 272 12. The Invalides and the Champ-de-Mars 275 I, From the Tuileries to the Invalides. — Chambre des De- putes. Ste. Clotilde 275 IT. Hotel des Invalides. — Musee d’Artillerie. Eglise des Invalides. Tomb of Napoleon 1 278 111, The Champ-de-Mars. — Eiffel Tower. Palais des Ma- chines. Ecole Militaire 287 13. The Southern Quarters 289 I. From the Luxembourg to the Observatoire and the Cem- etery of Montparnasse 289 II. From the Carrefour de TObservatoire to the Parc Montsouris 294 Environs of Paris. 14. St. Cloud, Sevres, and Meudon 297 I. From Paris to St. Cloud . 297 II. From Paris to Sevres 302 • III. From Paris to Meudon . 304 15. Vincennes 306 I. From Paris to Vincennes direct 3C6 II. From Paris to Vincennes via Charenton 307 III. Vincennes 309 16. Versailles 313 I. From Paris to A'ersaille.s 313 11. Versailles 314 17. St. Germain-en-Laye 334 I. From Paris to St. Cermain by railway 334 II. From Paris to St. Germain by steam-tranuvay .... S3C III. St. GeTjTiain-er. Laye . ' . 238 CONTENTS. Route Pa^. 18. St. Denis, Enghien, and Montmorency 342 I. From Paris to St. Denis ^ 342 II. From St. Denis to Enghien and Montmorency .... 348 ni. From Enghien to Paris via Argenteuil 350 19. The Valley of the Oise 351 I. From Paris to Pontoise 351 1. Via St. Denis or Argenteuil and Ermont .... 351 2. Via Argenteuil and Conflans-Ste-Honorine . . . 352 3. Via Maisons-Laffltte and Acheres 352 II. From Pontoise to Beaumont 354 III. From Beaumont to Paris 356 1. Via Montsoult. — From Montsoult to Luzarches . 356 2. Via Valmondois and Ermont. — Ahbaye du Val 357 20. Sceaux, Chevreuse, Montlhery, etc 358 I. From Paris to Sceaux 358 II. From Paris to the Valley of Chevreuse. Valley of the Bievre. Limours. — From Massy-Palaiseau to Versailles ; to Valenton^ and to Juvisy 361 III. From Paris to Montlhery. Arpajon 364 21. From Paris to Fontainebleau 368 22. Chantilly and its Environs 377 I. From Paris to Chantilly 377 II. From Chantilly to Paris via Creil and Beaumont . . . 385 III. From Chantilly to Paris via Senlis and Crepy-en- Valois 386 Routes from London to Paris. 23. By Folkestone, Boulogne, and Amiens 389 24. By Dover, Calais, and Amiens 395 25. By Newhaven, Dieppe, and Rouen 397 26. By Southampton, Havre, and Rouen 404 List of Artists 408 Index 416 List of Maps and Flans. A. Maps. 1. Railway Map of France, at the end of the book. 2. Bois de Boulogne, p. 156. 3. Immediate Environs of Paris, p. 296. 4. Asnieres, Rueil, and Bougival, p. 298. 5. St. Cloud and Sevres, p. 300. 6. Forest of Meudon, p. 304. 7. Vincennes and its Environs, p. 309. 8. Environs of St. Germain-en-Laye, p. 341. 9. St. Denis and Pontoise, p. 342. 10. Remoter Environs of Paris, p. 350. 11. Forest of Fontainebleau, p. 375. 12. Forest of Chantilly, p. 384. CONTENTS. xi 9. 10 , 13. 14. 15. 16. 17. 18. 19. 20 . 21 . 22 . 23, 25. 26. 27. 28. 29. 30. 31. 32. 33. B. Plans. Key-Plan of Paris. Plan of Paris in three sections. Special Plan of Arc de I’Etoile and Champ-de-Mars District. „ „ „ Champs -Elysees, Western Boulevards, and Louvre. „ ,, Eastern Boulevards. > „ „ „ Hotel des Invalides and Palais du Luxem- bourg District. „ „ „ Cite, Place de la Bastille, and Jardin des Plantes. Omnibus and Tramway Plan of Paris. Historical Plan of the Louvre and Tuileries, p. 88. 11, 12. Galleries of the Louvre, between pp. 88, 89. Conservatoire des Arts et Mdtiers, p. 174. Pere-Lachaise, p. 180. Bibliotheque Nationale, p. 192. Cemetery of Montmartre, p. 211. Palais de Justice, p. 224. Musee de Cluny, p. 235. Ecole des Beaux-Arts, p. 254. Jardin des Plantes, p. 268. Musee d’Artillerie, p. 280. Town and Park of Versailles, p. 314. 24. Musee de Versailles, ground, first, and second floors, pp. 320, 321. St. Germain-en-Laye, p. 338. Fontainebleau, p. 375. Park of Chantilly, p. 384. Boulogne, p. 388. Amiens, p. 392. Calais, p. 395. Dieppe, p. 396. Rouen, p. 398. Le Havre, p. 404. 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, route; B. = break- fast; dej. = dejeuner, luncheon; D. = dinner; A. = attendance; L. = light. The letter d after a name, with a date, indicates the year of the person’s death. Asterisks are used as marks of commendation. I n the Cover after theindex . IMTRODUCTION. I. Langnage. Money. Expenses. Season. 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, and 50 francs, and these are the only banknotes current in France. The French Oold coins are of the value of 100, 50, 20, 10, and 5 francs; Silver coins of 5, 2, 1, 1/25 Bronze of 10, 5, 2, and 1 centime (100 centimes = 1 franc). ^SoiC is the old name, still in common use, for 5 centimes; thus, a 5-franc piece is sometimes called ‘line piece de cent sous’, 2 fr. = 40 sous, 1 fr. = 20 sous, 1/2 fr. = 10 sous. Italian, Belgian, Swiss, and Greek gold coins are also received at their full value, and the new Austrian gold pieces of 4 and 8 florins are worth exactly 10 and 20 fr. respectively. Belgian, Swiss, and Greek silver coins (except Swiss coins with the seated figure of Helvetia) are also current at full value ; but Italian silver coins, with the exception of 5-lira pieces, should be refused. The only foreign copper coins current in France are those of Italy, but in Paris Greek, Swiss, Belgian, and in fact any copper coins of the approximate size and value, including the English penny and halfpenny, are freely accepted as the equivalents of the 10 and 5 centime pieces. English banknotes, gold, and even silver are generally received at the full value, except at the shops of the money-changers, where a trifling deduction is made. The table at the beginning of the book shows the comparative value of the French, English, Amer- ican, and German currencies, when at par. The currency of Belgium, Switzerland, Italy, and Greece is the same as that of France. The traveller should always be provided with small change (petite monnaie ) , as otherwise he may be put to inconvenience in giving gratuities, purchasing catalogues, etc. Expenses. The cost of a visit to Paris depends of course on the tastes and habits of the traveller. If he selects a hotel of a high class, dines at the table d’hote, or perhaps the ‘Diner de Paris’, I. SEASON, etc. xiii partakes of wine of good though not extravagant quality, visits the theatres, drives in the parks and environs, and finally indulges in suppers a la carte, he must he- 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. Season. Spring and autumn are the best seasons for a visit to Paris, the former perhaps deserving tlie preference as having fewer rainy days. The long days of summer are in some respects admir- ably adapted for sight-seeing; but the heat is often excessive, and the absence after June of a large proportion of the ordinary resi - dents deprives the city of one of its most characteristic features. The winter is not generally severe, but the short days are incon- venient for sight-seers. Passpoets are now dispensed with in France, but they are often useful in proving the traveller’s identity, procuring admission t(> museums on days when they are not open to the public, obtaining delivery of registered letters, etc. Foreign Office passports may be obtained through C. Smith and Sons, 63 Charing Cross Lee and Carter, 440 West Strand; E. Stanford, 26 Cock- spur St., Charing Cross ; or W. J. Adams, 59 Fleet St. (charge 2s.; agent's fee Is. 6. 31/2 fr. — Pillows and Coverlets may be hired at the chief stations (1 fr.). The most trustworthy information as to the departure of trains is contained in the Indicateur des Chemins de Fer^ published weekly (75 c.), or in the Indicateur Paul Dupont (75 c.). There are also separate and less bulky time-tables for the different lines (^Livrets Chaix^): du Nord, de I’Est, de I’Ouest, etc. (40 c.); and the Livret Chaix des Environs de Paris (25 c.), sold also in separate parts at 10 c. Railway time is always that of Paris, but the clocks in the in- terior of the stations, by which the trains start, are purposely kept five min. slow. Belgian (Greenwich or West Europe) railway time is 4 min. behind, and ‘Mid Europe’ time (for Germany, Switzerland, and Italy) 56 min. in advance of French railway time. Cycling is a popular amusement in France, and the cyclist's wants are everywhere fairly well provided for. The highroads between Paris and the coast are good, th ough often destitute of shade. Cyclists entering III. HISTORY. XV France with their machines must deposit a sum equal to the duty on the latter (22 fr. per 10 kilogrammes or 22 lbs.), which is returned to them on quitting the country. Members of the Cyclists' Touring Club (47 Vic- toria St., London, S.W.) or of the Touring Club de France (5 Rue Coq. Heron, Paris) are, however, spared this formality. Every cycle in France must be furnished with a lamp, a bell or horn, and a name-plate bearing the name and address of the owner. The annual tax of 6 fr. per machine is not exacted from temporary visitors to France. English riders should remember that the rule of the road in France is the reverse of that in England: keep to the right on meeting, to the left in overtaking another vehicle. Cyclists will find it advantageous to join the Touring Club de France (see above), the annual subscription to which is 6 fr. (5s.), including a copy of the monthly Gazette. The club publishes an Annuaire (1 fr.), with a list of cyclists'* hotels, repairers, representatives, etc., and also a series of Itineraries (5 c. each). — Cycling in Paris, see p. 37. III. Outline of History. a. History of France. Merovingians. Clovis, son of Childeric, King of Tournai, finally expelled the Romans about the year 496, embraced Christi- anity, and became the founder of the Merovingian Dynasty., which was so named from Meroveus or Merwig., grandfather of Clovis. Carlo vingians. Pepin (Le Bref), who became King of France in 752, was the founder of the second or Carlovingian Dynasty. Charlemagne, 768. Louis I. (Le Dehonnaire)., 814. Charles II. (Le C/iawucj, 840. France separated from Germany and Italy by the Treaty of Verdun, 843. — The subsequent monarch s were unable to defend their country against hostile attacks. The dynasty was deposed in consequence, and the crown given in 887 to Count Odo, or Eudes, who had been instrumental in repelling the Normans. Gapetians. Hugh Capet, grand-nephew of Eudes, was the founder of the third or Capetian Dynasty (987). Robert II. (Le Pieux)y 996. Henri I., 1031. Philip I., 1060. William, Duke of Normandy , conquers Eng- land, 1066. First Crusade under Godfrey de Bouillon, 1096. Louis VI. (Le Qros), 1108. Suger (p. 343), the king’s minister. Louis VII. (Le Jeune), 1137, takes part in the Second Crusade (1147). His divorced wife, Eleanor of Guienne and Poitou, marrie Henry Plantagenet, afterwards Henry II. of England. Philip II. (Auguste), 1180, undertakes the Third Crusade, in company with Richard Coeur-de-Lion , 1189. On his return he attacks the English possessions in France, and defeats the English, Flemish, and German troops at Bouvines in 1214. Louis VIII. (Le Lion), 1223, extends the royal power in the S. of France. Louis IX. (St. Louis), 1226. Crusades to Egypt and Tunis. XVI III. HISTORY. Philip III. (Le Hardi)^ 1270, acquires Provence by inlieritance. Philip IY. (Le Bel), 1285, convokes the Etats- Generaux for the first time. He causes the papal residence to he transferred to Avignon, and in 1307 abolishes the order of Knights Templar. Louis X. (Le Hutin), 1314. Philip Y. (Le Long), 1316. Chables IY. (LeBel), 1322, dies without issue. House of Valois. Philip YI. , 1328. War with England, 1339 (‘Guerre de CentAns’, 1339-1453). Battle of Crecy, 1346. John (Le Bon), 1350; defeated and taken prisoner by the English at Poitiers, 1356. Peace of Bretigny, 1360. Charles Y. (LeSage), 1364, The English expelled by Bertrand du Ouesclin. Charles YI., 1380; becomes insane twelve years afterwards. The French under the Constable d)Alhret defeated by Henry Y. of England at Agincourt, 1415. Paris occupied by the English, 1421. Charles YH., 1422. The siege of Orleans raised by Joan of Arc, 1429. Coronation at Rheims. Joan burned at Rouen, 1431. Louis XI., 1461, after suppressing the Ligue du Bien Public, which had been formed in consequence of his hasty and wide-reach- ing reforms, succeeds in establishing the administrative and terri- torial unity of the country. Burgundy, Franche- Comte, Artois, and Provence are added to the French crown. Charles YIIL, 1483, acquires Brittany by his marriage with Anne de Bretagne. Conquest of Naples, 1495. Louis XII. , ‘Le j>lre du peuple\ 1498 , first king of the younger branch of the House of Yalois , conqueror of Milan and (in alliance with the Spaniards) of Naples. Having quarrelled with his Spanish allies, he is defeated by them on the Oarigliano in 1503. The League of Cambrai is formed for the purpose of expelling the Yenetians from the mainland of Italy. The Yenetians defeated at Agnadello, 1509 ; but they succeed in destroying the League, and 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 Y. for the possession of Burgundy and Milan. Francis defeated and taken prisoner at Pavia, 1525. The royal power becomes more absolute. Henri II., 1547, husband of Catherine de Medicis, accidentally killed at a tournament (p. 68). Metz, Toul, and Yerdun 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 ; Fran(jois de Guise and Charles de Lorraine command the Roman Catholic army. Massacre of St. Bartholomew, 24th August, 1572. 111. HISTORY. Hkniii HI., 1574, brother of his two predecessors ; flies from Paris, where a rebellion had broken out, by the advice of his mother, Catherine de MMicis (d. 1588); assassinated at St. Cloud by Jacques Clement, a Dominican friar. House of Bourbon. Henri lY., 1589, first monarch of 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. his minister. Religious toleration granted by the Edict of Nantes (1598). Henri, divorced from Margaret of Valois in 1599, marries Marie de Medicis the following year ; assassinated by Ra- vaillac in 1610. Paris greatly embellished during this reign. Louis XIII., 1610; his mother Marie de Medicis, regent; she is banished to Cologne, where she dies in 1642. Richelieu^ his minister (d. 1642). English fleet defeated at Re^ 1627; La Ro- chelle taken from the Huguenots. France takes part in the Thirty Years’ War against Austria. Louis XIY. , 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 1648. Turenne defeats the Bavarians at Freiburg and at Nbrdlingen^ 1644. The Peace^of Westphalia (1648) assigns Alsace to France, with the exception of Strassburg and Montbeliard. Submission of the Fronde. Peace of the Pyrenees, with Spain, 1659. Death of Mazarin, 1661. The king governs alone. Louis marries Maria Theresa^ daughter of Philip IV. of Spain, 1660. After the death of his father-in-law Louis laye. claim to the Spanish Netherlands. Turenne conquers Hainault and part of Flan- ders, 1667. Conde occupies the Franche Comte. Peace of Aix-la- Chapelle, in consequence of the Triple Alliance, 1668. War with Holland, Passage of the Rhine, 1672. Occupation )f 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 Montcassel^ 1677. Peace of Vi/mmepen, 1678. Strassburg occupied, 1681. Occupation of Luxembourg. Revocation of the Edict of Nantes, 1685. Devas- tation of the Palatinate , 1688. Marshal Luxembourg defeats thq Imperial troops at Fleurus (1690) and Steenkerke (1692), and Wil- liam of Orange at Neerwinden, 1693. The French fleet under Ad- miral Tourville defeated by the English at La Hogue^ 1692. Peace of Ryswyck^ 1697. Spanish war of succession, 1701. Victory of Vendome at Luz- zara (1702), and of Tallard at Speyer (1702). Taking of Landau.^ Baedeker. Paris. 13th Edit. p X viii III. mSTORY. 1702. Victory at Hbchstddt (1703); defeat at Hdchstddt, 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 French literature attains its zenith: Cor- neille, Racine, Moliere, La Fontaine, Boileau, Bossuet, Fenelon, Descartes, Pascal, La Bruy ere, Mme. de Sevigne, etc. Louis XV., 1715; ten years’ regency of the Duke of Orleans . Marries Marie Lesczinska of Poland. Austrian war of succession (1741-48). Defeat at Dettingen by George II. of England. Defeat of the Dutch and English at Fontenoy (1744), of the Austrians under Charles of Lorraine at Rocoux (1746), and of the Allies near Laeffelt (Lawfeld) in 1747. Taking of Maastricht and Peace of Aix-la-Cha- pelle, 1748. Naval war against England. Seven years’ war with England. Duke of Cumberland defeat- ed by Marshal d’Estrees , 1757. The French under Prince de Soubise defeated the same year by Frederick the Great at Ross- hach, and in 1758 at Crefeld^ by the Duke of Brunswick. The French defeated at Minden (1759), etc. The French defeated by Marshal Broglie at Bergen^ 1760. — French possessions in N. Amer- ica surrendered at the Peace of Paris^ 1763. — Acquisition of Lorraine (1766) and Corsica (1768). — Voltaire, Rousseau, and Diderot the most influential writers. Louis XVI., 1774, married to Marie Antoinette^ daughter of Francis I. and Maria Theresa. American War of Independence against England, 1777-83. Exhaustion of the finances of France ; Vergennes, Turgot, Necker, Calonne , Brienne , and Necker (a second time), ministers of finance. 1789. Revolution. Assembly of the States General at Ver- sailles, 5th May. Their transformation into a National Assembly, 17th June. Oath of the Jeu de Paume (p. 333), 20th June. Storming of the Bastille, 14th July. The ‘Femmes de la Halle’ at Versailles, 5th Oct. Confiscation of ecclesiastical property, 2nd Nov. 1790. Fete de la Federation in the Champ-de-Mars (p. 287). 1791. The Emigration. The royal family escapes from Paris, but is intercepted at Varennes, 22nd June. Oath to observe the Con- stitution, 14th Sept. Assemhlee Legislative. 1792. War with Austria, 20th April. Storming of the Tuileries, 10th Aug. The king arrested, 11th Aug. Massacres in Sept. Cannonade of Valmy against the Prussians, 20th Sept. The Na- tional Convention opened, and royalty abolished, 21st Sept. First Republic proclaimed, 25th Sept. Custine enters Mayence, 21st Oct. Battle of Jemappes against the Austrians, 6th Nov. Con- quest of Belgium. 1793. Louis XVI. beheaded , 21st Jan. Republican reckoning ML HISTORY. xix of time introduced, 22nd Sept. t. Reign of Terror. The queen beheaded, 16th Oct. Worship of Reason introduced , 10th Nov. Loss of Belgium. 1794. Robespierre’s fall and execution, 27th July. Jourdan’s victory at Fleurus, 16th June. Belgium reconquered. 1795. Conquest of Holland by Pichegru. Bonaparte commander of the troops of the Convention against the Royalists, 4th Oct. (13th Vendemiaire). Directory established, 27th Oct. 1796. Bonaparte’s successes in Italy ( Montenotte , Millesimo^ Lodi, Milan, Mantua, Castiglione, Bassano, and Areola). 1797. Victory at Rivoli, 17th Jan. Taking of Mantua, 2nd Feb. The Austrians commanded by Archduke Charles , at first victorious, are defeated by Bonaparte. Peace of Campo Formio, 17th Oct. Change in the Directory on 18th Fructidor (4th Sept.). 1798. Bonaparte in Egypt. Victory of the Pyramids, 21st July. Defeated by Nelson at the battle of the Nile, 1st Aug. 1799. Bonaparte invades Syria. Acre attacked. Victory of AbouJdr, 25th July. Fall of the Directory, 9th Nov. Establishment of the Consulate, 24th Dec. Bonaparte First Consul. 1800. Bonaparte’s passage of the St. Bernard, 13-16th May. Victories at Piacenza, Montebello, Marengo, and Hohenlinden. At- tempt to assassinate Napoleon at Paris, 23rd Dec. 1801. Peace of Luneville with Germany, 9th Feb. 1802. Peace of Amiens with England, 27th March. Bona- parte (with Cambaceres and Lebrun) elected Consul for life. First Empire. 1804. Napoleon I. proclaimed Emperor by the Senate, 18th May; crowned by Pope Pius VII., 2nd Dec. 1805. Renewal of war with Austria. Capitulation of TJlm, 17th Oct. Defeat of Trafalgar, 21st Oct. Battle of Austerlitz, 2nd Dec. Peace of Pressburg, 26th Dec. 1806. Establishment of the Rhenish Confederation, 12th July. War with Prussia. Battles of Jena and Auerstddt, 14th Oct. Entry into Berlin, 27th Oct. Continental blockade. 1807. War with Russia and Prussia. Battles of Eylau and Fried- land. Treaty of Tilsit, 8th July. Occupation of Lisbon, 30th Nov. t The year had 12 months : Vendemiaire (month of the vendange, or vintage) from 22nd Sept, to 21st Oct., Brumaire (brume, fog) 22nd Oct. to 20th Nov., and Frimaire (frimas, hoar-frost) 21st Nov. to 20th Dec., were the three autumn-months; — Nivose (neige , snow) 21st Dec. to 19th .Tan., Pluviose (pluie rain) 20th Jan. to 18th Feb., and Ventose (vent, wind) 19th Feb. to 20th March, winter - months ; — Germinal (germe, germ), 21st March to 19th April , Floreal (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, warmth) 19th July to 17th Aug., and Fructidor (fruit, fruit) 19th Aug. to 16th Sept., summer months. — Each month had 30 days, and consisted of 3 decades, weeks being abolished. At the close of the year there were 5 jours compUmentaires , 17th to 21st Sept. — The republican calendar was discontinued by a decree of 9th Sept., 1805. XX 111. HISTORY. 1808. War in Spaui, in order to maintain Josepli Bonaparte on the throne. Code Napoleon. 1809. Conquest of Saragossa. Renewed war with Austria. Battle of Eckmuhl. Vienna entered, 13th May. Battles of Aspern, or EssUng^ and Wagram. Peace of Vienna, 14th Oct. Aholition of the temporal power of the pope. 1810. Marriage of Napoleon with Marie Louise , daughter of Francis II. of Austria, 11th March. 1812. Renewed war with Russia. Battles of Smolensk and Bo- rodino. Moscow entered, 15th Sept. Retreat begun , 19th Oct. Passage of the Beresina. — Wellington’s victory at Salamanca. 1813. Battles of Lutzen., Bautzen, Grossheeren, Dresden, Katz- hack, Kulm, Leipsic (16- 18th Oct), Hanau, etc. 1814. Battles of Brienne, La Bothiere, Montmirail, Laon, Arcis- sur-Auhe, and Paris. The Allies enter Paris, 31st March. Abdica- tion of the Emperor, 11th April. His arrival at Elba, 4th May. Restoration. 1814. Louis XVIII. proclaimed King, 6th April. First Treaty of Paris, 30th May. 1815. Napoleon’s return from Elba; at Cannes" on 1st, and at Paris on 20th March. Battles of Ligny and Waterloo, 16th and 18th June. Second entrance of the Allies into Paris, 7th July. Napoleon banished to St. Helena, where he dies (5th May, 1821). 1823. Spanish campaign, to aid F’erdinand VII. , under the Due d’Angouleme, son of Charles X. 1824. Chakles X. 1830. Conquest oi Algiers. — Revolution of July (27th-29th). House of Orleans. 1830. Louis Philippe elected King, 7th Aug. Continued war in Africa ; consolidation of the French colony of Algeria. 1832. Capture of Antwerp. 1840. Body of Napoleon transferred from St. Helena to Paris. 1842. Death of the Duke of Orleans. 1848. Revolution of Februaiiy (23rd and 24th). Second Republic. 1848. Sanguinary conflicts in Paris, 23rd to 26th June. Louis Napoleon, son of the former King of Holland, elected President, 10th Dec. 1851. Dissolution of the Assemblee, Coup d'Etat, 2nd Dec. Second Empire. 1852. Napoleon III., elected emperor by p^e- hiscite, 2nd Dec. 1854. War with Russia. Crimean campaign. — 1859. War with Austria. Battles of Magenta (4th June) and Solferino (24th June). Peace of Villafranca, 11th July. — 1862. Mexican expedition. — 1867. Dispute with Prussia about Luxembourg. 1870. War with Prussia. Declaration of war, 19th July. Battles in August: Weissenburg (4th), WoVi/i (6th), Spichern (Qth), Borny, Eezonville, and Gravelotte (14th , 16th , I8th), Beaumont (30th). Battle of Sedan, 1st Sept. Surrender of Napoleon HI. III. HISTORY. xxl Third Republic proclaimed, 4th Sept. Capitulation of Strasshurg^ 27th Sept., and of Metz, 27th Oct. Battles Orleans ^ 2nd-4thDec. 1871. Battle of St. Quentin^ 19th Jan. Capitulation of Paris, 28th Jan. The Germans enter Paris, 1st March. Communard Insurrection, 18th March. Seat of government removed to Versailles, 20th March. Second siege of Paris, 2nd April. Peace of Frankfort, 10th May. Paris occupied by the Gov- ernment troops, 25th May. The Communard insurrection finally quelled, 28th May. — M. Thiers, chief of the executive since 17th Feb., appointed President of the Republic, 31st August. 1873. Death of Napoleon III., 9th Jan. — Marshal Macmahon appointed President instead of M. Thiers, 14th May. Final eva- cuation of France by the German troops, 16th Sept. — Macmahon’s tenure of the presidency fixed at seven years, 20th Nov. 1875. Republican Constitution finally adjusted, 25th Feb. 1879. M. Jules Grevy becomes President in place of Marshal Macmahon. The Chambers of the Legislature return to Paris. 1881. Expedition to Tunis. — 1882-85. Expeditions to Ton- quin and Madagascar. — 1885. Peace with China, 9th June. Peace with Madagascar, 17th Dec. — 1887. M. Sadi Carnot becomes Pre- sident in place of M. Grdvy, 3rd Dec. — 1894. Assassination of President Carnot, by the Italian Caserio, 24th June. M. J. Casimir Perier elected president two days later. — 1895. Resignation of Casimir Perier and election of M. Felix Faure to the presidency Jan. 15th and 17th. Expedition to Madagascar and annexation of that island. b. History of Paris. At the time of the conquest of Gaul by Julius Caesar, the Parisii were a tribe settled on the banks of the Sequana or Seine, and their chief village was Lutetia, situated on the present island of La Cite. In course of time Lutetia gradually increased in importance and became the occasional residence of several Roman emperors, among whom were Constantins Chlorus (250?-306), who built the palace of the Thermae, and Julian the Apostate (331-363), who referred to it as his ‘dear Lutetia’. Gratian was defeated and slain by Maxi- mus in the vicinity (383). Christianity was introduced by St. Denis about 250 A.D.; and in 360 a council was convened in the town under the name of Parisea Civitas, whence the modern name is derived. About a cen- tury later, in 451, the city was spared by the Huns, at the inter- cession of St. G-enevieve, who was afterwards adopted as its patron saint. Clovis (p. xv) established Paris as his capital in 508. Under the Merovingian and Carlovingian monarchs, who seldom resided at Paris, the city hardly extended. Little is known of it at this epoch, of which almost the only building now left is the cliurch of St. Germain- des" Pres. xxii III. HISTORY. The latter half of the 9th and the 10th cent, were times of calamity (p. xv), hut under the Capetian Dynasty the trade of Paris began to revive. - The city attained considerable prosperity under Louis VI., Le Oros (1108-37), while the names of Peter Lorn- hard and Abelard conferred fame upon it as a school of learning. The Tour St. Jacques was built under Louis VI., but his two castles, known as the Grand and the Petit Chdtelet, and his fortifications, which superseded the Roman works, have disappeared. — The reign of Louis VII. (1137-80) witnessed the establishment of the order of Knights Templar at Paris and the foundation of Notre-Dame, With Philip II. (1180-1223) a new era dawned for Paris. This monarch erected aqueducts, fountains, markets, etc., paved the principal streets, organized police, continued Notre-Dame, built a chateau on the site of the Louvre^ and constructed the third zone of fortifications round the expanding city. The schools of Paris were henceforth known as a University and the trading corporation of the Parisian Hansa was organized. Under Louis IX. or St. Louis (1226-70), who built the Sainte- Chapelle^ Paris obtained various municipal privileges; and the Sor- honne was founded by Robert Sorbon, the king’s chaplain. The great annual fair which took place in the extensive plain between Paris and St. Denis (Poire du Landit) and the famous Commercial Code drawn up by Etienne Boileau in 1258 afford proof of the early commercial importance of Paris. The population was then about 120,000. Philip IV., Le Bel (1285-1314), founded the Parlement^ or court of justice of Paris, and convoked the Etats-Generaux for the first time. During the captivity of John (1350-64) in England (p. xvi) the provost Etienne Marcel put himself at the head of the Parisians and constructed the fourth line of fortifications, which was strength- ened by the addition of the Bastille by Charles V. (1364-80). Charles also extended the Louvre, and collected a Library, which, however, was afterwards dispersed. The reign of Charles VI. (1380-1422) was disastrous for Paris. A tax upon provisions led to the revolt of the Maillotins, followed by the forfeiture of municipal privileges. Heavy contributions were levied upon the town to meet the senseless expenditure of the court, and the capital, like the rest of France, was torn by the factions of the Armagnacs and the Burgundians. The cause of the latter was violently espoused by the Cabochiens, or butchers of Paris, who mur- dered 10,000 citizens. For the first eighteen years of the reign of Charles VII. (1422-61) Paris was held by the English. Their expulsion w^as followed by a plague, of which 50,000 persons died (1437-38), and by a famine. The three following reigns, however, afforded the city time to recover, that of Louis XI. (1461-83) being marked by the introduction of printing and the erection of the Hotel de Cl any. III. HISTORY. xxlil Francis I. (1515-47) adorned and improved Paris, at tliat time a city of 300,000 inhabitants. He began the present palace of the Louvre^ the Hotel de VUle, and the church of St. Eustache; and col- lected a. Library yvMch. was the nucleus of the Bihliothlque National. The persecution of the Protestants begun by Francis I. was con- tinued under his successors, and culminated in the sanguinary Mas- sacre of St. Bartholomew (Aug. 24th, 1572) under Charles IX. (1560-74). A return to toleration under Henri III. (1574-89) in- stigated the formation of the Roman Catholic League. After the assassination of his rival the Duke of Guise^ the king was forced to flee, and was himself assassinated while besieging Paris. Henri IV. (1589-1610), having abjured Protestantism, entered Paris in 1594. During this reign the metropolis was greatly embel- lished. The building of the Louvre^ the Tuileries^ and the Pont Neufwere continued, the Hotel de Ville was completed, and the Place Roy ale the modern Place des Yosges, was built. Under Louis XIII. (1610-43) the process of embellishment was continued. The Luxembourg, the Palais-Royal., the churches of St. Roch, Val- de-Grace, etc., were built; six new Quays constructed; and the Jardin des Plantes laid out. Ste. Eustache was finished with the exception of the portal; and the Royal Printing Works and the Academic Frangaise were founded. Though at the beginning of the reign of Louis XIY. (1643 -1715) Paris suffered from the civil war of the Fronde, and though its municipal institutions were sacrificed and itself abandoned by the court, the metropolis continued to make great stride . The streets began to be regularly cleansed, lighted, and watched. Visitors began to crowd into the capital and the French nobles to erect town-man- sions or ‘hotels’. Paris gradually attracted to herself the skill and talent of the whole country. The decorative arts in particular re- ceived a great impulse , and began to extend their influence over the whole of Europe, while, as we have said, French literature now reached its zenith. This reign saw the foundation of the Hotel des Invalides, various Libraries and Academies, the Observatory, the Gobelins Manufacture, the Comedie Frangoise, the Oyer a, etc. The old fortifications were levelled and the Boulevards converted into promenades, adorned with four triumphal arches, of which the Porte St. Denis and the Porte St. Martin still remain. Similar promenades were begun on the left bank. The Colonnade of the Louvre, the Pont Royal, several Quays, the Place Venddme, Place des Victoires, Place da Carrousel, the Garden of the Tuileries, the Champs- Ely sees, etc., all date from this reign. The population of the city was then nearly 560,000. Under Louis XV. (1715-74) the Ecole Militaire, Garde-Meuble (Place de la Concorde), Pantheon, St. Sulpice, Palais Bourbon (Chamber of Deputies), College d/azarm (Institut), Ecole de Me- dicine, etc., were built, and the Place de la Concorde laid out. xxiv III. HISTORY. The tempest which had long been gathering burst in the reign of Louis XVI. (1774-93). During the Revolution the history of Paris cannot well be separated from the history of France (see pp. xviii, xix). The frightful scenes of devastation enacted during the Revolu- tion, especially in 1793, were at least beneficial in sweeping away the overgrown conventual establishments, which occupied the best sites and one-third of the area of the city. From this period, also, date many of the great institutions of Paris, including the Ecole Normale and Ecole Polytechnique^ the Musees du Louvre^ d' Artillerie^ and des Monuments Frangais^ the Conservatoire des Arts et Metiers^ the Archives Nationales^ the Institute various Libraries^ etc. In 1797 the octroi barrier, a sixth line of wall begun by Louis XVI., was completed on the site of the old exterior boulevards; and in 1798 the first industrial exhibition was held. Under Napoleon I. (1804-14), who aimed at making Paris the capital of Europe, numerous sumptuous embellishments were added. This emperor erected the Arc du Carrousel and the Colonne Ven- dome^ continued the Louvre^ added the facade of the Hotel du Corps- LegisLatif, began the Arc de VEtoile^ the Bourse^ the Fonts d'Auster- UtZj des Arts^ d'lena^ and de la Cite^ cleared the other bridges of the houses that encumbered them, reared twenty-six public Fountains^ laid out sixty new Streets^ etc. During the somewhat inglorious period of the Restoration (1814-30), the city enjoyed a golden era of prosperity. It was then that liberal politicians achieved their greatest triumphs, that French literature and art used their utmost endeavours to resume their world-wide sway, and that French society exhibited itself in its most refined and amiable aspect. At this epoch Benjamin Con- stant and Royer- Collard exercised very great influence on public opinion; Thiers and Mignet^ Victor Hugo and Xamartme began their respective cjireers ; the ‘Romantic School’ attained high importance ; and Paris became the recognised headquarters of Oriental studies and a number of other important sciences. Civic improvements pro- gressed comparatively slowly, though the Chapelle Expiatoire, Notre- Dame-de-Lorette^ St. Vincent- de- Paul, and the Fonts des Invalides, de V Arche veche, and d'Arcole date from this period, while the intro- duction of gas-lamps, omnibuses, and foot-pavements also took place. Under Louis Philippe (1830-48) building was resumed with fresh vigour. The Madeleine and the Arc de VEtoile were finished; the Obelisk and the Colonne de Juillet were erected ; the Fonts Louis Philippe and du Carrousel were built ; and the Musee de Cluny was opened. The first railways date from this reign. The present Forti- fications of Paris were also erected at this period, with Detached Forts, to which others have been added since 1870. Napoleon III. (1852-70). During the second empire Paris underwent an almost entire transformation, on a scale of magni- III. HISTORY. XXV ficciice liitlierto unparalleled. Dense masses of houses and num- bers of tortuous streets were replaced by broad boulevards, spacious squares, and palatial edifices. Ste, Clotilde, St. Augustin^ La Trinite^ St. Ambrose.^ and other churches; part of the Nouveau Louvre; the Hotel Dieu ; the Halles Centrales; the Tribunal de Commerce; the Fonts de Solferino^ de I'Alma, du Point-du-Jour., and au Change; the Opera and several Theatres; and numerous other public and private edifices date from this reign. The Chemin de Fer de Cein- ture^ the Sewers, the Aqueducts of the Dhuis and of the Vanne, and the transformation of the Bois de Boulogne and the Bois de Vincennes were among the more important public works. Universal Exhibitions were held in 1855 and 1867. In 1860 the outlying communes between the old exterior boule- vards and the fortifications were incorporated with the city, increas- ing its area by about 1000 acres and its population by nearly 300,000. The division of the city into twenty arrondissements (p. xxviii) also dates from this period. In 1861 the total population was 1,667,841. The events which led to the fall of the empire and those that followed have already been sketched (p. xxi). The siege of Paris in 1870-71 ranks among the most remarkable oc- currences in the annals of modern warfare. After the decisive battle of Sedan (p. xx) the victorious German troops pushed forward to Paris with- out delay, while the Government of the National Defence under Gen- eral Trochu made the most strenuous exertions to place the capital in a state of defence. Cattle and grain were sent into the city in immense quantities, the roads by which the Germans would probably march were rendered impassable, and the arming of the forts and the Enceinte (p, xxviii) was proceeded with as rapidly as possible. The troops in Paris at the beginning of the siege numbered about 200,000 men, but of these only 60,000 or 70,000 were regular soldiers. The besieging force was com- posed of six army-corps under the Crown Prince of Prussia and the army of the Meuse under the Crown Prince of Saxony, the full strength of which consisted of 202,000 infantry, 34,000 cavalry, and 900 guns. By 15th Sept., 1870, the advanced guard of the Crown Prince’s army was within 10 M. of Paris, and on the 17th a pontoon bridge was thrown across the Seine at Villeneuve-St - Georges (p. 368). 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. 315). 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,(X)0 men. made an ineffectual effort to break the German lines at Villejuif (p. 366), to the S. of Paris. A second attempt in the direction of Clamart (p. 302) on 13th Oct., and a third on La Malmaison and Buzanval (pp. 337, 301) 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 (p. 388). The Germans, however, succeeded in recapturing it on the 31st, after prolonged fighting and heavy loss. The besieged did not again assume the offensive till 30th Nov. , when Generals Trochu and Ducrot led large bodies of troops against the German positions to the S.E. of Pari.s. For three days the XXVI IV GENERAL REMARKS. conflict was severely contested, but on 3rd Dec. the French generals were compelled to withdraw their soldiers, enfeebled by cold and hunger, into the city, leaving their object unaccomplished. A sortie towards Le Bourget on 21st Dec. met with the same fate as the others. In the meantime the besiegers had decided on a general bombard- ment of the city. On 29th Dec. Mont Avron succumbed before the Oer- man artillery, and from 5th Jan., 1871, onwards an active cannonade was directed against the city from almost every point of its environment. The distress of the besieged now reached its climax. The hopelessness of the situation was recognised by all military authorities , but a final sortie was undertaken in deference to public opinion. The National Guards, who had hitherto been spared active service , took part in this sally, which was directed against Versailles , under cover of the guns of Mont VaUrien. The French were once more driven back, with immense loss, on 19th January. Resistance was now at an end. On 23rd Jan. Jules Favre went to Ver- sailles to negotiate an armistice , which was arranged on 28th Jan. On the following day the Germans were put in possession of the forts. The preliminaries of peace were concluded on 24th Feb. and signed on 28th Feb. Part of the German army made a triumphal entry into Paris on 1st March, but was withdrawn in two days on the prompt ratification of the treaty of peace by the National Assembly at Bordeaux. Tlie Communard Insurrection entailed a second siege of Paris (April 2nd-May 21st), more disastrous than the first, followed by a fierce and sanguinary week of street-fighting. The Tuileries and the Hotel de Yille were burned to the ground, the Vendome Column overthrown, and many other public and private edifices more or less completely ruined. Under the presidency of Thiers (1870-73) and MacMahon (1873-79) Paris rapidly recovered from these disasters. Most of the ruined buildings rose from their ashes, and new works were under- taken on the occasion of the Universal Exhibition of 1878. The Opera House was completed, the Avenue de VOpera was opened, the Palais da Trocadero and the new Hotel de Ville were built. When the Chambers of the Legislature returned to Paris in 1879, a new period of prosperity definitely dawned for Paris , signalized by the brilliant Exhibition of 1889, commemorating the Revolution of 1789. The Eiffel Tower and the Exhibition Palaces in the Champ-de-Mars were built. IV. General Remarks on Paris, Paris, the capital and by far the largest town of France, is situ- ated in 48^50' N. lat. and 2®21' E. long, on the Seine^ which flows through it from S.E. to S.W., forming a bold curve to the N. The population in 1898 was 2,536,834, including about 181,000 for- eigners. As early as the end of the 13th cent, the population was nearly 200,000; in 1675, under Louis XIV., it reached 540,000; in 1789 it was 600,000; in 1852, 1,053,762; in 1860, after the inclusion of the faubourgs, 1,525,235; in 1870, 1,825,274; and in 1891, 2,447,000. This huge city, which occupies an area of about 20,000 acres, of which 12,000 are covered with buildings. IV. GENERAL REMARKS. XXVll lies in a basin of tertiary formation, tlie borders of wbicb are about 200-300 ft. above the level of the river and 420 ft. above that of Ihe sea. The most elevated points in or adjoining the city are the heights of Charonne^ Menilmontant, Belleville (330 ft.), La Villette, and Montmartre (420 ft.) on the right bank of the Seine, and those of La Maison Blanche^ the Butte-aux~Cailles, and Ste. Genevieve (198 ft.) on the left. The length of the part of the Seine vrithin the city is about 7 M. and is crossed by 30 bridges. It contains two islands of some size, the He 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. 72). It should be noted, however, that on the left bank the old city of Paris extended as fai as the boulevards to the S. of the garden of the Luxembourg. Outside the Great Boulevards lie the Old Faubourgs or suburbs, the names of which are still preserved in those of the chief streets radiating from the centre of the city, and extending to the Outer Boulevards {Boulevards Exterieurs, p. 73). The Faubourgs them- selves are generally named after the corresponding district of the old town. The most important on the right bank, named from E. to W., are the Faubourgs St, Antoine, du Temple, St. Martin, St. Denis, Poissonniere, Montmartre, and St. Honore. Those on the left bank are less known, with the exception of the Faubourg St. Germain, which from an early period formed part of the old city. The Faubourgs of St. Antoine and the Temple are the great indus- trial districts, the former being the headquarters of the manufac- ture of furniture, and the latter of the various fancy articles classed together as ‘articles de Paris’ (real and imitation jewellery, artificial flowers, toys, articles in leather and carved wood, etc.). The Fau- bourgs of St. Martin, St. Denis, and Poissonniere are rather commer- cial than industrial, and form the centre of the wholesale and export trade of the great capital. The streets near the centre of the 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 xxviii IV. GENERAL REMARKS. to Paris. The Faubourg St. Honore and the Champs-Elysees are occupied by the mansions of the aristocracy of wealth, while the Faubourg St. Germain is more or less sacred to the aristocracy of blood, and contains most of the embassies and ministerial of- fices. The Quartier Latin or Quartier des Ecoles, which adjoins the Faubourg St. Germain on the E. , owes its name to the fact of its being the seat of the university and of many of the scientific insti- tutions of Paris. It also contains several of the chief libraries. The principal Communes Annexees, or outlying districts within the fortifications, but not incorporated with the city till 1860, are the following, enumerated from E. to W. : Bercy, carrying on an ex- tensive wine and export trade; Charonne, Menilmontant, Belleville^ La Villette, La Chapelle, and Montmartre^ the principal quarters of the working classes and the seat of the largest workshops ; Les Ba- tignolleSj with the studios of numerous artists and many handsome private houses (on the side next the Park of Monceau); Passy and Auteuilj with their villas ; Grenelle, with iron foundries and chemical works ; Vaugirard^ Montrouge, etc. , inhabited by persons of moderate means, small shopkeepers, and artisans, and containing numerous large market-gardens. The Administration of Paris is shared between a Prefect of the Seine, appointed by government, and a Town Council (Conseil Mu- nicipale), elected by the citizens. The annual budget amounts to 300,000,000 fr. (upwards of 10,000, OOOL). The city is subdivided into twenty Arrondissements, separated from each other by the principal arteries of traffic, and each governed by a Maire and two councillors : 1. Louvre; 2. Bourse; 3. Temple; 4. Hotel de Ville ; 5. Pantheon; 6. Luxembourg; 7. Palais-Bourbon; 8. Elysee; 9. Opera ; 10. Enclos St. Laurent (between the Rue du Faubourg-Pois- sonniere and the Rue du Faubourg-du-Temple) ; 11. Popincourt (extending from the Faubourg du Temple to the Faubourg St. An- toine), 12. Reuilly (between the Faubourg St. Antoine and the Seine); 13. Les Gobelins; 14. Observatoire ; 15. Vaugirard-Gre- nelle ; 16. Passy; 17. Les Batignolles-Monceaux ; 18. Montmartre; 19. Les Buttes- Chaumont ; 20. Menilmontant. The Fortifications of Paris were constructed in consequence of a decree of 1840, and were completed within five years at an expense of 140 million francs (5,600,000 ?.). The Enceinte, with its 94 bastions, is 21 M. 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 approaches to the city are also commanded by seventeen Forts Detaches, at different distances from the city, up to a maximum of 2 M. On the N. side, near St. Denis, are the Forts de la Bridie, Double Couronne du Nord, and de VEst; on the E., Fort d' Auberuilliers , near Le Bourget, Forts de Romainville, de Noisy, de Rosny , de Nogent , and de Vincennes , and the redoubts de la Faisanderie and de Gravelle; on tlie left bank of the Marne IV. OENEKAL UEMAKKS. XXIX lies Fori dc Charenton ; to tlie S. , on tlie left l)aiik of the Seine, Forts d'lvry^ de BicHre, de Monirouge^ de Vanves , and d'Issy; on the W. , the Forteresse du Mont VaP'rien, Most of these were entire- ly destroyed in 1870-71 , hut have since been rebuilt. A second line of forts, at a greater distance from the ramparts, has also been constructed on the heights commanding the valley of the Seine. On the right bank of the Seine: the Forts de Cormeilles, de Mont- lignon, de Bomon^ Montmorency ^ d'Ecouen, deStains, deVaujours, de Chelles, de Villiers^ and de Villeneuve -St- Georges ; on the left bank: the Forts de Clidtillon, de la Butte- Chaumont, de Palaiseau^ de VilleraSj deHaut-Buc, de Saint- Cyr, de Marly, deSainte-Jamme, and d’ Aigremont. The area included within this elaborate system of fortifications is 400 sq. M. in extent, and besides the capital it- self embraces the seven towns of Versailles, Sceaux, Villeneuve- St-Georges , St. Denis , Argenteuil , Enghien , and St. Germain- en-Laye. The general appearance of Paris is more uniform than that of most other towns of its size, partly owing to the mixture of classes resulting from the Great Revolution, but principally on account of the vast schemes of improvement carried out in our own days. The stranger is almost invariably struck by the imposing 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 of style, but in those at a distance from the central quarters considerable variety of taste is often shown. The central quarters of the city are remarkably bustling and animated, but owing to the ample breadth of the new streets and boulevards and the fact that many of them are j/aved with asphalt or wood, Paris is a far less noisy place than many other large cities. Its comparative tranquillity, however, is often rudely interrupted by the discordant cries of the itinerant hawkers of wares of every kind, such as ‘old clothes’ men, the vendors of various kinds ot comestibles, the crockery-menders , the ‘fontaniers’ (who clean and repair filters, etc.), the dog-barbers, and newspaper-sellers. As a rule, however, they are clean and tidy in their dress, polite in man- ner, self-respecting, and devoid of the squalor and ruffianism which too often characterise their class. In many cases they claim to have plied their vociferous trades ever since the middle -ages. Their pronunciation will, of course, often puzzle the uninitiated. On the long vowels and the letter r they usually lay prodigious stress, while XXX IV. GENERAL REMARKS. the short vowels are either pronounced in a very light and airy fashion oraltogether omitted. Another characteristic, though modern, feature in the street-noises of Paris consists of the hoarse blasts of the horns of the tramway-cars. As a rule the Parisian may he said to invite and deserve the confidence of travellers. Accustomed hy long usage to their pre- sence, he is skilful in catering for their wants, and recommends himself to them hy his politeness and complaisance. In return the traveller in France should accustom himself to the inevitable vous plait\ when ordering refreshments at a cafe or restaurant, or making any request. It is also customary to address persons even of humble station as ^Monsi€ur\ ^Madame\ or ^ Mademoiselle\ The Sergents de Ville^ or Oardiens de la Paix, who are to be met with in every street and public report, are always ready to give information when civilly questioned. Visitors should avoid the less frequented districts after night-fall, and, as a general rule, it is not advisable to linger even in other quarters later than 1 a.m. They should also be on their guard against the huge army of pickpockets and other rogues, who are quick to recognize the stranger and skilful in taking advantage of his ignorance. It is perhaps unnecessary specially to mention the card-sharpers sometimes met with in the suburban and other trains, or the various other dangers to purse and health which the French metropolis shares with other large towns. The Parisian directory, published annually, and familiarly known as the 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 contains a list of the streets and their inhabitants , while the other gives the addresses of the most important persons in the provinces, and even of a number of persons in foreign countries All strangers intending to settle in Paris must make a Declaration of their intention, with proof of their identity, within fifteen days, at the Prefecture de Police, 36 Quai des Orfevres (Palais de Justice), between 10 and 4. Foreigners who intend to practise any trade, business, or pro- fession in Paris or other part of France must also make a declaration to that effect within a week. Paris is not only the political metropolis of France , but also the centre of the artistic, scientific, commercial, and industrial life of the nation. Almost every branch of French industry is repre- sented here, from the fine-art handicrafts to the construction of powerful machinery ; but Paris is specially known for its ‘articles de luxe’ of all kinds. Paris has long enjoyed the reputation of being the most cosmo- politan city in Europe, where the artist, the scholar, the merchant, and the votary of pleasure alike find the most abundant scope for their pursuits. Nor does this boast apply to modern times only; for V. WEIGJITS AND MEASURP^S. xxxi there have been periods when it was more generally admitted to be justifiable than at the present day. For its early cosmopolitan char- acter the city was chiefly indebted to its University, to which stu- dents of all nationalities flocked in order to be initiated into the mysteries of the scholasticism which was taught here by its most ac- complished professors. At the same time industrial and commercial pursuits made rapid strides, in consequence of which the population increased rapidly, and an extension of the municipal boundaries was repeatedly rendered necessary. The adverse fortunes of the French kings frequently compelled them to give up their residence in the capital; but the municipal element continued steadily to develop itself, and at the present day forms the chief characteristic of the city. During the Revolution and the period immediately succeeding it, the unquestioned predominance of Paris, which had steadily grown since the reign of Louis XIV., received a temporary check from the political disorganisation of the day ; but under the Directory, and particularly during the First Empire, the city speedily regained its pre-eminence. With a similar buoyancy Paris not only survived the revolutions of 1830 and 1848 but has recovered from the shock of the appalling disasters of 1870-71, which seemed to threaten its very existence. V. Weights and Measures. (In use since 1799.) Engl. Feet Metres Metres Engl. Feet Engl. Miles Kilometres Kilometres Engl. Miles Acres Hectares Hectares Acres 1 0,30 1 3,28 1 1,61 1 0,62 1 0,40 1 2,47 2 0,61 2 6,56 2 3,22 2 1 1,24 2 0,81 2 4,94 3 0,91 3 9,84 3 4,83 3 1 1,86 3 1,21 3 7,41 4 1,22 4 13,12 4 6,44 4 2,48 4 1,61 4 9,88 5 1,52 5 16.40 5 8,04 5 ! 3,10 5 2,02 5 12,35 6 1,83 6 19,69 6 9,65 6 3,73 6 2,42 6 14,82 7 2,13 7 22,97 7 11,26 7 4,35 7 2,83 7 17,30 8 2,44 8 26,25 8 12,87 8 4,97 8 3,23 8 19,77 9 2.74 9 29,53 9 14,58 9 5,59 9 3,63 9 22,24 10 3,04 10 32,81 10 16,09 10 6,21 10 4,04 10 24,71 11 3,35 11 36,09 11 17,70 11 6,83 11 4,44 11 27,19 12 3,66 12 39,37 12 19,31 12 7,45 12 4,85 12 29,65 13 3,96 13 42,65 13 20,92 13 , 8,07 13 5,25 13 32,12 14 4,27 14 45,93 14 22,53 14 1 8,69 14 5,66 14 34,59 15 4,57 15 49,21 15 24,13 15 1 9,31 15 6,06 15 i 37,05 16 4,88 16 52,49 16 25,74 16 1 9,93 16 6,46 16 39,53 17 5,18 17 55,78 17 27,35 17 ! 10,55 17 6,87 17 ; 42,00 18 5,49 18 59,06 18 28,96 18 , 11,18 18 7,27 18 44,47 19 5,79 10 62,34 19 30,67 19 11,80 19 7,67 19 ; 46,95 20 6,10 20 65,62 20 32,18 20 I 12,42 20 8,08 20 49,42 xxxii Y. THERMOMETRIC SCALES. Tlio Englisli 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, = 2^/5 lbs. avoirdupois = 2'^/io lbs. troy. Quintal =10 myriagrammes = 100 kilogrammes = 220 lbs. Hectogramme (7io kilogramme) = 10 decagrammes = 100 gr. = 1000 decigrammes. (100 grammes = 31/5 oz.; 15 gr. = 1/2 oz. ; 10 gr. = 1/3 oz- i ?V 2 gr. = V4 oz.) Hectolitre = i/iq cubic metre = 100 litres = 22 gallons. Decalitre = Yiqo cubic metre = 10 litres = 21/5 gals. Litre, unit of capacity, = l^/^ pint; 8 litres = 7 quarts. The following terms of the old system of measurements are still sometimes used: — - Livre = 1/2 kilogramme = IQio lb. Pied = t/3 m^re = 13 in. Aune = IQ5 metre = 1 yd. ll in. Toise = l^/io metre = 2 yds. 4 in. Lieue = 2^2 miles. Arpent = II/25 acre. Setier = D/2 hectolitre = 33 gals. Thermometric Scales. Reaumur Fahrenheit Celsius Reaumur Fahrenheit Celsius Reaumur Fahrenheit Celsius 0 B g 'q; pH Fahrenheit Celsius +30,22 +100 +37,78 +21,78 +81 +27,22 +13,33 +62 +16,67 +4,89 +43 +6,11 29,78 99 37,22 21,33 80 26,67 12,89 61 16,11 4,44 42 5,56 29,33 98 36,67 20,89 79 26,11 12,44 60 15,56 4,00 41 5,00 28,89 97 36,11 20,44 78 25,56 12,00 59 15,00 3,56 40 4,44 . 28,44 96 35,56 20,00 77 25,00 11,56 58 14,44 3;il 39 3,89 28,00 95 35,00 19,56 76 24,44 11,11 57 13,89 2,67 38 3,33 27,56 94 34,44 19,11 75 23,89 10,67 56 13,33 2,22 37 2,78 27,11 93 33,89 18,67 74 23,33 10,22 55 12,78 1,78 36 2,22 26,67 92 33,33 18,22 73 22,78 9,78 54 12,22 1,33 35 i;6i 26,22 91 32,78 17,78 72 22,22 9,33 53 11,67 0,89 34 1,11 25,78 90 32,22 17,33 71 21,67 8,89 52 11,11 0,44 33 0,56 25,33 89 31,67 16,89 70 21,11 8,44 51 10,56 0,00 32 0,00 24,89 88 31,11 16,44 69 20,56 8,00 50 10,00 -0,44 31 -0,56 24,44 87 30,56 16,00 68 20,00 7,56 49 9,44 0,89 30 1,11 24,00 86 30,00 15,56 67 19,44 7,11 48 8,89 133 29 1,67 23,56 85 29,44 15,11 66 18,89 6,67 47 8,33 1,78 28 2,22 23,11 84 28,89 14,67 65 18,33 6,22 46 7,78 2,22 27 2,78 22,67 83 28,33 14,22 64 17,78 5,78 45 7,22 2,67 26 3 33 22,22 82 27,78 13,78 63 17,22 5,33 44 6,67 3,11 25 3,89 xxxiii VI. Remarks on Northern France. The majority of visitors to Paris will find comparatively little to interest them in the provinces of Northern France. The scenery is seldom so attractive as to induce a prolonged stay , while the towns are mere repetitions of the metropolis on a small scale. The modern taste for improvement , which has been so strongly developed and so magnificently gratified in Paris, has also mani- fested itself in the provincial towns. Broad and straight streets with attractive shop -windows are rapidly superseding old and crooked lanes ; whole quarters of towns are being demolished, and large, regular squares taking their place ; while the ramparts of ancient fortifications have been converted into boulevards, faintly resembling those at Paris. Admirably adapted as these utilitarian changes doubtless are to the requirements of the age, it cannot but be deeply regretted that the few characteristic 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 modern pictures and a number of mediocre works of the 17th and 18th centuries. The magnificent churches, however, which many of these towns possess, offer attractions not to be disregarded by even the most hasty traveller. The Gothic style, which originated in France, has attained a high degree of perfection in the northern provinces, espe- cially in Normandy, which was a district of great importance in the middle ages. Architects will find abundant material here for the most interesting studies, and even the amateur cannot fail to be impressed by the gems of Gothic architecture, such as St. Ouen at Rouen, or the cathedral of Chartres, notwithstanding the alterations which most of them have undergone. The Huguenots made de- plorable havoc in the interiors of the churches, and the Revolution followed their example and converted the sacred edifices into ‘Tem- ples of Reason’. The task of restoring and preserving these noble monuments has been begun and is now everywhere progressing. Hotels of the highest class and fitted up with every modern comfort are found in such towns only as Havre, Rouen, Dieppe, and Tours, where the influx of visitors is very great, and where the Baeuekkr. Paris. 13th Edit. o XXXIV VI. GENERAL REMARKS ON N. FRANCE. charges are quite on a Parisian scale. In other places the inns generally retain their jprimitive 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 dejeuner ( 1 ^ 2 "^ fr.) at 10 or 11 o’clock will be regarded as superfluous by most English travellers , especially as it occupies a considerable time during the best part of the day. A slight luncheon at a cafe, which may be partaken of at any hour , will be found far more convenient and expeditious. In southern districts, as on the Loire , wine is usually included in the charge for dinner. In Normandy a kind of cider is frequently drunk in addition to, or as a substitute for wine. The usual fee for attendance at hotels is 1 fr. per day , if no charge is made in the bill ; if service is charged, 50 c. a day in addition is generally expected. At the cafes also the waiters expect a trifling gratuity, but the obnoxious system is not carried to such an extent as in the metropolis. The 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 the day or the afternoon the most favourable time for visiting them. The attendance of the sacristan, or ‘Suisse’, is seldom necessary; the usual gratuity is 50 c. Considerable English communities are resident in many of the towns mentioned in the Handbook, and opportunities of attending English churches are frequent (e. g. at Calais, Boulogne, Dieppe, Havre, and Rouen). The Museums are generally open to the public on Sundays and Thursdays from 12 to 4 o’clock, when they are often crowded. Visitors may always obtain access at other times for a gratuity (1 fr.). Catalogues may be borrowed from the concierge. A fuller account of N. France is given in Baedeker's TJandhook to Northern France. Eemarks on French Art by Prof. Anton Springer. The visitor to the Metropolis of France will naturally be desir- ous of knowing something about the character and history of the national art, the chief monuments of which, at least in the provin- ces of painting and sculpture , are collected in the great public galleries of the Louvre and the Luxembourg. The Frenchman and the foreigner alike will be chiefly attracted by the works of the modern school in these collections ; but the works of an earlier pe- riod are also deserving of notice, both on account of their historical value, and as tending to throw light on the recent development and present position of French art. The different phases through which art has passed in France in the course of centuries have been surprisingly numerous. For a long period French artists served an apprenticeship with Nether- landers, Italians , and other foreign masters , until at length they evolved a peculiar style of their own which gained them univer- sal applause. They attained this distinction in the 18th century, and they enjoy a renewal of it at the present day, but their earliest triumphs were in the department of architecture so far back as the 12th and 13th centuries. It is well known that the OotMc 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. Fran^^ois 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 stylo. The b-** xxxvi 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 , hut effectually establishing the French Renaissance Architecture, a style which has to some extent again come into vogue at the present day. In the 17th century art in France was still dependent, partly on that of Italy, and partly on that of the Netherlands. Thus Simon Vouet (1590-1649) adopted the style of the Italian school, in which a stirring revival took place in his time ; and to the same school be- longed Nicolas Poussin (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 GeleCj or Claude Lorrain (1600-1682), does not properly belong to the French school, his style having been formed and matured in Italy. C^ude and Oaspar Dughet, surnamed Poussin (1613-75), are among the most distinguished representatives of the idealistic school of landscape-painting, and Claude in particular surpasses all his contemporaries in his skill in presenting finely-composed and beautiful landscapes, with their characteristic accessories of cloud and atmosphere. Contrasting strikingly with Poussin , the next painter of im- portance is Philippe de Champaigne (1602-74) 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 LesueuPs (1617-55) feeble scenes from the life of St. Bruno, or admire Lebrun's (1619-90) theatric- al heroism, unless it be remembered that he was merely a showy decorator and the ‘Directeur des Gobelins’ ; and even Jouvenei's FRENCH ART. xxxvii (1644-1717J able and vigorously-coloured works in Poussin’s style will now interest but few spectators; whereas the portraits by Mignard, Largilliere^ Rigaud, and others still delight us with their lifelike freshness and refined individuality. The ostentatious and declamatory element in French culture which was developed in the reign of Louis XIV. survived down to a late period in the 18th century. And yet there existed a second element, which played a still more important part throughout the whole of that century, although not, so to speak, officially recognised. The victory gained by this new element was due to the material changes which had taken place in the social life of the country. Paris had become the intellectual centre of the nation, and the im- portance of the court had rapidly and signally decreased. The court had indeed itself betrayed its uneasiness under the burden of the traditional bombast, and shown its preference for the incognito enjoyment of unrestrained amusement. The most marked out- come of these changes was the development of the Rococo Style of architecture and ornamentation, a style which may be described as emanating from the ladies’ boudoir. The same taste was mani- fested in the plastic forms which now came into vogue, particularly in the pleasing groups of miniature figures and other knicknacks executed for the private drawing-room ; and in the prevailing love of comic tableaux, pastoral scenes , mythological travesties , and joyous masquerades, painted in delicate roseate hues. Most deserving of careful study among the painters of the rococo period is Antoine Watteau of Valenciennes (1684-1721), the most interesting of whose works are preserved in the Collection La Gaze at the Louvre. His ‘Gilles’, one of the chief characters in French comedy, possesses far higher artistic merit than his famous ‘Em- barkation for the Island of Love’, while his ‘Indifferent’ and ‘Finette’ are masterly delineations of character, entitling him, even as a mere colourist, to a much higher rank than any of his contemporaries. The chief exponent of the less refined Rococo type is Francois HoMc/ier (1704-70), whose pictures, however, soon weary the specta- tor with their artificiality and sickliness. In the same style, but more pleasing, are the love-scenes depicted by Fragonard (1732- 1806), a master of Provence, who, like Watteau, is best represented in the La Gaze Collection. Again in sympathy with changes in the literary and social world, French painting entered on another new phase about this period, and began to draw its themes unvarnished from humble life, and to aim at greater fidelity to nature. Thus we find Chardin (1699- 1779), who was also an accomplished painter of still-life, abandon- ing the shepherds and comedians of his contemporaries, and exe- cuting such works as the ‘Grace before Meat’, the ‘Industrious Mother’, and the ‘Card House’, which derive their themes from tlie picturesque features of humble society. The chief illustrator of xxxviii FRENCH ART. domestic drama, however, was Jean Baptiste Oreme (1725-1805), whose style occasionally borders on the sentimental , and at other times degenerates into triviality. His ^Marriage Contract’, ‘Pater- nal Curse’, and ‘Broken Pitcher’ are so cleverly conceived and so full of meaning as to rivet the attention of all beholders and suggest to them the whole surrounding history of the scene ; but his talent as a painter unfortunately fell short of his poetical taste, and, as in the case of Fragonard , his peculiar style was but short-lived and soon fell into oblivion About the middle of the 18th century, when antiquarian pur- suits began to be fashionable and to influence social life, artists again began to resort to antiquity for their inspirations. Even before the Revolution there appeared numerous harbingers of this return to archaic subjects and forms, while the Revolution itself, which boasted of being founded to a great extent on ancient republi- can institutions, enabled the new school to gain a complete victory. The most distinguished representative of this school, and at the same time the father of modern painting in France, was Jacques Louis David (1748-1825) , whose political importance , as well as the fact that his school was largely visited both by Frenchmen and foreigners, contributed not a little to enhance his reputation. His style somewhat resembles that of Raphael Mengs, his German con- temporary, and his earlier works in particular betray the declama- tory element and a cold and calculated imitation of the antique. His ‘Horatii and Curiatii’, his ‘Heath of Socrates’, his ‘Brutus’, and even his ‘Sabine Women’, a work in which he aimed at reviving the Greek style of art, now possess little more than historical inter- est. — His contemporaries , Girodet (1764-1824) and Prud'hon (1758-1823), alone asserted their independence of David’s school of painting. Prud’hon in particular endeavoured to attract by re- fined sentiment and delicacy of colouring ; but owing to the temper of the age and the influence of David , which continued dominant throughout Napoleon’s regime , his efforts were attended with but little success. — The chief painters of the Napoleonic period were Gemrd (1770-1837), Gros (1771-1835), and (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- FRENOU ART. xxxix gurated by the exhibition of Theodore Oericault’s (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 promoted by the circumstance that its disciples evinced an intelligent interest in the public topics of the day and paid sincere homage to literary culture. They were enthusiastic admirers of Dante, the great mediieval poet, and showed their acquaintance with most celebrated poets and authors of other nations. They drew their favourite inspirations from Shakspeare, Goethe, Byron, and Walter Scott, and were at the same time skil- ful illustrators of the most interesting pages in their own national history. Holding but little intercourse with the art of the past, they devoted themselves entirely to the life of the present. The hostile outcry with which their first appearance had been greeted gradually subsided, and differences were smoothed over. The Romanticists used their victory with moderation, 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 Vernetj Paul Delaroche, and Jean Auguste Dominique Ingres. The reputation of Ary Scheffer was the first to fade away; but the works of Delacroix, a thorough Romanticist, who was little disposed for compromises, exercised great influence long after his death. The same may be said of the works of Ingres, whose remarkable versa- tility enabled him both to take the position of leader of the Ideal- ists and to compete with the Romanticists. Eugene Delacroix (1799-1863) appeared for the first time in the Salon of Paris in 1822, when he exhibited his ‘Dante and Virgil’. Two years later he produced his ‘Massacre at Scio’, which awakened much interest owing to the general sympathy felt for the Greeks, but at the same time roused intense indignation among artists of the older schools. It might indeed be called a massacre of all academic rules, of all sacred traditions : drawing and grouping seemed alike objection- able. Delacroix, however, persevered in his course and proceeded to xl FRENCH ART. develop Ms style consistently. He invariably composed with a view to produce effective colouring, and grouped his figures in accordance with their contrasts in colour. He intensified the lights, and collected the masses of contrasting tints, imparting to them a subdued glow according admirably with the passionate emotions and the often exaggerated vehemence of action depicted by him. This method is best exemplified by his ‘Marino Falieri’ and the ‘Assassination of the Bishop of Liege’. A visit to Algiers extended his range of subjects, and enabled him to handle his kaleidoscope colouring with still greater effect. Examples of this later period are his ‘Jewish Wedding in Marocco’ and the ‘Convulsionaries of Tan- giers’. Towards the end of his life he evinced a preference for religious compositions, in which he has embodied the tragic element with very striking success. In order, however, thoroughly to ap- preciate Delacroix’s style, the traveller should also inspect his mural paintings in the Palais du Corps Legislatif , in the Luxem- bourg, and in the Ohapelle des Anges in the church of St. Sulpice. Greatly inferior to Delacroix was his contemporary Ary Scheffer (1795-1858) ofDordrecht, 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 , hiowever, accounts to a great ex- tent for the reputation he enjoyed during his lifetime. His ‘Battle of the Suliots’ (1827) was the first work that brought him into notice. His pictures from Goethe (‘Marguerite’) and Uhland were gratefully regarded by the Germans as a well-meant tribute to their national poetry , while his religious pieces , strongly tinged with sentimentality, delighted numerous female admirers. Horace Yernet (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. Yernet attained the zenith of his reputation in 1830-40, when he painted the exploits of the army in the wars of the Revolution and in Algeria. He possessed a remarkable knowledge of military manoeuvres, and succeeded in grouping the most compli- cated battle scenes in a manner clear and Intelligible to the specta- tor. He was thoroughly familiar with the characteristics of the French soldier, of whom he has painted a number of admirable tvpes, while the technical details of his battles are depicted with the utmost spirit. His works, however, can boast of none of the FRENCH ART, xli more refined and subtle charms of his art. His scenes from Roman life, with which he became well acquainted during his stay in Rome as director of the French Academy, are destitute of freshness and originality, and their attractions are therefore superficial only. To Vernet is due the chief merit of introducing Oriental subjects into French painting, and of being the first to endeavour to render Biblical scenes more attractive by representing them with their ap- propriate surroundings. Closely treading upon Horace Vernet’s fame during the ‘July Monarchy’, was that of Paul 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 a historical romance , in which the harsh and unpleasing features of his characters are softened by their genre- like treatment, and which have become extensively known from engravings, may be mentioned his ‘Richelieu and Cinq Mars’, his ‘Mazarin on his Deathbed’, his ‘Cromwell by the coffin of Charles I.’ and his ‘Princes in the Tower’. Probably the best of his scenes from French and English history are his ‘Lady Jane Grey’ and his ‘Assass- ination of the Due de Guise’. His strong points , consisting of delicacy in expressing individuality and skill in arrangement of detail, as well as his inefficiency in the construction of groups, are equally traceable in his so-called Hemicyle in the Ecole des Beaux- Arts. Towards the end of his life, like Delacroix, he showed a pre- ference for religious themes, chiefly of a sombre character, such as the Sufferings of Mary, a style to which he was inclined owing to a tendency to melancholy increased by domestic afflictions. Older than these contemporaries, J. A. D. Ingres (1780-1867) survived them all. His labours extended over a period of sixty years. He began his career as an artist as a pupil of David in 1801 . Within the next ten years, after having expanded his ideas by a sojourn in Italy, he produced his ‘Yenus Anadyomene’ and his ‘Oedipus with the Sphinx’, works which vie with those of his later xlii FKJiNCU AKT. female form, Ingres neverthele^ far-fetched allegory freauentlvchns ®y®d far into the realms of great success in his’studies of colour^^^sf achieved acter are many of this fertile w - divergent in char- b.»,. ,w ,hZ p«Jr;v;rn"‘zz example, is presented hy his apotheoses of Hmer Ld Nr ,’ his ‘Francesca da Rimini’, ‘Pone Pins VTT 1 ,, *^ c- Napoleon, ‘The Spring’, and ‘The viw oTLni^ XHI ’1\ Cherubini, Bertin and Mad Dpa 7 £ 17 i t,* * portraits of •w.. »' and important as are the frescoes inPoricf I Numerous the second quarter of the T>resAn+ + churches painted since asserted that Flandrin’s pictorial frie 7 e^*^^+^’ confidently he da Paul is the finest work of in Print are indeed so able, his forL so beau tfuf l„d h masterly, that Flandrin’s wnrt« execution so .b. ■« Charles Corr^te, Tnd CoZ ’fd I 881 I t’ ^^eS), a high reputation as a raZ’o^^^^ afterwards moulded in Italy, Leopold Robert (1794 onenfti,«flw J ^““ans of the Decline’, exhibited in 1847 was Sfto iprztf Z„“ “ •'“ •'"»“•■ - 0“ •'» bibT h.„a — . ».b „ - FRENCH ART. xliii as he deserves, both of whom belong to the Idealistic School ; Hehert, who trod in the footsteps of Robert, though somewhat sickly in taste ; and Leon Benouville^ who died young, the most worthy successor of Ingres and Flandrin. The Second Empire 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- nat, P. Baudry (d. 1886), Bicard ^ and Mile. Belie Jacquemart. Of the masters of the new school Louis Ernest Meissonier (1815 -91) is generally admitted to be the most distinguished. His pic- tures, which are often of very small size, recall in many respects the Dutch masters of the 17th century, rivalling them in sterling merit and skilful execution. His colouring is less brilliant than that of many other masters, but is remarkable for its clearness and the delicacy of its silvery grey tones. His characters , admirably true to nature, are often pervaded by an innocence and amiability which lend a great charm to many of his pictures ; but he was less success- ful as a painter of battle-scenes containing numerous figures. xliv FRENCH ART. Meissonier’s graceful costumes and correspondingly pleasing fig- ures rarely date from an earlier period than the 18th century, hut a number of his contemporaries seek to attract admirers by the quaintness and uncommonness of their scenes. Fromentin (d. 1876) and Bida^ for example, have ransacked the East for this purpose, and seek to enhance the effect of their works by the representation of striking landscapes. The pourtrayal of ancient customs has now become a special province of painting to which many artists have devoted themselves entirely. The versatile Lion Gerdme 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- nt lay by the sensuousness or sensational character of his scenes. Hamon has chosen the attractive Pompeian frescoes , resembling a kind of porcelain painting, for his model. Other masters, too, while chiefly aiming at representing the attractions of the female form , frequently introduce antiquarian adjuncts. How far such works are the embodiment of ideal conceptions, and to what extent they are merely tributes to the popular voluptuousness of taste , is often not easily determined. The most famous works of this char- acter are the creations of P. Baudry^ whose paintings in the New Opera House bear magnificent testimony to the fertility of his ima- gination. Next in order may be mentioned Cabanel (d. 1889), distinguished also as a portrait-painter and a decorator, and among others Oust. Morcaw (d.l 898), Amawri/-Z)w'i;ai(d. 1885), and Pm. Levj/. Strongly contrasting with these refined idealists, Gustave Courbet (d. 1877), a prominent political agitator, is the chief modern votary of the coarsest realism. Naturally talented , and really successful as a painter of hunting-scenes and landscapes , he afterwards de- scended to the lowest depths of society for some of his themes, and ruined others by his love of singularity, paradox, and exaggeration. His views, as gathered from his later pictures, seem to be that the object of art is not to embellish life, but to sadden it, and to 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 Francois Millet (1815-75), the well-known delineator of peasant-life, whose works are distinguished by their ad- mirable union of finely-toned landscape with fresh and characteristic figures, and by the artist’s partiality for depicting the peasant at work rather than in his moments of relaxation. Jules Breton, another painter of the same class, suffuses his village-scenes with a kind of idealistic glow that invests them with a peculiar charm. Rustic life in different provinces of France has been admirably illustrated by Gustave Brion and Gustave Jundt (Alsace), Ad. Le~ leux and Eug. Leroux (Brittany), and others. Florentin Bonnat has signalised himself as a painter of Italian scenes. — Landscape FRENCH ART. ^Iv painting, too, has undergone vicissitudes and conflicts similar to those already mentioned. In this province also, after the ahandon- ment of painting in the classical style and on a large scale, the school which has become dominant devotes itself almost exclusively to the study of unambitious subjects, taken directly from nature, and rendered attractive by sedulous attention to light and shade. It was long before Corot (d. 1875), Theodore Rousseau (d. 1867), Ca- bal (d. 1893), Dupre (d. 1889), Fran^ais (d. 1897), and Daubigny (d. 1878), 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 po- pular in France, has found in Alphonse de Neuville (d. 1885) and Edouard Detaille worthy successors of H. Vernet, Charlet^ Raffetj and other eminent battle-painters of an earlier generation. In the province of animal-painting Troy on (d. 1865), 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 Regnaultj 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 (1786-1852), whose sculptures for a long period formed the standard works of the kind. An opposite style, practised by David d' Angers (1789-1856), found less favour, except perhaps in the province of portrait-sculpture, of which he produced numerous exanples. Genre-sculpture, bordering to some extent on the Renaissance style, has been practised of late with much success. Among the most popular works of the kind are Rude's (1784-1855) ‘Neapolitan Fisherman’, DureVs (1804-65) ‘Tarantella Dancer’, and Jouffroys (1806-52) ‘Young Girl’. Most xlvi FRENCH ART. of the latest sculptors, while inclining to idealistic principles, have also admitted naturalistic elements; they show a preference for the pourtrayal of action and passion, and do not always avoid an approach to the picturesg^ue. Since the time of Pradier and David d’Angers two new generations have sprung up, among whom Quil- laume, Cavelier (1814-94), and Dumont (1801-84) are the most distinguished seniors, while Perraud (1821-76), Bourgeois^ Barrias (‘Oath of Spartacus’), Moreau, Mercie (‘Gloria Yictis’), Maindron (1801-84), Chapu (1833-91), and Carpeaux (1827-75) are also names of repute. In the special department of animal-sculpture the most marked success has been achieved by Barye (1796-1875). In the execution of his ‘Florentine Singer’ Paul Dubois (1829-83) took a very promising step by reverting to the early Italian Renais- sance style. One of the chief glories of the French plastic art, however, as is well known, consists in its bronze works, which are unrivalled both in technical manipulation and in artistic taste. Indeed the in- timate association of the artist and the art-handicraftsman, and the perfection to which the works of the latter are brought in almost every branch, form the most characteristic features of Parisian art, and are traceable to the foundation of the Gobelins Manufactory oy Colbert in 1666. PARIS PRELIMINARY INFORMATION. 1. Arrival in Paris. Railway Stations, see p. 24. — Tlie Custom-house examination of hand- baggage from abroad takes place at Calais or other port of entry, but travellers must also declare the nature of its contents to the octroi officials at the exit from the station in Paris. Articles of food are liable to duty, payable at the adjoining octroi-office. Travellers with luggage-tickets have usually about 10 min. to wait till the baggage is all arranged for distribution on the long tables in the Salle des Bagages. This interval should be employed in en- gaging one of the fiacres or cabs which are in waiting outside the station. (The cabs in the first row are generally pre-engaged.) After receiving the driver’s number (numero) and telling him to wait for the luggage (Westez pour attendre les bagages'), the traveller may proceed to superintend the examination of luggage (comp. p. xiii). Hand-bags and rugs should not be lost sight of, or deposited in the cab before the traveller is himself ready to take bis seat, as there are numerous thieves always on the look-out for such opportunities. As soon as the traveller is released from the custom-house examination , he should secure the services of a porter {facteur, 20-30 c. for a single trunk, 50 c. for several), telling him the number of the fiacre engaged. Cab-fares, see the ‘numero’ or tbeAppx.p. 33. The ordinary omnibuses are not available for travellers with luggage, and considerable acquaintance with Paris is moreover necessary to understand the various lines (comp. p. 22). The latter remark also applies to the Railway Omnibuses from the Gare de Lyon and the Gare d’Orleans, for though these vehicles take lug- gage, their routes lie outside the quarters preferred by visitors. — The Voitures Speciales (see below) and the railway Omnibus de Fa- mine are comfortable conveyances for families or large parties. The latter are usually to be found waiting at the station, but it is safer to order one by telegram (forwarded gratis by any station-master on the route), or by letter the day before arrival, addressed to the Chef du Bureau des Omnibus at the station where the traveller is to alight. The charge varies according to the station and the size of the omnibus required (usually with 7 or 12 seats). Detailed information may be found in the Indicateur des Chemins de Fer (p. xiv). Railway offices in Paris, see p. 26. The Voitures Spiciales at the Gare du Nord and the Gare de VEst resemble the Voitures de Remise (p. 20), but are stationed in front of Baedeker. Paris. 13th Edit. f 2 2. HOTELS. Freliminary tliein beyond the omnibuses (see the placards); fares, per drive, including luggage, for 4 pers. 21/2 fr. by day (6 or 7 a.m. to 12.30 a.m.), by night 3 fr., or when ordered beforehand 3 and 4 fr. — The Voiiures Sp4ciales at the Gare de I' Quest have the same tariff as the ordinary cabs with four seats (comp. Appx., p. 33), but are dearer if ordered beforehand and for the drive to the Gare de Lyon or Gare d’Orleans. Comp, the Indicateur. Travellers arriving late at night, and not wishing to put up at one of the large hotels mentioned at p. 3, had better proceed on foot with their hand-baggage to the nearest hotel, leaving their heavy luggage (the receipt for which they retain) to be claimed next day. Hotels near the stations, see p. 8. 2. Hotels. Alphabetical list at the end of the Book^ after the Index. Travellers for pleasure, with whom economy is of no serious mo- ment, will naturally prefer either the Boulevards or the principal streets in the vicinity of the Opera, the Louvre, and the Bourse, especially if ladies are of the party. Gentlemen travelling alone may, on the other hand, secure very comfortable quarters at a much more moderate rate in various side- streets or in the less central districts, as well as on the left bank of the Seine. The following list of Parisian hotels comprises merely a selection of the better known houses in the quarters frequented by strangers. It is often difficult to draw the line between houses of the first, and those of the second class , but the situation and charges may generally be regarded as determining this point (p. 3). When la- dies are of the party an unmistakably first-class hotel should always be selected. The prices given here have been obtained on the best available authority, but their absolute accuracy cannot be guaranteed, for changes are always liable to occur. Enquiry as to prices should always be made on the day of arrival or the day following, to prevent unwelcome surprises. This is quite customary, even when the visit is to be of a night’s duration only, and it is especially useful in the case of hotels which do not publish their tariff. The rooms first offered to travellers are rarely either the best or the least expensive. When a prolonged stay is contemplated the hill should he obtained every two or three days, in order that errors, whether accidental or designed, may be detected. When the traveller intends to start early in the morning, he had better pay, or at least examine, his bill on the previous evening. There is no obligation, direct or indirect, to partake of the table d’hote meals in the hotels ; and for sight-seers it would frequently be a great inconvenience to have to return to the )iotels for these meals. Articles of Value should never be kept in the drawers or cup- boards at hotels. The traveller’s own trunk is probably safer; but it is better to entrust them to the landlord, from whom a receipt should be required, or to send them to a banker. Doors should be locked at night. Information. 2. HOTELS. 3 The charge for meals stated in the following list includes wine, unless the contrary is stated; and lights and attendance are sometimes included in the charge for rooms. Meals served separately or in private rooms are usually, of course, charged higher. Even when Attendance is an item in the bill, it is usual to give the concierge, the ‘boots’, and the waiter by whom the traveller has been specially attended, a fee of 1-3 fr. each, accord- ing to the length of the sojourn in the hotel. No hotel can be recommended as first-class that is not satisfactory in its sanitary arrangements, which should include an abundant flush of water and a supply of proper toilette paper. Eight Bank of the Seine. The largest hotels in Paris are : the *H6tel Continental , Rue de Castiglione 3 , and Rue de Rivoli (Plan, Red, 18; special plan Jit), opposite the Garden of the Tui- leries. — The ^Ghand H6tel , Boulevard des Capucines 12, ad- joining the Opera House (PI. R, 18 ; II). — The *Giiand Hotel DU Louvre, Rue de Rivoli 172, adjoining the Palais-Royal (comp. PI. R, 20; 71). — The Hotel Terminus, at the Gare St. Lazare (PI. B, 18), and the *H6tel Moderne, Place de la Republique (PI. R, 27; III; p. 7), are not quite so well situated as the others, being beyond the strangers’ quarters. These hotels , magnificent edifices occupying whole blocks of streets, and each containing 300-600 rooms, are admirably managed. Travellers are sure to find accommodation at any of them , at any hour of the day or night ; but many will prefer the smaller, quieter, and less expensive houses, especially when ladies and children are of the party. On arrival a room at the desired charge is asked for at the bureau, where also the bill is afterwards paid. It is not ne- cessary to take any meals in the house, and articles are paid for as consumed. The hotels are, of course, provided with lifts. The ordinary charges are : R. 4 to 10 fr., L. 1 fr., A. 1-1 V 2 (tea or coffee with bread and butter) 1-2Y2 fr. , dej. 5 fr., table d’hote 6 (Louvre), 7, or 8 fr. (Grand Hotel). In the Rue de Rivoli : 172, *Grand Hotel du Louvre (see above); *Meurice, 228, R., L., & A. from 6, B. 2, D. 6 fr., wine extra ; ^Windsor, 226; ^Brighton, 218, R., L., & A. 6, B. 1V2"^5 D. 7 fr., wine extra; *Wagram, 208, R. 4-5, B. lt/ 2 ) dej* d, D. 6 fr., wine extra ; Jardin des Tuileries, 206 ; *St. James & d’Albany, 202, R. 4-15, L. t/ 2 , A. 1, B. 2, dej. 4-6, D. 6-8 fr., wine extra. These six, all of the first class and opposite the Garden of the Tuileries, are much frequented by English travellers. Rue de Rivoli 83, not far from the Louvre, *H6tel Ste. Marie. In the Rue du Louvre, 40, Hot. Central, near the Bourse de Commerce. In the Rue St. Honore (PI. R, 18 ; 77), first-class, frequented by English travellers: Hotel de Lille et d’Albion, 223 (R., L., t For explanation of references to Plan, see end of the book, before the index of streets. The italicised Roman numerals (77) 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. 4 2. HOTELS. Preliminary & A. 5-15, B. 13/4 j dej.4, D. 5fr., wine extra); Grand Hotel St* James, 211; Hotel de France et de Ohoiseul, 239 & 241. Rue d" Alger 13 and Rue St. Honore 221 , Hotel d’ Oxford et de Cambridge, good, R., L., & A. 4-8, B. 11/2? 4ej. 31/2? I^* ^ Ir. — Rue d’ Alger 4, *de la Tamise, R., L., & A. 4-12, B. 11/2, 4ej. 3^/2, H. 4^2 Ij*., wine extra. Rue d’ Alger 1 and Rue de Rivoli, Gibraltar. In the Rue St. Roch: 4, Hotel de Paris et d’Osborne, R., L., & A. 3-11, B. 11/2, dej. 4, H. 4 fr. ; 5, St. Romain, R. 3-10, L. 1/2, A. ^2 Ir* — Hyacinthe 5 , near the Marche St. Honore, Prince Albert, unpretending hut comfortable. In the Place Vendome (PI. R, 18; IP): ^Bristol (patronized hy the Prince of Wales), *dxj Rhin, Yendome, aristocratic houses, with special clientMes; Ritz (No. 15), building. In the two streets leading respectively southwards and north- wards from the Place Yendome are several large hotels , much fre- quented hy English visitors. Rue de Castiglione: *Continental, No. 3 (see p. 3); Balmoral, 4, R., L., & A. from 7, B. 11/2? 4ej. 4, D. 6 fr. ; DE Londres, 5; Metropole, 6, R., L., & A. from 6, B. 11/2) H. 5fr., wine extra; Castiglione, 12; Dominici, 7; de Liverpool, 11. — Rue de la Paix : *Mirabeau, 8, a family hotel, with comparatively few rooms (6-13 fr.); de Westminster, 11 & 13 ; DE Hollands, 18 & 20 ; des Iles Britanniques, 22 ; all of the first class. — Rue Camhon: 8, Metropolitain, R., L., & A. from 6, B. 2, dej. 5, H. 6 fr., wine extra; 37, Hotel de Castille. In the Avenue de V Opera (PI. R, 18, 21 ; IT) : *Bellevue, 39, R., L., & A. 4-15, B. 11/2, dej. 5, D. 7 fr. ; des Deux-Mondes, 22. — In the Rue de VEchelle: 11 and 7, *H6tel Binda and *Grand Hotel Normandy, both good hotels frequented hy the English. — Rue Ste. Anne llhis. Hotel Paris Centre, of the first class. In the Rue Daunou (PI. R, 18; II) : Grand Hotel de l’Ami- RAUTE, 5 ; Chatham, 17 & 19 (slightly dearer; English guests); DE Choiseul et d’Egypte, 1 ; DE Rastadt, 4 ; DE l’Empire, 7 ; d’Orient, 6 & 8, R. from 4 fr. — In the Rue des Capucines, No. 5, Hotel de Calais, R., L., & A. 4, B. 1^2? 4ej. 3, D. 4 fr., wine extra. — In the Rue Louis-le- Grand (PI. R, 18; II) : Hotel de Boston, 22, R., L., & A. 3-8, B. ^/4-lV4? 4ej. 3, D. 4 fr. ; Louis-le- Grand, 2 (meuhle). In the Rue d'Antin: d’Antin, 18, R., L., & A. 3, B. II/4, dej. 3, D. 4fr.; Raynaud, 20, R. 3Y2“10 fr. ; des Etats-Unis, 16 ; MaP sons Meuhlees, 18 and 22. — Rue de Port-Mahon 9, Hotel de Port-Mahon, R., L., & A. from 2, B. II/4, dej. 2 ^/ 2 , D. 3 fr. In the Boulevard des Capucines (PI. R, 18 ; II): 37, Grand H6tel des Capucines, R., L., & A. 5-15 fr., B. 172-2, dej. 4, D. 6 fr., wine extra ; Matsons Meuhlees, 25 and 29, R. 3-6 fr. Near the Madeleine (PI. R, 18; //): Cite du Retiro, 5, Hotel Perey, R., L., & A. 6-7, B. 172, dej. 3, D. 4 fr. , wine extra; 9, Information. 2. HOTELS. 5 *H6t. & Pens. Tbtb, R., L., & A. 4, B. I74, dej. 2^2, D* 31/2 fr.j wine extra ; *H6tel be la Cite du Retiro, R. from 21/2 fr* — Eue Boissy d' Anglos 15, Hotel Youillemont, R., L., & A. from 5, dej. 4, D. 6 fr. — Boulevard Malesherbes 26. Hotel Malesherbes, R., L., & A. 4-10, B. dej. 5, D. 7 fr. — Rue de la Bienfaisance 16, Grand Hotel Alexandra, well situated, to the right of St. Augustin and opposite the Avenue Portalis, pens. 9-12 fr. (English guests). — In the Rue de V Arcade: Bedford, 17 & 19, English, R., L., & A. from 5, B. 11/2? dej. 4, D. 6 fr., wine extra ; Newton, 13 ; DE l’ Arcade, 7, R., L., & A. 3-5, B. 1, dej. 3, D. 4 fr. — Rue Pasquier 32, Buckingham, R., L., & A. 4-8, B. 1^2? dej. 2^/25 3^/2 fr. — In the Passage de la Madeleine., at the end of the Place : 4, Hotel Lartisien; 6, Hotel Pfeiffer, both unpretending. — Rue de Size 16, Hotel de Seze, R., L., & A. 2-8, B. 1^2 fr. To the S. of the Boulevard de la Madeleine, in the Rue Riche- panse: 15, Hot.-Pens. Rapp, R. 4, L.t/2, B. 1^2? dej. 3^/2, D. 4 fr., well spoken of; 11, Hotel du Danube; 6, de la Concorde; 14, Richepanse (meuble). — RueDuphot: 8, Burgundy, frequented by English visitors ; 20, de l’Amiraute (meuble). To the N. of the same Boulevard, nearer the Opera : Rue de Caumartin: 14, Hotel de Grande Bretagne, R., L., & A. from 4, B. I-IV21 dej. 4, D. 5 fr. ; 33&35, *St. Petersbourg, R., L., & A. from 5, B. 11/2, dej. 3, D. 4 fr., wine extra. Near the Opera: *Grand Hotel, see p. 3 ; hotels in the avenue, boulevards, and adjoining streets , see above and below. — Rue Scribe 15, Grand Hotel de l’Athenee, expensive, frequented by Americans. Boulevard des It aliens (PI. R,21; //), No.32, and Rue duHelder6, *H6tel de Bade, R. 4-10, L. & A. 2, dej. D. 6 fr. ; same Boulevard, 2, and Rue Drouot 1, *H6tel de Russie. To the N. of the Boulevard des Italiens. In the Rue du Helder : 9, Hotel du Helder; 11, Richmond, R., L., & A. 5-14, B. 1V2> dej. 4, D. 5 fr.; 16, de l’Opera, R., L., & A. 41/2-1^, 1V2» dej. 31/2? ^ fr., well spoken of; 8, du Tibre, R. 4-12 fr. ; 40, duNil. — In the Rue Taitbout: 4 & 6, d’Espagnb et de Hongrie ; 12, Taitbout. — Rue de CJidteaudun 30, de Berne, R. & A. from 3 fr. In the Rue Laffitte, also issuing from the Boulevard des Italiens (PI. B, 21 ; //) : 20 & 22, *Byron et de France, R., L., & A. 3-6, B. 11/2, dej. 31/2) ^ fr* j 38, Laffitte, R., L., & A. 3-7, B. lt/4, dej. 3, D. 31/2 fr*; 32, des Pays-Bas; 16, Maison Meublee. In the Rue Le Peletier, parallel to the Rue Laffitte : 5, Grand Hotel de l’Europe, R. 21/2-IO fr. ; Matsons Meublees at Nos. 13 and 27. — Rue Rossini 16, ^Rossini, R., L., & A. from 2^2? ®* dej. 3, D. 4 fr., well spoken of. In the Rue Lafayette, parallel to the Boulevards on the N. (PI. B, 21): 5, near the Opera, Grand Hotel Suisse, R. 3-6, L. t/2, A. t/2, B. lt/2, dej. 31/2? 4:V2 fr* — Adjoining the last, in the 6 2. HOTELS. Preliminary Cite d^’Antin: 10, Hotel Yictoria, R. 2-11 fr. ; 1 & 3, and 57 Rue de Provence, de France. — Rue St. Georges 18, Hotel St. Georges (meuble). To the S. of the Boulevard des Italiens (PI. R , 21 ; IT), Rue de la Michodiere 9, Hotel d’Ostende, R. 2-8, L. t/ 2 , B. II/ 4 , dej. 2^2> D-3V2 unpretending. — Rue Monsigny: 9, Grand Hotel DE LA Neva, R. 3-6, dej. 3, D. 4 fr. ; 1, Monsigny. — Rue Mari- vaux 6, Favart. — Rue de Grammont: 2, Grand Hotel du Peri- gord; 1, DE Manchester, R. about 4 fr., well spoken of. To the S. of the Boul. des Italiens and the Boul. Montmartre. Rue de Richelieu (PI. R, 21 ; II, III): 63, *de Malte, R. 3-6, L. t/ 2 , A. 3 / 4 , B. 1^2) . 4 fr. — Rue Bergere 34, *Gn. Hot. Bergere, R. 3-6, L. ^/2, A. 1, B. IY2J dej. 4, D. 5fr. — Rue Richer (PI. R, 21; HI), 60, Gr. Hot. Richer. — Rue de Trevise (PI. R, 21 ; ///), a quiet street: 10-12, *DE Cologne ; 7, de Belgique et de Hollands ; 18, de Trevise ; 44, DE LA Hayane ; 46, DE Fribourg, at the corner of the Rue Lafayette. — Rue du Conservatoire (PI. R, 21 ; HI), parallel to the last : 17 (and Rue Richer 11), de Baviere ; 7, de Lyon & de New York. — Rue du Faubourg -Poissonniere and Passage Violet, 2. HOTELS. Information. 7 Hotel Yiolet, R., L., <&- A. from 4, B. 1^2, dej. 31/2 (incl. wine and coffee), D. 5 fr. (incl. wine). The hotels in the Rue St. Denis, Boul. de Sdbastopol, Boul. de Strasbourg, and that neighbourhood, are somewhat distant from the principal sights, but well situated for business purposes. — Rue Greneta 39, Hotel des Palmiebs, new, R. 2 ^ 2 “^ fr. — Rue St. Martin 326, near the Boulevards, du Plat d’Etain, R. 3-4 fr., with restau- rant. — Rue de Turhigo: 39, dtj Chariot d’Or, R. 2-5fr. ; 67, Grand Hotel Europeen, R., L., & A. 4 Y 2 , 3, D. 3t/2 fr. — Boulevard Sebastopol 112, near the main Boulevards, de France et d’Algerie. — Rue du Caire 4, near the Arts et Metiers, de France, de'j. 3, D. 31/2 fr- — Square des Arts et Metiers^ N. side, Vauban. Place de la Republique (PI. R, 27; ///), Hotel Moderns, a large establishment (see p. 3), R. 3-15, B. 11 / 2 , 4, D. 5 fr. — Avenue Victoria 20, near the Hotel de Yille, *H6 tel Britannique, English, R., L., & A. 2 %-' 7 , B. 1 1 / 4 , I>- 33/4 fr. In the Champs- Ely sees : Meyerbeer, Rue Montaigne 2, at the Rond-Point; d’Albe, Avenue des Champs-Elysees 101 and Avenue de FAlma 73, R., L., & A. 6-12, B. 11 / 2 -^, ^ej. 5, D. 7 fr. — The following are English hotels of the first class : Palace Hotel, Avenue des Champs-Elysees 103-113, building; Imperial, Rue Christophe-Colomb 4 ; Hotel Campbell, Royal Hotel, Avenue de Friedland, 61 and 43 ; Langham, Rue Boccador 24, R. 5-20, B. 2, dej. 5, D. 6 fr., wine extra ; Hotel d’Iena, Rue d’lena 26-30, similar charges ; Belmont, Rue Bassano 30 (Avenue Marceau). — Hotel du Palais, Cours la Reine 28. — Less pretending hotels are to be found at Rue Balzac 3, 4, 8, and 11, Rue Leo-Delibes 11 (8-10 fr. per day). Rue Galilee 47, etc. Left Bank of the Seine. The hotels on the S. side of the river, being at some distance from the*Louvre and the Boulevards, are less conveniently situated than the above for sight-seeing, especially if the traveller’s stay be short. Quai Voltaire (PI. R, 17 ; 7F), 19, *H6tel du Quai-Yoltaire. — Rue de Lille 45, des Ambassadeurs, R., L., & A. 3-8, B. D/ 4 , dej. 3^2) 1^. ^ fr. — Rue de Beaune 5, de France et de Lorraine. — Rue de VTJniversite : 32, des Ministres; 22, de l’Univbrsite; 4, St. Georges. — Rue Bonaparte: 3, de Londres, R., L., & A. 2-5 fr., L. 40 c., B. 1, dej. 21 / 2 ? 1^- 3 fr. , well spoken of; 61, Bona- parte, near St. Sulpice. — Rue duVieux-Colombier : 4, Yatican. — Rue des Saints-Peres 65, des Saints-Peres, R., L., & A. from 4, D. 4, pens, from 10 fr. — Rue de Crenelle 16 & 18, du Bon-La- FONTAiNE. The last three hotels are frequented by the clergy. — Rue Jacob: 50, d’Orsay; 44, Jacob, unpretending; 22-24, d’Angle- TERRE ; 58, Matson meublee^ well spoken of. — Rue de Seine : 52, DE Seine R. 2Y2~5 fr.; 63, du Mont Blanc. — Rue de Tournon 33, near the Palais du Luxembourg, Foyot. 8 2. HOTELS. Preliminary The following are in the Quartier Latin (comp. p. 223). Boule- vard St. Michel (PI. R, 19; F) : 3, Gn. Hot. d’Harcouht; 31, Gr. Hot. de Suez; 21, 41,' and 43, Maisons Meuhlees. — Rue Racine2, close to the Boulevard St. Michel, des Etrangers, R., L,, & A. 21/2-5 (30-80 fr. monthly), B. 1, dej. 2, D. 21/2 Ir- — de VEcole-de- Medecine 4, *St. Pierre, R., L., & A. 1V2-3V2> 4ej. 2, D. 2fr., unpretending. — Rue de laSorhonne: 8, Montesquieu; 10, des Facultes; 12, DU College de France; 14, Gerson; 18, Rollin, the largest of these. — Rue du Sommerard 22, du Midi, R. 21/2- 31/2, L. 1/4, B. 3/4, dej. 21/2, D. 3, pens. 8 fr. — Rue des Carmes 5, Hotel des Carmes. — Rue des Ecoles: 41, Maison Laille, R. 21/2“ 5 fr. per day, from 60 fr. per month, dej. 21/2? ^V2 Familles, R. 30-60 fr. per month. — Rue Cujas^ near the Boule- vard St. Michel : 18, DE Constantine, 17, du Mont St. Michel, both well spoken of. — Rue Oay-Lussac, near the Luxembourg: 6, Hotel d’Athenes ; 9, de l’Univers; 29, Gay-Lussac. — Rue Corneille 5, adjoining the Odeon, Corneille, R., L.,&A. 3-51/4 fr., B. 60-80 c., dej. 2, D. 21/2, pens. 7-9 fr. — Rue Casimir Delavigne : 7, a little lower down , St. Sulpice, R. 21/2-6, 30-70 fr. per month, dej. 1^/4, D. 2fr. — Rue de Vaugirard: 11, Malherbe, moderate ; 64, du Luxembourg (meuble), opposite the Luxembourg garden. Hotels near the Stations. Near the Oare du Nord (PI. B, 23, 24) : Grand Hotel du Chemin de Fer du Nord, Hotel Cailleux, both opposite the exit from the station ; Hotel Belge, Rue St. Quentin 35bis; Hotel de la Gare du Nord, Rue St. Quentin 31, R., L., & A. 2-8, dej. II/4 fr. Near the Oare de VEst (PL B, 24) : Hotel Francais, Rue de Strasbourg 13, to the right on leaving the station, R. from 31/2 fr. ; then, in the Boulevard de Strasbourg : 74, *H6tel de l’Europe, R., L., & A. 33/4-63/4, B. 11/4, d^j. 21/2, D. 3 fr., wine extra; 72, Hotel DE Paris, with restaurant, dej. 21/2, H. 3 fr. ; 87, Hotel Cham- pagne & DE Mulhousb, unpretending, well spoken of. In the Rue de Metz, on the same side as the arrival platform : 6, Hotel de Bale, R., L., & A. 21/2-6, B. II/4 fr. ; 4, Hotel St. Laurent &de Mulhouse. In the Rue de Strasbourg, left side : 5, Hotel de la Yille de New York; 7, Grand Hotel de Strasbourg; 8, des Yoyageurs; 11, DU Chemin de Fer, etc. Near the Oare St. Lazare {Ouest^ Rive Droite; PI. B, 18) : Hotel Terminus, see p. 3 ; Hotel de Londres & de New York, Rue du Havre 15, opposite the station; Hotel Anglo-Americain, Rue St. Lazare 113, R., L., & A. from 4, dej. from 31/2, H. from 4 fr. ; Gr. Hotel de Rome, Rue de Rome 15 ; Bellevue (meuble). Rue Pas- quier 46 and Rue de la Pepiniere 3; also several small hotels in the Rue d’ Amsterdam. Near the Oare Montparnasse (Owesi, Rive Oauche; PI. G, 16) : Grand Hotel de France & de Bretagne, Rue du Depart 1 & 3, Information. 2. PENSIONS. 9 R. from B fr., with restaurant; Hotel de la MAume & des Colo- nies, Boulevard Montparnasse 59. Near the Oare de Lyon (PI. G, 28) : Terminus du Chemin de Per DE Lyon, Boulevard Diderot 19 & 21, R., L., & A. 3-6, B. D /2 fr. ; Hotel de l’Univers, Rue de ChMon 46, on the departure side. Near the Gave d' Orleans (PI. G, 25) : several small hotels in the Boulevard de I’Hopital, opposite the arrival side ; de la Tour d’Ar- GENT, Quai de la Tournelle 15, t /2 M. farther on, with restaurant. Pensions. A bedroom, with full board, may be obtained in Paris from 6-10 fr. per day. The Editor has reason to believe that the following boarding-houses are at present (1898) fairly comfortable. Near the Arc de TEtoile and Champs-Elysees : Mme. Bellot- Carol, Rue Boccador 24 ; Miss Wood., Avenue de la Grande- Armee 21 ; Miss Parmiter, Avenue des Ternes 88; Mme. Ducreux, Avenue Mac Mahon 9; Mile. Castrie., Rue Marbeuf 4; Pension Bevies, Rue Chateaubriand 18; Pens. Internationale, Avenue Malakoff 57 (from 6 fr.) ; Villa Marceau, Avenue Marceau 37 ; Mme. Muller Poignant, Boulevard de Courcelles Farther to the E.: Mme. Armand, Rue de Miromenil 79; Mme. Thierry, Rue de Clichy 44; Mmes. F^McL Rue Montesquieu 2, near the Palais Royal, 7-10 fr. At Passy (p. 168) : Pens. Lamartine, Avenue Victor Hugo 175, near the Bois de Boulogne, 10-20 fr. ; Villa Nicolo, Rue de Nicolo 42, R. 100-125 fr., pens. 195-235 fr. per month; Villa Victor Hugo, Rue Copernic 40, 8-12 fr., well spoken of; Villa Violette, Rue Raynouard 22. On the left bank: Mrs. Van Pelt, 145 Rue de Crenelle; Mme. Lepoids, Rue de PUniversite 195; Mme. Marche, Rue Jacob 54, unpretending; Mme. Paulmier, Rue de Seine 72, 6 V 2 - 7 V 2 fr. ; Mme. Blondeau, Rue Gay-Lussac 33, 200 fr. per month. — Lady students are received at the Franco-Eng- Ush Guild, 6 Rue de la Sorbonne, from 150 fr. per month (see p. 47). Furnished Apartments are easily obtained in all the principal quar- ters of Paris. A yellow 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 suite of rooms 250-500 fr. ; in summer prices are much lower. Rooms near the Arc de PEtoile, though perhaps somewhat out of the way for a short stay, are cheaper. Mrs. Kirk, 17 Rue des Acacias, owns several small furnished suites, adapted for English or American visitors. A room in the Latin Quarter may even be obtained for 30-50 fr. 3. Restaurants. Alphabetical list at the end of the Booh, 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’oeuvre’ must be sought for in the first-class restaurants, where, however, the connoisseur must be prepared to pay 10-15 fr. for his dinner, exclusive of wine. Parisian restaurants may be divided into Restaurants h la carte, Restaurants h prix fixe, and Etahlissements de Bouillon. We shall enumerate a few of the best, especially those in the most frequented situations (Palais-Royal, Boulevards, etc.). The least expensive are those at some distance from the most fashionable streets ; and at such establishments the cuisine is often as good as in the more 10 3. RESTAURANTS. Preliminary showy houses. The charges are stated approximately, but, like those of the hotels, they generally have an upward tendency. Besides the restaurants enumerated here, there are many others of every kind in every part of the city. Wherever the traveller may chance to take up his abode, he may depend on obtaining a tolerable luncheon and dinner at some restaurant in the vicinity, although the house may not be mentioned in the Handbook. Visitors are generally admitted to the tables d’hote of the hotels even when not staying in the house , but in some instances pre- vious notice is required. The dinners of the large hotels mentioned at p. 3 are patronised by numerous outsiders. 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 Fourchette, is a substantial meal, resembling dinner, and is served at the restaurants between 11 and 1 o’clock. The Parisian dinner-hour is 6-8 p.m. ; to avoid the crowd, strangers should not be too late. ^Gar^on, Vaddition, sHl vous plaits ‘Waiter, the bill!’ The waiter then brings the account from the '‘dame de comptoir\ and on receiving payment expects a 'pourboire' of 25-30 c. (10-20 in the inferior restaurants). When three persons dine together, it is sufficient to double the above pourboire. In the chief restaurants and cafes the waiters receive no wages, and in some cases have to share their gratuities with the proprietors. Restaurants a la Carte. At these (pp. 13, 14) the portions are generally so ample, that one portion suffices for two persons, or two portions for three. The visitor should, therefore, avoid din- ing alone. It is even allowable to order one portion for three persons. Ladies may dine at the best restaurants with perfect propriety. Most of the larger restaurants , particularly those in the Boule- vards, have private dining-rooms (’‘cabinets particulier s' or '‘salons’’)^ with separate entrances and a distinct staff of servants, where the charges are much higher than in the public rooms. It is prudent in ordering dinners in these rooms to arrange the menu and fche prices beforehand. The rooms are kept open almost the whole night. The Bill of Fare usually presents a very extensive choice of viands. At the large restaurants whatever dish is selected is sure to be found unexceptionable of its kind, but at the smaller restau- rants it is not prudent to order anything not mentioned in the ‘‘carte du jour\ Waiters, when asked what can be had , naturally enumerate the most expensive dishes first. If the diner partakes of the 'hors d’oeuvre' presented to him between the courses, consisting of radishes, butter, prawns, etc., his bill will swell into proportions for which he is probably not prepared. A whole bottle of the ordinary red table-wine, or vin ordinaire^ is generally placed on the table for each person. If, however, the traveller expressly states that he only wishes half a bottle , he has Information. 3. RESTAURANTS. 11 to pay only for what he consumes. At the smaller restaurants it is often advisable to mix the vin ordinaire with water or mineral water ; the best-known varieties of the latter are Eau de Seitz (si- phon or demi-siphon), Eau St. Oalmier^ Eau de Vais., Eau de Mon- rand., and Eau Bussang. The following list comprises the names of the commonest dishes. The triumphs of Parisian culinary skill consist in the different modes of dressing fish and ‘filet de boeuf , and in the preparation of ‘fri- candeaus’, ‘mayonnaises’, and sauces. 1. POTAGES (Soups). Potage au vermicelle, vermicelli sonp. Pdte d^Italie., soup with maccaroni. Potage d la Julienne., sonp containing finely-cnt vegetables. Purie aux croutons., a kind of pea-sonp with dice of toast. Consommi aux ceufs pocMs , broth with eggs. Tapioca., a kind of sago sonp. 2. Hors d’cedvre. Huitres., oysters. Rdties., pieces of toast. Saucisson., sliced sansage. Cornickons., pickled cncnmbers. Tourte., pate with fish or meat. Vol au Vent., light pastry with meat. Escargots., snails. Grenouilles., legs of frogs. 3. B(euf (beef). Boeuf au naturel., boiled beef. Boeuf sauce tomate, beef with tomato sance. Beefsteak., or hiftek aux pommes., beef- steak with potatoes {hien cuit., well-done \ saignant, nnderdone). Ghdteauhriand., a kind of steak. Filet aux truffes., fillet of beef with trnffles. Filet au jus., fillet with gravy. 4. Modton (mntton). Cdtelette panie , cntlets with bread- crnmbs. Blanquette fricassee of lamb. Gigot de mouton., leg of mntton. Ragoui de mouton or Navarin aux pommes, mntton with potatoes and onion-sance. 5. Vead (veal). Ris de veau, sweetbreads. Fricandeau de veau, slices of larded roast-veal, Blanquette de veau, fricassee of veal. Gervelle de veau au heurre noir, calf’s-head with brown sance. Foie de veau, calfs-liver. Rognons de veau, veal kidneys. Veau rdti, roast veal. 6. PoRC (pork). Pieds de cochon d la JSte. Menehould, pig’s pettitoes seasoned. Pore rdti, roast pork. 7. VoLAiLLE (ponltry). Ghapon, capon. Poulet, chicken, prepared in varions ways. Un quart de poulet, enongh for one person, and even for two persons at the large restanrants. {Vaile ou la cuissef the wing or the leg? the former being rather dearer). Croquette de i>o?ae'He,croqnette of fowl. Canard aux navets, dnek with young turnips. Ganeton, duckling. Caneton d la presse, duckling cooked on a chafing-dish in presence of the guest, with the juice of the carcase squeezed out by a silver press. Oie, goose. Dindon, turkey. Pigeon, pigeon. 8. OiBiER (game). Perdrix, partridge (aux choux, with cabbage and sausages). Perdreaux, young partridges. Caille au gratin, quail with bread- crumbs. Filet de chevreuil, roast venison. Civet de li^vre, ragout of hare. 9. Patisserie. PdU au jus, meat-pie. PdU de foie gras aux truffes, a kind of paste of goose-liver and truffles. 10. Poisson (fish). Baumon, salmon. Sole au gratin, baked sole. Limande, a kind of flat fish. Brocket, pike. Carpe, carp. Anguille, eel. Turbot, turbot, Raie , skate (au beurre noir , with brown sauce). 12 3. RESTAURANTS. Preliminary Maquereau^ mackerel. Truite^ tront ; truite saumonie , sal- mon-trout. Matelote^ ragout of eels. Morue^ cod. Monies^ mussels. Ecrevisses^ crabs. Homard^ lobster. Crevettes^ shrimps. 11. Salades (salads). Salade suivant la saison , salad ac- cording to the season. Laitue (pomm^e)^ lettuce-salad. Chicorde^ endive-salad. 12. Entremets or Legumes ( vegetables). Lentilles^ lentils. Asperges^ asparagus. Ariichauts^ artichokes. Petits pois^gvQQu peas (aw 6ew?re,with butter-sauce^ purde de pois^ mash- ed peas). Haricotsverts or flageolets^ small green beans, French beans ^ haricots hlancs or soissons^ white beans. Choux^ cabbages ; choux fleurs^ cauli- flowers 5 choux hlancs , white cab- bages ; choux raves , kohl - rabi \ choux deBruxelles^^rnssels sprouts^ choucroute ^ pickled cabbage {gar- nie^ with lard and sausages). Pommes, potatoes (it is not customary to add de terri). Pommes frites^ fried potatoes. Pommes sauties ^ potatoes stewed in butter. Pommes d la maitre d'*hdtel^ potatoes with butter and parsley. Pur^e de pommes^ mashed potatoes. Epinards^ spinach. Oseille^ sorrel. Garottes^ carrots. Navets^ turnips. Betteraves^ beetroot. Oignons^ onions. Tomates^ tomatoes. 13. Entremets SucRfis (sweet dishes). Omelettes of various kinds (au sucre^ souffUe^ aux confitures^ aux fines herhes^ etc.). Beignets^ fritters. Charlotte de pommes^ stewed apples. Crhme a la vanille^ vanilla-cream. Tourte aux confitures^ jam-tart. Nougat^ pudding flavoured with nuts or almonds. 14. Dessert. Various kinds of fruit. Meringue d la crime ^ cream-tarts. ParfaU., coffee-ice. The usual varieties of cheese are : Fromage (d la crime) Buisse or Che- valier (the name of a manufactur- er), a kind of cream-cheese. Fromage de Gruylre^ Gruyere cheese. Fromage de Neufchdtel (Normandy), Neufchatel cheese. Fromage de Roquefort (Aveyron), green cheese made of a mixture of sheep’s milk and goat’s milk. 15. Wines. The finer wines principally in vogue are: — Red Bordeaux or Claret: St. Emilion and St. Julien (3-4 fr.), Chdteau Larose^ Ch. Latour and GJi. Lafitte (6-8 fr.). White Bor- deaux: Sauternes (3-4 fr.). — Red Burgundy: Beaune (2V2-4 fr.), Po- mard., Yolnay., Nuits (4-5 fr.) , Ro~ manle and Chamhertin (5-8 fr.). White Burgundy : Chablis (IV 2 - 2 V 2 ‘fr.) , Montrachet (4 fr.) , and Hermitage (6 fr.). Yin frappl., wine in ice. 0ara/e/ra^^d6,caraffe of iced water* The bread of Paris is excellent and has been famed since the 14th century. Restaurants a Prix Fixe. The 'Diner h Prix fixe' resembles a table d’hote in being a complete repast at a fixed charge, which varies from 1 to 5 fr. in. accordance with the number and quality of the dishes ; but the diner is at liberty to come at any time be- tween 6 and 8, and is enabled to dine as expeditiously or as lei- surely as he pleases. Payment in some instances is made at the door on entering. Where a whole bottle of table-wine is included in the charge for dinner, half a bottle of a better quality may al- ways be obtained in its stead. Meats and vegetables are served sep- arately, but may be ordered together if desired. The cuisine is sometimes little inferior to that of the best restaurants. These Information. 3. RESTAURANTS. 13 establishments are recommended to travellers who are not au fait at ordering a French dinner. At the ‘tables d’hote’ mentioned below under this head the guests sit together at large tables, and the meal is served more or less in the hotel manner, the style and elegance varying, of course, according to the price charged, which usually includes ‘vin ordinaire’. The connoisseur in the culinary art will, however, avoid the ‘diner a prix fixe’, and betake himself with one or two discrimin- ating friends to a restaurant of the best class ; and even the soli- tary traveller will often prefer a less showy, but more substantial repast at a good ‘restaurant a la carte’. Restaurants a la Carte in and near the Palais-Royal. Galerie Montpensier (W.side), Corazza (Douix)^ first class. — Galerie Beaujolais, near the theatre, Grand-Vefour. — Galerie de Yalois, at the N, end, Vefour Jeune, also a prix fixe (3 and 4 fr.). — Galerie d’Orleans (S. side), Cafe d' Orleans. Rue de Valois 6 & 8, at the S. end of the Galerie d’Orleans : Au Boeuf d la Mode. Rue de Rivoli, in the Hotel Continental (p. 3), elegantly fitted up, with cafe. Restaurants a la Carte in the Boulevards. The even numbers are on the N., the uneven numbers on the S. side (comp, p, 3, note). Place de la Madeleine: 2, Durand; 3, Larue ; 9., Lucas. Boulevard des Oapucines : 12, Cafe de la Paix and Grand Hotel; 4, Cafe Americain; 3, Restaurant Julien. — Rue Scribe 2, English- American Restaurant and Bar. Boulevard des Italiens : 13, * Cafe Anglais., elegantly fitted up; 20, *Maison Doree, fashionable; 38, Paillard^ good. — In the Pas- sage des Princes, near the Rue de Richelieu, Nos. 24-30: *Noel- Peters, quiet. Boulevard Poissonniere : 16, Rougemont; 9, Restaurant de France ; 2, Po .ssonniere or Duflos. All these are reasonable. — Boulevard Bonne -Nouvelle 36, *Marguery, with glass-covered terrace, a fav- ourite resort of merchants. — Boulevard St. Denis 18-14, *Maire, moderate. — Boulevard St. Martin (or rather. No. 50 Rue de Bondy, which here meets the boulevard), Lecomte. — Boulevard Beaumar^ chais 3, near the Place de la Bastille, Aux Quatre Sergents. Restaurants a la Carte near the Boulevards. Avenue de I’Opera: 41, Cafe de Paris; 26, Ruth Mitchell, lun- cheon rooms (American dishes ; good but not cheap). — Behind the Opera, Rue Halevy 12 and Chaussee d’Aiitin 9, (Tavernier). — Near the Boulevard des Italiens : Rue du Helder 7, Au Lion d'Or,. first class, tastefully fitted up ; Rue de Marivaux 9 , Restaurant de^ 14 3. RESTAURANTS. Preliminary Marivaux (Joseph), well spoken of; Place Boieldien 1, Taverne de Londres (Edonard); Rue St. Augustin 10, Restaurant Gaillon, quiet and moderate. — Rue Daunou, to the S. of the Boulevard des Ca- pucines, 22, Vian^ less pretending. — Place de la Bourse 13, Cham- peaux (Catelain), with garden, first class. — Rue St. Honore 261, and Rue Camhon 16, Voisin, expensive (good wine). — Rue Royale 21, Cafe-Restaurant Anglais (Weber). — Rue St. Martin 326, near the Ecole des Arts et Metiers, Restaurant du Plat-d^ Etain^ an old- established house, frequented by provincial merchants. — Passage des Panoramas, Galerie Montmartre 10, Aldegani^ an unpretending Italian house. Other Restaurants a la Carte on the Bight Bank. Champs-Elysees. Most of the restaurants here are expensive. — To the left on entering, Ledoyen^ to the right, des Amhassadeurs, both with fine terraces ; Cafe- Restaurant du Rond- Pointy to the right at the Rond-Point, first class ; Taverne du Cirque^ etc. To the left. Restaurant d'Albe^ at the Hotel d’Albe (p. 7). — Cafe-Restaurant du Rocher, ddj. 2Y2» 1^* ^ fr., including wine. Bois DE Boulogne. All the restaurants here are on a large scale. At the end of the Avenue du Bois de Boulogne (p. 156), the Pavil- ions ChinoiSj in the Chinese style. Near the entrance beside the Porte Maillot: Oillet , Avenue de Neuilly 25. Near the Jardin d’Acclimatation : Pavilion d^ Armenonville, of the first class, well spoken of. There is also a restaurant in the Jardin d’Acclimatation. — Cafe-Restaurant de la Cascade (comp. p. 157), near the Cascade. — Beyond the race-course, near the Pont de Suresnes, the Chalets du Cycle^ frequented by cyclists. There are several other smaller restaurants beyond the bridge. — At the Porte de Madrid (p. 158), Restaurant de Madrid. — Avenue de Neuilly 93 (Rue d’Orleans), near the Jardin d’Acclimatation, Cafe-Restaurant Dehouve^ also a prix fixe (2^2 3.nd 3 fr.). There are several other cafes at the foot of the Avenue de la Grande Armee. Restaurants a la Carte on the Left Bank. Rue de Lille 33, near the Rue du Bac, Blot, recommended. — On the adjacent Quai des Grands- Augustins, near the Pont-Neuf : 51, *Laperouse. In the Quautieu Latin : *Foyotj Rue de Tournon 33, near the Luxembourg (PI. R, 19). — Boulevard St. Michel 25, Cafe-Restau- rant Soufflet. — Quai de la Tournelle 15, and Boul. St. Germain 6, De la Tour d* Argent, somewhat expensive. Restaurants near the Stations. Gare du Nord : Buffet, to the right of the facade ; Lequen, Boule- vard de Denain 9 ; Barbotte, Rue de Dunkerque 26, opposite the Information. 3. RESTAURANTS. 15 station, well spoken of ; Bouillon Duval., at the corner of the Boule- vard Magenta and Rue Lafayette. — Gare de I’Est: ^Restaurant Schaeffer, at the Hotel Fran^ais, Rue de Strasbourg 13 ; Bouillon Duval, Rue de Strasbourg 6. — Gare St. Lazare : Buffet , beside the Cour du Havre ; Restaurant du Terminus (p. 3) ; Bouillon Duval, Place du Havre 12 & 14; and several restaurants a prix fixe (p. 12). — Gare Montparnasse: Cafe-Restaurant, below the station; Cafe- Restaurant Lav enue. Rue du Depart 1; and several restaurants k prix fixe (p. 12). — Gare de Lyon : Buffet. — Gare d^Orieans : Cafe de VArc en Ciel, Boulevard de I’Hopital 2, k la carte and a prix fixe (3 fr.). Restaurants a Prix fixe in the Palais-Royal and Vicinity. Where two prices are stated, the second includes a tetter 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. 2^2 fr. ; 40, 41, Vidrequin, dej. 1 fr. 15 or 1 fr. 25, D. 1 fr. 50 c. or 2 fr. Galerie deYalois (E. side), returning towards the Louvre: 108, Vefour, ddj. 3, D. 4fr. (also a la carte); 142 & 145, Tavernier Aine, dej. 2, D. 2^2 fr.; 173, *Diner National, dej. 3, D. 3^2 or 5 fr. (paid on entering), or a la carfe^^ Place du Theatre Frangais 5 and Avenue de I’Opdra 1, Restau- rant Gazal, dej. or D. 2 or 3 fr. — Rue St. Honore 202 (1st floor), beside the Palais-Royal and opposite the Louvre, Restaurant Leon, ddj. or D. li/2j or 3 fr., a large establishment with reading-rooms, lavatory, etc. The following Tables d’Hotb may also be mentioned : *Philippe, Rue et Galerie de Yalois , Palais-Royal, 43 and 105, ddj.* 1 fr. 60, D. 2 fr. 10c.; Grande Table d'Hdte Vivienne, Rue Yivienne 2bis^ same prices ; Grande Table d'Hote du Mail , Rue du Mail 6 ; etc. Restaurants a Prix fixe in the Boulevards. Boulevard Montmartre: 8, Restaurant de Vichy, new, dej. 3, D. 31/2 fr. ; 12 (passage), *Diner de Paris, an old-established house, dej. 2 ^/ 2 , D. 31/2 fr., also ^ la carte. — Passage Jouffroy: 10, Re- staurant de la Terrasse Jouffroy, ddj. 3, D. 5fr. ; 16, Restaurant du Rocher, dej. 1 fr. 15 c., D. 2fr. Boulevard des Italiens : 27, *Diner Fran^ais (table d’hote Ex- coffier), ddj. 3 ^/ 2 , D. 41/2 fr. ; 9, Gr. Restaurant JJniversel, dej. 2, D. 3 fr. — Passage de I’Opera (Boul. des Italiens 10), Restaurant Colin, dej. 1 fr. 15 c., D. 2 fr. — Passage des Panoramas 25, Restaurant du Commerce, ddj. 1 fr. 25, D. 1 fr. 60 c. and 2 fr. Boulevard Poissonniere 24, Bruneaux, dej. 3, D. 4 fr. Boulevard St. Martin : 55, Grand Restaurant de la Porte St. Martin, ddj.l fr. 15 or 1 fr. 50 c. , D. 174“^ fr. ; 47, Restaurant 16 3. RESTAURANTS. Preliminary des Nations, dej. or I). 15, Gr, Rest, du Cercle , dej. or U. 1^/4“2^/2 fr. — = Rue de Bondy 48, Rest. Pecomte, dej. ^1/2, I). 3 fr, , incl. coffee, a la carte next door. — Boulevard Bean- marcRais 1, ad joining the Bastille, Grande Taverne Gruber, dei. 23/4, D. 3 fr., incl. coffee. Tables d’Hote. Excoffier, at the Diner Fran^ais (p. 15), Boulevard des Italiens 27 ; Table d'Eote Bouillod, Passage des Pa- noramas, Galerie Montmartre 6, dej. 2, D. 3fr. ; Blond, Boulevard Montmartre 2 (first floor), dej. I1/2, D. ^ fr* Restaurants a Frix fixe near the Boulevards. Near the Madeleine, Rue Royale 14, corner of the Rue St. Ho- nore: Darras , dej. 3, D. 5 fr. — Rue de Richelieu 104, Rest. Richelieu, with winter and summer gardens, dej. 2^/2, 3 fr. — Rue Yivienne: 47 (1st floor), Rest, de la Bourse, dej. or D. I1/2 or 2 fr.; 45, Rest, des Finances, dej. 1 fr. 60 c., D. 2-3 fr. — Rue Montmartre 170 (1st floor), Grand Restaurant de la Ville de Paris, dej. 13/4, D. 3 fr. At the Gare St. Lazare: Cafe Scossa, Place de Rome, dej. 2^/2, D. 3 fr. ; Restaurant Moderne, Rue du Havre 11, dej. 2, D. 2^2 fr. ; Restaurant du Havre, Rue St. Lazare 109 and Place du Havre, dej. 13/4, D. 2 fr. ; Au Regent, Rue St. Lazare 100, dej. 1 fr. 60 c., D. 2 fr, — Bouillon, Place du Havre. Other Restaurants a Prix fixe on the Right Bank. Near the Tour St. Jacques: Restaurant des Theatres, 1 fr. 15c.- 2 fr. ; Rue St. Denis 4 and Boulevard de Sebastopol 3 : Restaurant du Commerce, next door, same prices ; Rest, de Paris, Boul. de Se- bastopol *30, dej. 1 fr. 80-2 fr. 25 c., D. 2-272 fr- Bois de Boulogne. In the Bois itself, at the Porte Maillot, Chalet du Touring Club, dej. 372? D. 4fr. Avenue de Neuilly 93, Dehouve, dej. 272? 3 fr. (p. 14). Restaurants a Prix fixe on the Left Bank. Place St. Michel 5, Taverne du Palais, dej. 272? 3 fr. ; Place de rOdeon 1, Cafe-Restaurant Voltaire, dej. 3, D. 4 fr. — Boule- vard St. Michel 61 , Moret, 1 fr. 15 c.-2 fr. — Boulevard St. Germain : 229, beside the Ministry of War, "^Cafe-Rest, des Ministeres, dej. 3, D. 3-4 fr. ; 262, opposite. Cafe - Restaurant de la Legion d'Hon- neur, dej. 272? 3 fr. — Square Ste. Clotilde, Restaurant 8te. Clotilde, dej. 1 fr. 60-2 fr. 10 c., D. 13/4-274 fr- — Near the Gare Montparnasse: opposite the station, Cafe-Restaurant de Versailles, dej. 272? 3 fr.; Restaurant Leon, Rue de Rennes 161, dej. 1 fr. 30 c., D. 3 fr. ; Rest, de Bretagne, Rue de Rennes 146, dej. I72? D. 2-3 fr. Information. 3. RESTAURANTS. 17 Luncheon may also he obtained k prix fixe (2Y2”3 fr.) at many of the Cafes and Brasseries (eggs, steaks, cold meat, etc.). Etablissements de Bouillon. The Bouillons are restaurants a la carte of a cheaper kind, managed in a peculiar way. As in the case of the ‘diners k prix fixe’, the number of dishes to choose from is limited. The food is generally good, but the portions are rather small, and each dish, bottle of wine , and even bread is reckoned separately. The guests are waited on by women , soberly garbed , and not unlike sisters of charity. These houses are very popular with the middle and even upper classes, and may without hesitation be visited by ladies. Each guest on entering is furnished with a card, on which the account is afterwards marked. 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 2-2Y2 or upwards. A fee of 15- 20 c. is left on the table for attendance ; the bill is then paid at the desk and receipted, and is finally given up to the ‘controleur’ at the door. The ^Bouillons Duval^ originally founded in 1855 by a butcher named Duval, and now owned by a company, are the oldest of these establishments. Prices vary a little according to the situation and fittings of the branches. The largest of these houses is in the Rue Montesquieu, No. 6, to the E. of the Palais-Royal. The follow- ing, among many others, are some of the principal branch-establish- ments : Rue de Rivoli 194 (Tuileries) and 47, Avenue de I’Opera 31, Boulevard de la Madeleine 27, Boulevard des Oapucines 39, Boule- vard des Italiens 29, Boulevard Poissonniere 11, Boul. Montmartre 21, Place de la Republique 17, Place du Havre 12 & 14, Rue de Turbigo 45 (corner of Rue St. Martin) and 3, Boulevard St. Denis 11 (corner of Boul. de Sebastopol) and 26, Boul. de Magenta 101 (near the Gare du Nord), Rue des Filles St. Thomas 7, Rue du Quatre-Septembre 1 (near the Bourse), Boul. St. Michel 26 (at the corner of Rue de I’Ecole de Medecine), Rue du Pont-Neuf 10 (cor- ner of Rue de Rivoli), Rue St. Antoine 234. Bouillons Boulant^ Boulevard des Oapucines 35, Boulevard Montmartre 1, and Boulevard St. Michel 34. 4. Cafes. Brasseries. 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 Baedekjbb. Paris. 13th Edit. 2 18 4. CAFfiS. Preliminary men spend their evenings at the cafds, where they partake of coffee, liqueurs, and ices, meet their friends, read the newspapers, or play at billiards (50 c.-l fr. 20 c. per hr.) or cards. The cafes on the Grands Boulevards, however, with the exception of the Grand Cafe in the Boul. des Capucines, generally have no billiard-tables. Let- ters may also be conveniently written at a cafe, the waiter furnish- ing writing-materials on application (fee). Most of the cafes are open until 1 a.m., some even longer. Smoking is generally prohibited at the cafes until the evening, unless there be chairs outside. The best cafes may with propriety be visited by ladies, but some of those on the N. side of the Boulevards Montmartre and des Italiens should be avoided, as the society there is far from select. — Cafes Concerts, see p. 34. 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 -IY 2 fr. ; waiter’s fee 10 c.). In the afternoon the same order produces a glass of cafe noir, which costs 30-75 c. (waiter 10 c.). A >petit verre of Cognac or Kirsch costs as much or more. A bottle of cognac is usually brought with the coffee unordered, and a charge made according to the quantity drunk, from 10 c. upwards. — Those who wish to dilute their coffee ask for un mazagran, and are supp- lied with coffee in a large glass and a bottle of water. — The prices of the ‘consommations’ are generally marked on the saucers on which they are served. Tea is generally sold in portions only (the complet) , costing 1-1 V 2 fr* Dejeuner may be obtained at nearly all the cafes for 2^4-3 fr. , and cold meat for supper. ^Beer may also be procured at most of the cafes, ‘wn boclf costing 30-50 c., ‘wn double'* or *‘une canette* 50-80 c. Liqueurs (40-75 c.), diluted with water, largely consumed in Warm weather are: Absinthe, Yermouth, Menthe (white or green), Cognac, Bitters or Amers, Anisette, Curasao, Chartreuse, etc. Kirsch, Kiimmel, Prunelle, Rhum, etc., are drunk undiluted. Sirops or fruit-syrups, diluted with water, are to be had in various flavours; e,g, Sirop de Groseille, de Framboise, de Grenadine, Orgeat (prepared from almonds), etc. Sorbet (water-ice) and ices (half 75 c., whole li/ 4 - 11/2 fr.) are also frequently ordered. Cafes in the Boulevards. Place de la Madeleine 2, corner of the Rue Royale, Cafe Durand, also a restaurant, like many others of the under-mentioned. Boulevard des Capucines. N. side: No. 14, Grand Cafe, ele- gantly fitted up ; 12, Cafe de la Paix, on the groundfioor of the Grand Hotel (foreign newspapers); 4, Cafe Americain. — S. side: No. 3, J alien; 1, Glacier Napolitain, noted for ices (see p. 20). Avenue de I’Opera, No. 41, Cafe de Paris, also a restaurant. Boulevard des Italiens. S. side: No. 1 & 3, Cardinal. Information. 4. BRASSERIES. 19 Boulevard Montmartre. N. side : No. 16, Cafe Mazarin (foreign newspapers). — S. side : No. 9, des Varietes, patronized by actors and journalists; 5, de Suede. Boulevard Poissonniere, No. 14, Cafe du Pont-de-Fer. Boulevard Bonne-Nouvelle. N. side: No. 30, *Cafe de la Ter- rasse (Ohauvet), well supplied with newspapers, recommended for dejeuner. — S. side: No. 39, Dejeuner de Richelieu ^ noted for chocolate. Boulevard St. Denis No. 9, and Boul. de Sebastobol 114, Cafe de France; 12, corner of Boul. de Strasbourg, Cafe Fran^ais. Place de la Republique, at the Hotel Moderne: Grand Cafe Americain. Boulevard du Temple, No. 31, Cafe du Jardin-Turc (Bonvalet). Cafes in and near the Palais-Royal. Galerie d’Orleans (S. side): Cafe d' Orleans (see p. 13); in the garden (N. side) : Pavilion de la Rotonde. — Rue St. Honore, oppo- site the Avenue de I’Opera: No. 161, *Cafe de la Regence, a famous rendezvous of chess-players; Cafe de VUnivers. Cafes on the Left Bank of the Seine. Cafe Voltaire j Place de I’Odeon 1. — The numerous cafes in the Boul. St. Michel are chiefly frequented by students and ‘etudi- antes’: 25, Soufflet, 27 j Vachette, both at the corner of the Rue des Ecoles; 20, du Musee de Cluny^ at the corner of the Boul. St. Germain; 35, Cafe de la Source; 47, Cafe dlHar court ; 63, Tavtrne du Pantheon, a handsome establishment at the corner of the Rue Soufflot; 65, Cafe Mahieu, at the opposite corner. Brasseries. English, Bavarian, Strassburg, Vienna, and other beer may be obtained at most of the cafes (see above) and also at the numerous Brasseries. There is in fact but little difference between the cafe's and the brasseries; while the genuine cafe -glaciers have almost disappeared. Many of the brasseries are handsomely fitted up in the old French or Flemish style, with stained-glass windows and quaint wainscoting and furniture. Most of the following are also restaurants. A small glass of beer (un quart) costs 30-35 c., a large glass (un demi) 50-60 c.; brune, blonde, dark and light beer. On the Boulevards : Boul. des Italiens 14, *Pousset, handsome establishment (Munich beer). — Boul. Montmartre: 18, * Zimmer, 13, Ducastaing, also handsomely fitted up; 8, Muller Blaisot. — Avenue de I’Opera: 26, V Opera (Bavarian beer), 31, Universelle (Munich beer), two handsome establishments. — Boul. des Capu- cines 43, Taverne des Capucines. — Rue Royale 25, Taverne Royale. — Rue St. Lazare: 115 & 117, opposite the station, Mollard (Munich beer); 119, Jacqueminot- Graff, a tasteful establishment in the Al- satian style. — Rue du Faubourg-Montmartre 61 (corner of Rue de 2 * 20 4. CONFECTIONERS. Preliminary CRateaudun), Taverne Montmartre. — Rue Montmartre 149, Taverne du Coq d^Or, another handsome establishment. — Boul. Poissonniere 32, Taverne Brebant;^ Boul. Poissonniere 13 and Boul. St. Denis 15 his, Gruber ^ Cie. (Strasshurg heer). — Boul. Bonne-Nouvelle : 26, Dreher; 31, Bucastaing ; 35, (Munich heer at these two). — Boul. St. Denis: 15, Taverne Gruber; 17, Taverne du Negre. — Boul. de Sebastopol: 137, near the Boul. St. Denis, Taverne Fla- mande (Pilsener beer); 135, Tournier (Bavarian beer). — Boul. de Strasbourg 2, La Capitale (Munich beer). — Rue du Pont-Neuf 17 & 19, Brasserie du Pont-Ncu/* (Culmbach beer). — Rue St. Denis 1, Place du Chatelet, Grande Brasserie Dreher. — Boulevard Beau- marchais 1, Gruber (restaurant, see p. 16). ■ — Rue des Pyramides 3, near the Tuileries garden. Brasserie des Pyramides (Munich beer). The Wine Shops (Dibits de Vins) ^ which are very numerous, are frequented almost exclusively by the lower classes. The wine is usually drunk at the counter (‘zinc’). — The latter remark applies to the Bars.^ somewhat in the English style. Ices. Ices (places) are to be had at most of the cafes in summer. The best places are the following : Imoda, No. 3, andPow^se, No. 25, Rue Royale, opposite the Madeleine; Cafe-Glacier Napolitain, Boul. des Capucines 1, fruit-ices (IV 4 5 ^ Dame Blanche^ Boul. St. Germain 196 (on the left bank). — Sorbet^ see p. 18. Confectioners. There are two classes of confectioners at Paris , the Pdtissiers (pastry-cooks) and the Con/isewrs (sellers of sweetmeats; see p.41). The best patissiers are : Julien Freres^ Rue de la Bourse 3 ; Favart (Julien Jeune), Boulevard des Italiens 9; Julien Jeune (Jourlet), Avenue de POpera 14; Frascati, Boul. Montmartre 21; Chiboust (Prive), Rue St. Honore 163, Place du Theatre Fran^ais; Bour- bonneux, Place du Havre 14 ; Gage, Avenue Victor Hugo 2, near the Etoile; h la Dame Blanche, Boul. St. Germain 196. The Boulange- ries- Patisseries are less pretending: Laduree, Rue Royale 16; Wanner (Viennese), Rue de la Chaussee-d’Antin 3, etc. Mention may also be made of the Petites Patisseries, or stalls for the sale of cakes, buns, etc.; e. g. Boulevard St. Denis 13, and at the beginning of the Rue de la Lune, Boul. Bonne-Nouvelle. Afternoon Tea in the English style: Miss Davis, Boulevard Haussmann 40; Colombin, Rue Oambon 4; NeaVs Tea Rooms, Rue de Rivoli 248 ; Champs-Elysees 26 ; Rue St. Honore 248 ; Rue des Mathurins 40, etc. 5. Gabs. The number of cabs in Paris (Voitures de Place or de Remise; Fiacres) is about 15,000. The most numerous are the open cabs (voitures decouvertes), or victorias, with seats for two (h deux places). Information. 6 . CABS. 21 Closed ca"bs (voitures fermees), including all those with four seats quatre places; somewhat cramped), usually ply near the railway stations. The vacant seat on the box, and the small folding front seat (strapontin) with which most of the victorias are furnished, can be occupied only with the consent of the driver. Landaus, which may be opened at pleasure, have 4 seats ; their fares are higher than that of ordinary cabs. Only vehicles with four inside seats are provided with a railing on the top for luggage, but the drivers of the others never refuse to carry a reasonable amount of luggage on the box. The carriage-lamps are coloured differently according to the Depot to which the cab belongs, and, as cabmen sometimes raise objections when required to drive to a great distance from their depot late at night, it may be convenient to note the following arrangements : cabs belonging to the Popincourt-Belleville depot (N.E.) have blue lamps ; Poissonniere-Montmartre (central), yellow; Passy-Batignolles (W.), red; Invalides-Observatoire (S.), green. Tine Course is a single 'drive ; U Iheure, by time, in which case the hirer shows his watch to the driver. The hirer should, before starting, obtain the driver’s number (votre numero!), which is a ticket containing the tariff of fares and the number, and keep it in case any dispute should take place, or any article be left in the cab. Complaints may be made to the nearest policeman, or at one of the offices which are to be found at every cab-stand. — Tariff, see Appendix, p. 33. Only a few of the Voitures a Compteur (with a dial inside showing time, distance, and fare of the drive) have yet begun to ply for hire. If a cab is sent for and kept waiting more than t /4 hr. , the driver is entitled to charge by time ; if it is sent back at once, half a course, or if after t /4 hr., a whole course must be paid for. If the cab be hired for a course, the driver may select his own route ; if d 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 night-charges must be paid, although the drive be prolonged beyond these limits. If the horses are used beyond the fortifications for 2 consecutive hours, the driver may demand a rest of 20 min. at the expense of the hirer. If a carriage is engaged beyond the fortifications to return to the town, the town-charges by time can alone be exacted ; in the reverse case, the increased rate is paid from the time when the fortifications are passed. Cabs wbo?e drivers wear white hats are usually tke most comfortable and tlie quickest. Those who are desirous of exploring Paris expeditiously and com- fortably are recommended to hire a Voiture de Orande Remise (without a number) by the day (30 fr.), or by the week. Application should be made 22 6. OMNIBUSES AND TRAMWAYS. Preliminary at the offices of the Compagnie Generale des Voitnres, Place du Theatre Francais 1, Boul. Montmartre 17, Boul. des Capucines 22, or Bne dn Havre 9 ; or at the office of the Compagnie TJrhaine, Bue Taifbout 59. Cabs of this description are also to be found on the stands near the Op^ra, the Madeleine, etc.; bargaining necessary (drive, about 3 fr.). Saddle Horses may be hired of Duphof, \R,vie de Duphot 12; Grouls, Rue d’Enghien 42; PelUer^ Rue Chalgrin 3; Lalanne^ Rue Troyon 12; or Hensman^ Avenue Bugeaud 55 (the last three near the Bois). The charge for a ride of 3 hrs. is 10-20 fr. — Horses and Carriages are sold at Tatter sal ^ Rue Beaujon 24. 6. Omnibuses and Tramways. River Steamboats. Tbe Parisian omnibus, tramway, steamboat, and railway services for city and suburban communication are admirably arranged, and, if properly used, enable the visitor to save much time and money. The plan of omnibus-lines in the appendix to the Handbook will be found useful, but its perfect accuracy cannot be guaranteed, as changes are constantly taking place. The traveller is, therefore, advised to purchase the latest lUneraire des Omnibus et Tramways dans Paris (1 fr.) at one of the omnibus-offices. Omnibuses and Tramways. Omnibuses and tramways cross the city in every direction from 7 or 7.30 a.m. till after midnight , and at many points a vehicle passes every five minutes. There are also tramway-lines to Yersailles, St. Cloud, and other places in the suburbs (see Plan in the Appendix). There are 40 different lines of Omnibuses^ distinguished by the letters of the alphabet (from A to Z, and from AB to AO). With the exception of a few running in connection with the railways, all the omnibuses belong to the Compagnie Generate des Omnibus. There are two different kinds of vehicle in use : the old omnibuses with two horses and places for 26 persons (14 inside), and the new omnibuses with two or three horses and commodation for 30 or 40 passengers. The new omnibuses are provided with a staircase similar to those in the tramway-cars , rendering the outside accessible to ladies. Passengers are also permitted to stand on the platform be- hind the large omnibuses. The omnibuses of different shape, or with coverings over the top, are special vehicles plying to the stations, the race-courses, etc. The Tramways are, with a few exceptions, divided at present into the Tramways de la Compagnie des Omnibus., the Anciens Tramways Nord , now called Tramways de Paris et du Departement de la Seine., and th.e Tramways Sud or Tramways de la Compagnie Generale Parisienne de Tramways. The lines are distinguished by letters (preceded by T), or by the names of their termini. The tramway-cars of the Compagnie des Omnibus are large and cumbrou s vehicles, with room for about 50 passengers. Those on the other lines resemble the cars of most other towns , and most of them also have imp^riales or outside places. Nearly all the cars are drawn by Information. 6. OMNIBUSES AND TRAMWAYS. 23 horses , but some are propelled by electricity, compressed air, or steam. The termini of the lines are placarded on the sides of both omni- buses and tramway-cars, and another board is hung behind, showing the destination towards which the vehicle is proceeding. The prin- cipal places passed en route are also indicated, and the letter of the line is marked on different parts of the vehicle. The carriages are also distinguished by their own colour and that of their lamps. Comp, the tables in the Appendix, pp. 25-31. Passengers may either hail and stop the omnibus in the street as in England, or wait for it at one of the numerous omnibus-offices. In the latter case, if there are other intending passengers, it is usual to ask for a numbered ticket (nwmero; no charge) for the line re- quired. As soon as the omnibus appears, places are assigned to the ticket-holders in order,, the conductor calling out the numbers; when the omnibus is ^complef it drives off, and the disappointed ticket-holders have to wait for the next. The fares on all the lines within Paris are the same, 30 c. inside or on the platform, and 15 c. outside (imperiale). The fares for places beyond the fortifications are from 10 to 50 c. higher (inside ; outside 5 to 25 c.), according to the distance. Some of the special omnibuses have a prix unique of 20-30 c. for outside and inside. One of the most admirable features in the arrangements of the Parisian omnibus-lines is the system of Correspondances., or per- mission to change from one line to another. Thus, if no omnibus go in the direct route to the passenger’s destination from the part of Paris in which he is, he may demand from the conductor a corre- spondance for the line which will convey him thither. He will then receive a ticket (no charge), and will be set down at the point where the two lines cross. Here he proceeds to the omnibus-bureau, receives a number, which, without additional payment, entitles him to a seat in the first omnibus going in the desired direction, and finally gives up his ticket to the conductor of the latter immediately on entering. Outside-passengers are not entitled to correspondance^ unless they pay full fare (30 c.). The tables and map in the Appendix will show what lines have correspondance with each other. The ‘correspon- dance’ is valid only where there is a bureau, and the bureau de cor- respondance is not invariably the same as the office at which the passenger alights, but is sometimes a little way off. Correspondances are also issued at a small additional charge for places beyond the fortifications. Mail Coaches in the English style ply in summer as follows: to Ver- sailles^ ‘Daily Messenger"* coach at 10 a.m. from Rue St. Honore 166 (return fare 15 fr., box-seat 5 fr. extra) ; Cooky’s coach from Place de P Opera 1 (same time and fares) ^ ‘Magnet* Coach from Avenue de POpera 49, daily at 10.45 a.m. (same fares). , Waggonettes and Brakes or Chars-ct-banc ply through the boulevards and other streets during the days of the races to convey passengers to the race-course. 24 6. RIVER STEAMBOATS. Preliminary River Steamboats. The Bateaux - Omnibus , or small screw steamers, which ply on the Seine (subject to interruption by the state of the river, fog, ice, etc.), are recommended to the notice of the traveller in fine weather, as they afford a good view of the quays and banks of the river; hut being small, they are apt to he crowded. There are three different services, belonging, however, to the same company (Bateaux Parisiens) : (1) From Charenton to Auteuil, by the left hank of the river within Paris ; (2) From the Pont d^Auster- litz to Auteuil, by the right bank; (3) From the Pont-Royal to Suresnes, also by the right hank. Comp, the Appendix, p. 32. The Charenton steamboats may he recognized by the benches placed across the deck; those for Suresnes by their larger size. In the latter boats the fares for the whole or any part of the distance are the same. Tickets are taken on board. Fares (which are liable to vary) : From Charenton to Pont d’Austerlitz 10 c., on Sun. and holi- days 15c.; from Charenton to Auteuil 20 and 25 c. ; Pont d’Auster- litz to Auteuil, 10 and 20 c. ; Pont Royal to Suresnes 20 and 40 c. A half-liourly service (from 7 a.m. to 6 p.m.) plies on Tburs., Sun. and holidays from the Quai du Louvre to Ahlon via Choisy-le-Roi ; see p. 366 7. Railway Stations. Chemin de For de Ceinture. Railway Offices and Agents. The six railways radiating from Paris start from eight different stations. For remarks on the French railway system, see p. xiii. The ^Indicateur des Chemins de Fer\ the Indicateur Paul Dupont^ and the Livrets Chaix(jp. xiv) give complete information regarding all trains. — Hotels and Restaurants near the termini, see pp. 8, 14. I. Chemin de Fer du Nord. Gare du Nord, Place Rouhaix 18 (PI. B, 24; comp. p. 205), for the Lignes de Banlieue to St. Denis., Enghien, etc. ; and for the Lignes du Nord to England via Calais or Boulogne., Belgium, Germany via Liege, etc. The booking-offices for the trains of the Banlieue, except for the stations beyond St. Denis on the Chantilly line, are in front; for the other trains, in the arcade to the left. — Buffet to the right in the first arcade. — Gare de la Ceinture et des Trains- Tramways, to the right of the main station^ II. Chemin de Fer de PEst. Two Stations. (1) . Gare de l’Est, or de Strasbourg, Place de Strasbourg (Pl.B, 24 ; p. 205), for the lines to Nancy, etc., to Germany via Metz, to Switzerland via Belfort, and to Italy vid the St. Gotthard Tunnel, etc. The booking-office for the trains of the Banlieue is in front, for the other trains to the left. (2) . Gare de Vincennes, Place de la Bastille (PI. R, 25; F), for the line to Vincennes, III. Chemin de Fer de POuest. Two Stations. (1). Gare St. Lazare (Buffet; comp. p. 201), between the Rue St. Lazare, the Rue d’ Amsterdam, and the Rue de Rome (PI. B, Information. 7. RAILWAY STATIONS. 25 18), for the Ligne de Petite Ceinture (see below); the Lignes de Ban^ lieue^ serving St Cloudy Versailles (right bank), St, Oermain.^ Argen- teuil, and Ermont; and the Lignes de Normandie (England via Dieppe or Le Havre). — The railway-omnibuses (for railway-pass- engers only) start from the Place de la Repuhliqne, the Pointe St. Eustache, the Bourse de Commerce (Halles), the Hotel de Yille, and the Square du Bon-Marche (fares 20, 25 c.). (2). GareMontpahnasse, Boulevard Montparnasse 44 (PL 0,16; p. 293), for the Ligne de Banlieue to Sevres and Versailles (left bank), the Lignes de Bretagne, and the Chemins de Fer de VEtat. The book- ing-offices for the line to Yersailles and for the suburban stations are situated downstairs, to the left; those for the main lines are above, reached by a staircase and by an outside inclined plane. Buffet on the groundfloor. Omnibus between this station and the Bourse, 30 c. IV. Chemin de Fer d’Orleaus. Two Stations. (1) . Oare d’Orleans, Quai d’Austerlitz (PL O, 25), for the lines to Orleans, Tours, Bordeaux, the Pyrenees, Spain, etc. A railway-omnibus plies between this station and the office of the railway. Rue de Londres (Trinite); fare 30 c., without luggage. (2) . Oare du Luxembourg, at the corner of the Boulevard St. Michel and the Rue Oay-Lussac (PI. R. 19; F), near the Jardin du Luxembourg (p. 266), for the lines to Sceaux a.nd Limours. Luggage cannot be registered at this station but must be taken to the old Gare de Sceaux (PI. 0, 20). V. Chemin de Fer de Paris k Lyon et k la M6diterran6e. Oare de Lyon (Buffet), Boulevard Diderot 20 (PI. O, 25, 28). Trains to Fontainebleau, Dijon, Chdlon-sur-Sadne, Macon, Lyons, Marseilles, Switzerland via Pontarlier, Macon, and Lyons, Italy vid the Mont Cenis Tunnel or vid Nice, the Mediterranean, etc. VI. Chemin de Fer de Petite Ceinture. — The ‘Chemin de Fer de Petite Ceinture’ forms a complete circle round Paris, within the line of the fortifications, and connects with the different railways in the suburbs. The length of the line is 23 M., but owing to the fre- quency of the stoppages the circuit is not performed in less than 11/2 For details, see the table in the cover at the end of the Handbook. Trains run in both directions every 10 minutes. The chief station of arrival and departure is the Oare St. Lazare (p. 24), but trains also run from the Oare du Nord (p. 24). There is no third class. The fares are 40 or 20 c. to the first or second station from the point of departure (return 60 or 30 c.), and 55 or 30 c. beyond that distance (return 90 or 50 c.). Travellers may avail themselves of this railway to visit points of interest in the suburbs, such as the Bois de Boulogne, Pere Lachaise, and the Buttes-Chaumont, or to make the complete circuit of the city. On every side of the town, however, except the S.W., the line runs between walls or through deep cuttings and tunnels. 26 7. RAILWAY OFFICES. Preliminary The seats on the outside (‘imperiale’) are very draughty, and are not to he recommendTed except in hot weather. The Chemin de Per de Grande Ceinture, wMcli forms a wide circle round Paris, connecting the Chemins de Fer de I’Est, de Vincennes, de Lyon, and d’Orleans, is of little interest for the tourist except for the trip from Versailles to St. Germain (p. 333) and for the excursion to the val- ley of the Bievre (p. 361). Railway Offices. All the lines have sub-offices (Bureaux Succursales) in various parts of the city, from which railway omnibuses may be ordered (comp. p. 1). Passengers may book their luggage, and in some cases even take their tickets, at these sub-offices, which, however, they must generally reach 1 hr. before the departure of the train. Parcels^ see p. 28. The offices are open from 7 a.m. to 8 p.m. on week-days, from? a.m. to noon on Sun. and holidays. Chemin de Fer du Ford: Rue du Bouloi 21; Rue Paul-Lelong 7; Rue Gaillon 5; Place de la Madeleine 7 ; Boul. de Sebastopol 34 ; Rue St. Martin 326; Rue des Archives 63; (^uai de Valmy 33; Rue du Faubourg-St-An- toine 21; Place St. Sulpice 6. — E&t: Rue Notre-Dame-des-Victoires 28; Rue du Bouloi 9; Boul. de Sebastopol 34; Place de la Bastille, at the Gare de Vincennes; Place St. Sulpice 6; Rue de la Chaussee-d’Antin 7; Rue Ste. Anne 6; Rue de Tarbigo 55. — Quest Etat: Rue de FEcbiquier 27; Boul. and Impasse Bonne-Nouvelle ; Rue du Perche 9; Rue du Bouloi 17; Rue du Quatre-Septembre 10 ; Rue de Palestro 7 ; Rue St. Andre-des-Arts 9; Place de la Bastille, at the Gare de Vincennes; Rue Ste. Anne 6. — OrUans and Etat: Rue de Londres 8; Rue Paul-Lelong 7; Rue Gaillon 5; Rue St. Martin 326 ; Place St. Sulpice 6 ; Place de la Madeleine 7 ; Rue du Bouloi 21 ; Rue de Paradis 21bis ; Boul. de Sebastopol 34; Rue des Archives 63; Quai de Valmy 33; Rue du Faubourg- St. Antoine 21. — Lyon: Rue St. Lazare 88; Rue des Petites-Ecuries 11; Rue St. Martin 252; Rue de Rambuteau 6; Rue de Rennes 45; Place de la Republique 16; Rue Ste. Anne 6; Rue Tique- tonne 64. The office of the Gompagnie Internationale des Wagons-Lits (sleeping carriages) is No. 3, Place de POpera. The South Eastern Railway and the London^ Chatham^ and Dover Railway have also offices in Paris (Boulevard des Italiens 4 and 30). Steamboat Offices. The Paris offices of some of the principal steamship companies are as follows : Allan Line^ Rue Scribe 7. — American^ Rue Scribe 9. — Anchor^ Rue Scribe 5. — GhargeUrs R4unis^ Boul. des Italiens 11; Gompagnie G4nirale Transatlantique ^ Rue Auber 6 and Boul. des Capucines 12. — Cunard^ Avenue de POpera 38. — Dominion^ Rue des Marais 95. — Hamburg- American Packet Co.^ Rue Scribe 3. — Messageries Maritimes^ Rue Vignon 1. — Peninsular & Oriental Go.^ Boul. des Italiens 30. — Royal Mail Steam Packet Co.^ Avenue de POpera 38. — North-German Lloyd^ Rue Scribe 2bis. — White Star ^ Rue Scribe 1. — Wilsons & Furness-Leyland ^ 7 Rue Scribe (Pitt & Scott). Railway Agents. Cook^ Place de POpera 1 ; Gaze^ Rue Scribe 2; Voyages Economiques ^ Rue du Faubourg-Montmartre 17 and Rue Auber 10 \ Lubin^ Boulevard Haussmann 36; Clark^ Rue Auber 1. Goods Agents. Wheatley <& Co.^ Rue Auber 12; Pitt & Scott, Rue Scribe 7 and Rue Clement Marot 12 (also storage of luggage, etc.); Thos. Mea- dows & Co., Rue Scribe 4. 8. Post and Telegraph Offices. Post Office. The Paste Centrale^ or General Post Office, is in the Rue du Louvre (PI. R, 21 ; ///). The offices open to the public are entered from the colonnade on this side ; the poste restante and enquiry offices from another colonnade to the right (comp. p. 171). There are also in the different quarters of the town about a hun- Information. 8. POST OFFICE. 27 died branch-offices, distinguished at night by blue lamps, besides auxiliary offices in shops, with blue placards. The following are the Bureaux d^Arrondissement, or District Of- fices. (Meaning of the asterisks, see below.) 1. Arrond. (Lonvre) : **Hotel des Postes (p. 170) ; **Avenne de I’Opera 2\ *Rue des Capucines 13 •, *R. Gambon 9; *R. St. Denis 90; *R. des Halles 9. — 2. Arrond. (Bourse): **Place de la Bourse 4 and R. Feydeau 5; **R. de Clery 25; **R. Marsollier 2; *R. de Choiseul 18 & 20. — 3. Arrond. (Temple) : *R. Reaumur 47 ; •Boul. St. Martin 41 ; *R. des Haudriettes 4 ; etc. — 4. Arrond. (Hotel de Yille): "Hotel de Ville; "Tribunal de Commerce; *Rue de la Bastille 2; etc. — 5. Arrond. (Pantheon): "R. dePoissyO; etc. — 6. Arrond. (Luxembourg) ; *R. des Saints-Peres 22, and R. de PUniver- site 1; R. de Rennes 53; R. de Vaugirard 36 (Luxembourg); Boul. St. Ger- main 118; etc. — 7. Arrond. (Palais Bourboh): *Boul. St. Germain 195; *R. de Bourgogne 2 (Chambre) ; ’^R. de Grenelle 103; R. St. Dominique ^6 ; etc. — 8. Arrond. (Elysee) : "R. d’ Amsterdam 19 ; *Boul. Malesherbes 6 ; Avenue des Champs-Elysees 33; etc. — 9. Arrond. (Opera): ’*'R. de Pro- vence 54;'^=R. Milton 1 ; *R. Lafayette 35; *R. Bleue 14; etc. — 10. Arrond. (St. Laurent): *R. d’Enghien21; R. de Strasbourg 8 (Gare de TEst) ; *Gare du Nord; etc. — 11. Arrond. (Popincourt): Place de la R^publique 10; "Boul. Beaumarchais 68; etc. — 16. Arrond. (Passy) : Avenue Marceau 29; Place Victor Hugo 3 ; Rue de la Pompe 43 ; etc. — 17. Arrond. (Batignolles- Monceau): Boul. de Courcelles 73; Avenue de la Grande -Armee 50bis; Avenue de Wagram 165; Rue des Batignolles 42; etc. The ordinary offices are open daily from 7 a.m. (8 a.m. in winter) till 9p.m. (4p.m. on Sun. and holidays). Letters for the evening - trains starting before 8.10 p.m. must be posted at the ordinary offices before 5.15 or 5.30 p.m. ; at the offices marked with one asterisk before 5.45 p.m.; at the general post-office and the offices marked with two asterisks before 6.30 p.m.; at the railway stations they may be posted till within 5-10 minutes of the starting of the trains. Letters to be registered must be handed in 1-2 hrs. earlier. Late letters are received at the offices marked with one or two asterisks. The Poste Restante Office is in the General Post Office and is open daily till 9 p.m. Travellers may also direct poste restante letters to be addressed to any of the district-offices. In applying for letters, the written or printed name, and in the case of registered letters, the passport of the addressee should always be presented. It is, however, preferable to desire letters to be addressed to the hotel or boarding-house where the visitor intends residing. Letter-boxes (Boites aux Lettres) are also to be found at most public buildings, at the railway-stations, in the tramway-cars serv- ing the suburbs, and in most tobacconists’ shops, where stamps (tim- bres-poste) may also be purchased. Postage of Letters, etc. Ordinary Letters within France includ- ing Corsica, Algeria, and Tunis, 15 c. per 15 grammes prepaid; for countries of the Postal Union 25 c. (The silver franc and the bronze sou each weigh 5 grammes). - — Registered Letters (lettres recom- mandees) 25 c. extra. — Post Cards 10 c. each, with card for reply attached, 20 c. — Letter-Cards, 15 c. ; for abroad 25 c. Post Office Orders (mandats de poste) are issued for most coun- 28 8. TELEGRAPH. Preliminary tries in the Postal Union at a charge of 25 c. for every 25 fr. or fraction of 25 fr., the'maximnm being 500 fr. ; for Great Britain, 20 c. per 10 fr., maximnm 252 fr. Printed Papers (imprimes sous hande): 1 c. per 5 grammes up to the weight of 20 gr.; 5 c. between 20 and 50 gr. ; above 50 gr. 5 c. for each 50 gr. or fraction of 50 gr. ; to foreign countries 5 c. per 50 gr. The wrapper must he easily removable, and must not cover more than one-third of the packet. Parcels, though known as ^Colis Postaux\ are not transmitted by the French post-office, but by the railway and steamship com- panies, which are subsidized for the purpose, or (in Paris) by a pri- vate firm. These parcels must not contain gold, silver, jewelry, explo- sives or dangerous substances, or anything in the nature of a letter. Within Paris (three deliveries daily, two on Sun. and holidays). Parcels must not exceed 10 kilogrammes (22 lbs.) in weight. The charges are 25 c. per parcel up to 5 kil., 40 c. above that weight, or 65 and 70 c. ‘contre remboursement’. Parcels should be handed in at one of the numerous depots (tobacconists’ shops and branch post-offices) a list of which may be obtained in the post offices. The central depot is at Rue du Louvre 23. Provincial and Colonial Parcels, Small parcels not exceeding 10 kil. (22 lbs.) in weight may be forwarded within France and to the French colonies at a charge of 60 c. for parcels up to 3 kil. ( 6^/5 lbs.), 80 c. up to 5 kil., and IY 4 fr. for heavier parcels, deliv- ered at a railway-station or post-office ; 25 c. extra delivered at a private address. Parcels may be sent ‘centre remboursement’ up to 500 fr. for an extra fee of 60 or 85 c. They may be insured for 500 fr. on payment of 10 c. — Parcels are not received at the post-offices, but should be handed in at a railway- station or at a railway-office (see p. 26). Foreign Parcels. There is also a parcel-post between France and some of the other countries of the Postal Union , parcels up to 11 lbs. being conveyed at a uniform rate: viz. to Germany, Belgium, Switzerland, 1 fr. 10 c.; Spain, Italy, 1 fr. 35 c. ; Great Britain, Austria, Netherlands, Ifr. 60 c.; etc. These parcels must be sealed. Telegraph. The telegraph-offices at the district post-offices are open to 9 p.m. The following amongst others are open till 11 p.m. : Avenue des Champs-Elysdes 33 ; at the Grand Hotel ; Gare du Nord; the Luxembourg ; Place de la Republique 10. The offices at Avenue de I’Opdra 4, Rue Boissy d’Anglas 3, and the Place> du Havre are open till midnight. Telegrams may be sent at any hour of the day or night from the offices at the Bourse (night entrance on the left) and Rue de Grenelle 103. Telegrams within France and to Monaco, Algeria, and Tunis are charged at the rate of 5 c. per word (minimum charge 50 c.) ; to Great Britain, 20 c. per word (minimum 5 words); to New York, 1 fr. 25, Chicago 1 fr. 55 c. per word. — Western Union Telegraph Co.^ Rue Scribe 3. The rates per word for other countries are as follows: for Luxem- Information. 8. TELEPHONE. 29 bourg, Switzerland, and Belgium 12V‘i c. ; Germany 15 c. ; Netherlands 16 c. ; Austria-Hungary, Portugal, Italy, and Spain 20 c. ; Denmark, 241/2 c. ^ Sweden, 28 c. ^ Roumania, Servia, etc., 281/2 c.^ Norway 36 c.j Russia in Europe 40 c. \ Turkey 53 c. \ Greece 5372-57 c. Telegrams marked urgent, taking precedence of ordinary telegrams, are charged thrice the ordinary rates. Telegraphic Orders (mandats telegraphiques) for not more tban 5000 fr. are issued between French offices, and for not more than 500 fr. between France and a few foreign countries (e.g. Germany, Austria, Belgium, Netherlands, Italy, Switzerland). There is also a system of Pneumatic Tubes (Telegraphie pneu- matique) for the transmission of messages within Paris, at the rate of 30 c. for open cards (cartes telegrammes ouvertes) j 50 c. for closed cards (cartes telegrammes fermees), and 50 c. for letters not weighing more than 7 grammes. The cards may be obtained at the telegraph-offices, to which special letter-boxes for the pneumatic post are also attached. Telephone. Most of the post and telegraph offices have tele- phonic communication with all parts of Paris and district (fee 25 c. per 5 min.) and with the provinces (fee 25 c. per 3 min. up to 25 kilometres; beyond that distance, 50 c. per 100 kilometres). Paris also communicates with Brussels (3 fr.) and London (10 fr. per 3 min.) from central offices, of which the chief are at Rue Guten- berg, near the Central Post Office; Avenue de rOpera27; Boul. St. Germain 183; Place de la Republique 10; Avenue Wagram 62 ; etc. Plans of the telephonic system are hung up in the offices. The telephone may also be used for the transmission of Messages telephones (50 c. per 3 min.), which the receiving office delivers to the addressee by messenger. 9. Theatres. Circuses. Music Halls. Balls. Paris now possesses about 20 large theatres, in the proper sense of the word, and the traveller doing the ‘sights’ of Paris should not omit to visit some at least of the principal houses. Per- formances generally begin between 8 and 8.30 p.m., and last till nearly midnight; details are given in the newspapers and the wall posters. Matinees are frequently given in winter on Sundays and holidays, and sometimes also on Thursdays. Many of the principal theatres are closed in summer. An intimate acquaintance with colloquial French, such as can be ac- quired only by prolonged residence in the country, is absolutely necessary for the thorough appreciation of the acting 5 visitors are therefore strongly recommended to purchase the play (la pUce; 1-2 fr.) to be performed, and peruse it beforehand. Dramatic compositions of every kind are sold at the Librairie Tresse & Stock , Theatre Francais 8-11 , by Ollendorff^ Rue de Richelieu 28bis, at the Magasin TMdtrale^ Boulevard St. Martin 12^ etc. The plays may also be procured in most instances at the theatres themselves. Play-bills (le programme^ le programme dHailU)^ or theatrical newspapers with the programme of the evening (VEntre~Acte^ VOrchestre^ and others). The best seats are the fauteuils d’orchestre, or seats next to the orchestra, behind which are the stalles d^orchestre. The fauteuils 30 9. THEATRES. Preliminary amphitheatre in the Opera House may also he recommended, hut in most other theatres the amphitheatre is indifferent hoth for seeing and hearing. The fauteuils de halcon, 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-scenes or loges d) avant-scenes are the stage-hoxes, which may he dw rez-de-chaussee (on a level with the stage), de halcon, etc. Baignoires, or loges du rez-de-chaussee, are the other boxes on the groundfloor of the theatre. At many of the theatres ladies are not admitted to the orchestra stalls, the space between each row of seats being so narrow, that even gentlemen have some difficulty in passing in and out. When ladies are admitted to the orchestra stalls, they are usually expected to remove their hats. The parterre or pit is always crowded, and the places are not numbered, except at the Opera. Those who wish to secure a tolerable seat in this part of the theatre should be at the door at least an hour before the beginning of the performance, and fall into the rank (faire queue) of other expectants. The doors are opened half-an-hour before the curtain rises. Women are seldom seen in the parterre, except in the smaller theatres. The arrangement and naming of the seats differ in the different theatres, but in all of them the side-seats and the two upper galleries should be avoided, especially at the Opera. As a rule the price of a seat is the best criterion of its desirability. It is a wise precaution, especially in the case of very popular performances and when ladies are of the party, to secure a good seat by purchasing a ticket beforehand (billet en location) at the office of the theatre {bureau de location, generally open from 10 or 11 to 6), where a plan of the interior is shown. Seats booked in this manner generally cost V2"^ niore 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 5 fr. and upwards. Visitors are cautioned against purchasing their tickets from vendors in the street. The different charges for admission given below vary according to the season and the popularity of the piece and of the actors. At the so-called premieres (scil. representations^, or first performances of pieces by favourite authors , the charges for boxes are often extravagantly high. Tickets taken at the door are not numbered, and do not give the purchaser a right to any particular seat in the part of the house to which they apply. The door-keeper will direct the visitor to one of the un- engaged places •, but if any unfair play be suspected, visitors may demand la feuille de location, or list of seats booked for the night, and choose any seats which do not appear on this list. Information. 9. THEATRES. 31 The Claque CRomains\ '■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 succhs dra- matiques\ a class of mercantile adventurers 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. may be left at the ‘Vestiaire’ or cloak room (fee 25-50 c. each person). Gentlemen take their hats into the theatre, and may wear them during the intervals of the performances. The attend- ants of the vestiaire usually bring a footstool (petit lane) for ladies, for which they expect a gratuity of 10-25 c. A list of the most important Parisian theatres , in their nsual order, is here annexed, with the prices of the seats ‘an bureau’ (p. 30). The Opera (PI. B, R, 18; //), seep. 78. The admirable perform- ances of the Parisian opera take place on Mon., Wed., andPrid., in winter on Sat. also. Mon. and Frid. are the fashionable evenings. The ballet and the mise en scene are unsurpassed. Evening-dress de rigueur in the best seats. Avant-scenes and loges de face des premieres 17; fauteuils d’amphi- theatre, baignoires, and premieres loges de cote 15; fauteuils d’orchestre, loges de face des secondes, and baignoires de cote 14; secondes loges de cote 10; loges de face des troisiemes 8; stalles de parterre 7; avant-scenes des troisiemes 5; fauteuils d’ amphitheatre des quatriemes 4; loges de face des quatriemes and loges des cinquiemes 2 fr., etc. The The&tre Francais (PI. R, 21 ; 7i), or Comedie Fran^aise^ Place du Theatre - Francais , near the Palais-Royal, occupies the highest rank among the theatres of Paris. The acting is admirable, and the plays are generally of a high class. The favourite evenings are Tues. and Wed. Evening-dress as at the Opera. — For a de- scription of the edifice itself, see p. 61. Avant-scenes des premieres loges 10; loges du rez-de-chausee, premieres (first gallery), avant-scenes des deuxiemes, and baignoires de face 8; fau- teuils de balcon 10-8 ; fauteuils d’orchestre 8 ; loges de face de deuxieme rang 6 ; loges decouvertes de deuxieme rang 5 ; loges de face de troisieme rang 31 / 2 ; loges decouvertes de troisieme rang 3; parterre 2 V 2 ; troisieme galerie et fauteuils de la quatrieme 2 fr. The Opera Comique, Place Boieldieu, was burned down in 1887, but the rebuilding is now nearly completed (p. 77). It was intended originally for the performance of the lesser operas, such as La Dame Blanche, the Postilion de Longjumeau, Fra Diavolo, etc., but has latterly been devoted to the more ambitious operas and to lyrical dramas such as Mignon, Romeo and Juliet, Lakme, Carmen, etc. At present the Opera Comique is installed in one of the theatres in the Place du Chatelet (PI. R 23, F; p. 63). Evening- dress as at the Opera. Avant-scenes du rez-de-chaussee and de balcon 10; loges de balcon, baignoires, fauteuils d’orchestre, and faut. de balcon 8; avant-scenes and loges de la premiere galerie 6; fauteuils de la deuxieme galerie 4 ; stalles de parterre and avant-scenes de la deuxieme galerie 3 ; stalles de la deuxieme galerie 2 V 2 fr. The Odeou, Place de I’Odeon (PI. R, 19; IV), near the Palais 32 9. THEATRES. Preliminaty dn Luxembourg (p. 260), ranks next to the Theatre Fran^ais, and is chiefly devoted to the performance of classical dramas. Ladies are admitted to all seats except the parterre. Evening-dress usual in the best seats. Avant-scenes des premieres and dn rez-de-chaussde 12; baignoires d’avant-scene 10; premieres loges de face 8; fautenils d’orchestre 6; fau- teuils de la premiere galerie 6 and 5; stalles de la deuxieme galerie 81/2 ; deux, loges de face 3; parterre 21/2 fr. The Gymuase (PI. R, 24; ///), Boulevard Bonne-Nouvelle 38, chiefly for comedies, is one of the best theatres in Paris. Scribe wrote most of his plays for this theatre. Viet. Sardou, Alex. Lumas the Younger, Emile Augier, and Octave Feuillet have also achieved great successes here. Avant-scenes du rez-de-chanssee and des premieres 15; baignoires, fautenils d’orchestre, and fautenils de balcon 10; fauteuils de foyer 7 and 6; loges de foyer 6 and 5; avant-scenes de foyer 5; loges de Heuxieme galerie 3 and 2V2; stalles de deuxieme galerie 2 and IV2 fr., etc. — Tlie prices ‘en location' (p. 30) are the same. The Vaudeville (PI. R, 18, 21; 2/), at the corner of the Rue de la Chaussee-d’Antin and the Boulevard des Capucines, ahandsome building, is admirably fitted up. It is chiefly destined for dramas and comedies. Ceiling painted by Mazerolle. Avant-scenes du rez-de-chaussee and des premieres (6 seats) 120 fr. ; premieres loges (6, 5, and 4 seats) 72, 60, 48 ; baignoires (6, 5, and 4 seats) 60, 50, 40; fauteuils de balcon, premier rang 12; deuxieme rang and fau- teuils d’orchestre 10; fauteuils de foyer 7 and 6; loges de foyer 6; avant- scenes and deuxiemes loges de foyer 5 ; troisiemes 4, 3, and 2 fr. — The prices ‘en location’ (p. 30) are the same. The Varietes (PI. R, 21 ; III), Boulevard Montmartre, excel- lent for vaudevilles, farces, operettas, and similar lively pieces of essentially Parisian character. Avant-scenes du rez-de-chaussee and des premieres (5 seats) 60; fau- teuils d’orchestre (first 7 rows) and fauteuils de balcon premier rang 10; other rows of the fauteuils d’orchestre and balcon deuxieme rang 7 ; baig- noires and premieres loges 8 ; fauteuils de foyer 5 and 4 ; troisiemes loges 4; deuxieme galerie, 4 and 3fr. ; etc. TheS.tr© du Palais-Royal, at the N.W. corner of the Palais Royal, 74, 75 (PI. R, 21 ; //) , a small but very popular theatre, where vaudevilles and farces of broad character are performed. Ladies are not admitted to the orchestre. Avant-scenes and fauteuils de balcon premier rang 8; premieres loges, baignoires, fauteuils de balcon and d’orchestre 7 ; deuxiemes loges, balcon des deuxiemes de face, and stalles d’orchestre 5; deuxiemes loges and balcon de cote 4; stalles des troisiemes 2Vz fr. The§.tre de la Porte St. Martin (PI. R, 24; ///), in the Boule- vard St. Martin. Dramas and spectacular pieces. Avant-scenes 10; baignoires and premieres loges 8; fauteuils de premier balcon 10 and 7 ; fauteuils d’orchestre 8 and 7 ; deuxiemes loges de face and fauteuils de deuxieme balcon 5; other seats in this balcon 4; fauteuils des galeries 3 and 2 fr., etc. The&tre de la Renaissance (PI. R, 24; III), next door to the preceding. Modern comedies. Information. 9. THEATEES. 33 Avant-scenes da rez-de-chanssee and da premier balcon 15; loges de baicon de face and fauteuils de balcon, premier rang 12; other rangs and fauteails d’orchestre 10 ; faateails and loges de premiere galerie 7, 6, and 5; deuxieme galerie 3 and 2 fr. TheAtre de la Gaite (PI. R, 24; ///), Square des Arts et Me- tiers. It has several times changed its name and its specialty; at present pieces of nearly every kind are given. Avant'Scenes da rez-de-chaussee and de premiere galerie and baig- noires 10; faateails and loges de premiere galerie 8; faateails d’orchestre 7; avant-scenes, loges, and fauteails de deaxieme galerie 5; stalles d’or- chestre 4 ; stalles de deuxieme galerie 3 ; de troisieme galerie 2V2 and 2 fr. The&tre du ChAtelet, Place du Chatelet (PI. R, 24; 7), a very roomy edifice, specially fitted up for fairy scenes and ballet, lighted by a large reflector in the sliding roof, which can be removed in summer for ventilation. Loges a salon (8 seats) 56; loges de balcon (6 and 5 seats) 42 and 35; baignoires (5 and 4 seats) 35 and 28; faateails de balcon 8 and 7; fauteails and stalles d’orchestre 7; stalles de galerie 6 and 5; poartour 4; premier amphitheatre 3; parterre 2V2; deaxieme amphitheatre I1/2 fr. TheS.tre des Nouveautes (PI. R, 21), Boulevard des Italiens28; pieces like those at the Palais Royal and Yarietes. Avant-scenes da rez-de-chaassde and des premieres (4 seats) 50; baig- noires and premieres loges 8; faateails de balcon 8 and 7; fauteails d’or- chestre 8 ; avant-scenes des deuxiemes and faateails de galerie 6 and 4 ; deuxiemes loges 4fr. Bouffes Parisiens (PI. R, 21; //), a small theatre in the Rue Monsigny and the Passage Ohoiseul, the specialty of which is comic operettas. It was established by Offenbach in 1855. Avant-scenes du rez-de-chaussee (5 seats) 50; baignoires and loges de balcon (5 and 4 seats) 40 and 32 ; fauteails d’orchestre and de balcon 7 ; loges and avant-scenes de premiere galerie 4; fauteuils de premiere galerie 4 and 3; avant-scenes de deuxieme galerie 3; deuxieme galerie 2 fr. Ambigu - Gomique (PI. R, 24; ///), Boulevard St. Martin 2; dramas, melodramas, and ‘patriotic’ pieces. Premieres avant-scenes 9; premieres loges 8; fauteuils d’orchestre 7, 6, and 6; fauteuils de foyer 4, 3, and 2V2 fr. Folies Dramatiques (PI. R, 27; ///), Boulevard St. Martin, or rather Rue de Bondy 40, near the Place de la Republique. Operet- tas, etc. Seats for 1600. Avant-scenes du rez-de-chaussee (5 seats) 50 ; loges de balcon 10, 8, and 6 (side boxes); fauteuils d’orchestre and de balcon 6 and 5; stalles d’orchestre 3; avant-scenes des deuxiemes and stalles de premiere galerie 2V2 fr. Among the best of the other theatres are the following : — Theatre de Cluny^ Boul. St. Germain 71, near the Musde de Cluny, the ‘Gymnase’ of the left bank (seats 6 fr. to I1/2 fr.). — Athenee-Comique ^ Square de I’Opera (PI. R 18, //; 12-11/2 fr.); Theatre Antoine, Boulevard de Strasbourg 14 (8-1 fr.). — Dejazet, Boul. du Temple 47 (8-1 fr.). — Theatre de la Republique, Rue de Malte 50, near the Place de la Republique (V2~6 fr.), etc. — The Theatre des Ternes, Avenue des Ternes, is a small ^bourgeois’ house convenient for residents in the quarters near the Arc de Triomphe (stalls 21/4 fr.). Baedeker. Paris. 13th Edit. 3 34 9. OAFES-CONCERTS. Preliminary The Theatre Robert Houdin, Boulevard des Italiens 8, for con- juring of all kinds, may also be mentioned here. Admission 2 to 5 fr. EauESTRiAN Performances, accompanied by acrobatic feats, pantomime, etc. , are exhibited at the following circuses : — Nouveau Cirque, Rue St. Honore 251 (PI. R, 18 *, 77), with an arena which may be flooded at a moment’s notice for aquatic spec- tacles. The floor is formed of perforated planks covered with mat- ting; at a given signal the matting is rolled up, the planking descends, and water gushes in on all sides. Performances from 1st Oct. to 30th June. Adm. 5, 3, and (promenade only) 2 fr. Cirque d^Ete (Pl.R, 15; 77), near the Rond-Point desOhamps- Elysees, to the right in ascending. Performances every evening from April to October. Seats for 3500. Admission 4, 3, and 1 fr. Cirque d^Hiver (PI. R, 27; 777), Boulevard des Filles-du-Cal- vaire. Performances from 1st Nov. to 30th April. Adm. 1 / 2 “^ Ir. Cirque Medrano (PI. B, 20), Boulevard Rochechouart 63. Ad- mission 75 c. to 3 fr. Hippodrome under construction in the Boul. de Clichy, near the Cemetery of Montmartre (PI. B, 17). Music Halls. The Folks - Berg ere^ Rue Richer 32 (PI. B, 21; 777) , is a very popular resort , half theatre , half cafe-concert. Visitors either take seats or promenade in the gallery , while the performances are going on on the stage. Smoking allowed. Adm. 2-6 fr. — The Olympia (adm. 2-10 fr.), Boulevard des Oapucines 28, the Casino de Paris and the Nouveau Theatre (2-5 fr.). Rue Blanche 15 and Rue de Clichy 16 (PI. B, 18), are establishments of the same kind. Some of the Cafes-Concerts, the Moulin Rouge (p. 35), etc., provide similar entertainments. Cafes-Concerts. The music and singing at these establish- ments is never of a high class, while the audience is of a very mixed character. The entertainments, however, are often amusing, and sometimes consist of vaudevilles, operettas, and farces. Smok- ing allowed. The alluring display of the words entree libre' outside the cafes-chantants is a ruse to attract the public, as each visitor is obliged to order refreshments (a ^consommation'^^ which are gen- erally of inferior quality, at a price of fr. , according to the seat and the reputation of the place. — The following may be men- tioned. In summer : Concert des Ambassadeurs (V2-5 fr.), in the Champs-Elysees, the first on the right; the Alcazar d^Ete (V2"5 fr.), the second on the right ; and the Concert de VHorloge, on the left. In winter (a few open also in summer) : the Scala^ Boul. de Sebasto- pol, with a handsome saloon , unroofed in summer (adm. 1-6 fr.) ; the Eldorado^ No. 4, nearly opposite; Bataclan^ Boul. Voltaire 50 (adm. 3 / 4-4 fr.) ; Concert Parisien, Rue de I’Echiquier, opposite the Rue Mazagran , and Rue Faubourg- St - Denis 37; Petit Casino^ Information. 9. BALLS. 35 Boul. Montmartre 12 (lt /2 3'^^- ^ ^ ‘consommation’); Pari- siana^ Bonl. Poissonniere 27 ; La Cigale , Bonl. Rochecliouart 122, opposite the Cirque Medrano (^/4-5 fr.) ; Trianon Concert^ formerly the Bal de I’Elysee (halls still held occasionally); the Gaite Roche- chouart^ Boul. Rochechouart 40 and 15; Divan Japonais, Rue des Martyrs 77 (60c.-5fr.); Concert de la Pepinilre, Rue de la Pepi- niere 9, near the Gare St. Lazare (IV 2 fr.); etc. Cabarets Artistiqxies. The establishments that have attained a certain celebrity under this name are a kind of cross between the cafe-concert and the cafe-brasserie. The entertainments, which consist of songs, mystic illusions, shadow-plays, etc., are often clever, but presuppose a considerable knowledge of colloquial French. These cabarets are scarcely suitable for ladies. Most of them are situated at Montmartre (‘La Butte') : L' AneRouge.^ Le Clou^ Avenue Trudaine 43 and 41; Cabaret Bruant^ Conservatoire de Montmartre^ Boul. Rochechouart 84 and 108; Le Carillon^ Rue de la Tour d’Auvergne 43; Cabaret de VEnfer and Cabaret du Ciel.^ Cabaret du N&ant^ Cabaret des QuaVz Arts^ Boul. de Clichy 53, 34, and 62; La Fourrilre^ La Roulotte^ Rue de Douai 6 and 42; Le Triteaux de Tabarin^ Le Chanteur des CourSy Rue Pigalle 58 and 73. Balls. The public masked balls given during the Carnival (see announcements in newspapers and placards) are among the most striking and extravagant of the peculiar institutions of Paris. These ‘bals masques’ begin at midnight and last till dawn. The most im- portant are those in the Opera House, of which three take place between January and Shrove Tuesday and one at ‘Mi-Careme’ or Mid-Lent (admission for gentlemen 20 , ladies 10 fr. ; ladies in masks , gentlemen in masks or evening costume). Visitors with ladies had better take a box. During the Carnival masked balls are held in the Olympia (p. 34), the Casino de Paris (p. 34), etc. (adm., see the placards). Salles de Danse. The ‘balls’, which take place all the year round at these public dancing-rooms, may be regarded as one of the specialties of Paris. Many of these entertainments, however, have for some years past been to a great extent ‘got up’ for the benefit of strangers, numbers of the supposed visitors being hired as decoys by the lessee of the saloon. It need hardly be said that ladies cannot attend these balls. The chief of these places of amusement on the right bank is perhaps the Moulin Rouge^ Place Blanche (PI. B, 17), opposite the Rue Fontaine , which is also a kind of music-hall (adm. 2 or 3 fr. according to the entertainment). — The Bal Bui- Her, Carrefour de I’Observatoire 9 (PI. G, 19 ; p.290), in the Quar- tier Latin, is noted as a resort of students (adm. 1 or 2 fr. according to the day). — The dances of the Salle Wagrarn (1 fr.), Avenue Wagram, near the Arc de Triomphe, are also popular. The so-called ‘Bals-musette’ at the ordinary dancing-saloons are better avoided by strangers. Within the last few years it has become customary to celebrate Shrove Tuesday and the Thursday of Mi-Careme (Mid-Leut) by throwing ‘con- fettr and paper-streamers in the streets, along with much noise and rude merriment. 3:, 36 10. CONCERTS. Preliminary Panoramas, which a few years ago were fairly numerous, seem to he losing their vogue once more. There still remain one in the Place Diderot or Mazas (PI. R, 25 ; The Bastille), and several at Montmartre (religious subjects) near the church of the Sacre-Coeur (p. 209). Adm. fr. The Musee Grevin, founded hy the well-known draughtsman of that name, Boul. Montmartre 10, adjoining the Passage Jouifroy, is a collection of wax figures; adm. (1-11 p.m.) 2, Sun. 1 fr., children at half-price. Orchestra from 3 to 6 and 8 to 10.45. Establishments of a similar kind are the Musee Oiler ^ at the Olympia (p. 34), adm. 1 fr. ; the Musee de la Porte St. Denis, Boul. St. Denis 8 (5() c.); and the Nouveau Musee^ Boul. Montmartre 14 (50 c.). 10. Concerts, Art Exhibitions, Sport, and Clubs. Concerts. The concerts of the Conservatoire de Musique (p. 76), which enjoy a European celebrity, now take place at the Opera, every Sunday from January to April (conductor, Taffanel). The highest order of classical music is performed with exquisite taste and precision. Fanteails d’amphitheatre and des premieres and premieres loges 15 fr. ; fauteuils d'orchestre 12^ loges-baignoires and deuxiemes de face 10; deux- iemes de cote 9; stalles de parterre (ladies not admitted) 8; troisiemes de face 7, de cote 6; fauteuils d’ amphitheatre des quatriemes de face 5; other seats 3, 2^/2, 2 fr. The Concerts Lamoureux, for classical music, also take place on Sundays in winter in the Cirque d’Ete (p. 34). Adm. 2-10 fr. Similar to the last are the Concerts du Chdtelet or Colonne, which are held in the Thdatre du Chatelet (adm. 1-12 fr.). The ten yearly Concerts d'Harcourt^ also for classical music, take place at Rue Rochechouart 10, on Sun afternoons' from Jan. to April (adm. 1-6 fr.). Besides the above regular concerts, others are given occasionally at the concert-rooms of Erard, Rue du Mail 13; Pleyel., Rue Rochechouart 22; and other places. See bills and newspaper advertisements (adm. 5-20 fr.). — Organ Recitals are given in the season at the Trocadero (p. 165), under the direction of M. Alex. Guilmant. — Lent is the principal season for concerts in Paris. Open-air concerts in summer at the Jardin d" Acclimatation (p. 158). Military Bands also play (4-5 or 5-6 p.m.) in the gardens of the Tuileries (Sun., Tues., and Thurs.), the Palais-Royal (Sun., Wed., and Erid.), the Luxembourg (Sun., Tues., and Frid.), and in several other parks and squares (generally on Sun. and Thurs.); the favourite is that of the Garde Republicaine (programmes in the daily papers). The best Church Music is heard at the Madeleine (p. 81), St. Roch (p. 85), La TriniU (p. 200), Notre~Dame (p. 229), and St. Sulpice (p. 258). Art Exhibitions. A number of exhibitions of art take place annually in Paris towards the end of winter and in spring, of which Information. 10. SPORTS. 37 particulars are advertised iu the newspapers. Pending the construc- tion of the two new ‘Palais’ in the Champs-Elys^es, the Salon, or annual exhibition of the Societe des Artistes Fran^ais, as well as the exhibition of the Societe des Beaux Arts (‘Champ-de-Mars’), takes place in the Palais des Machines in the Champ-de-Mars (p. 288). Admission to the combined exhibitions 1 fr., 50 c. on Sun. after- noons, varnishing day 10 fr. Exhibitions are also organized by the Cerele Artistique et Litteraire (p. 38) and by the Union Artistique (p. 38). Smaller exhibitions are held in the Qalerie Georges Petit, Rue Godot- de-Mauroi 12 and Rue de Seze 8; the Qalerie Durand- Ruel, Rue Laffitte 16 and Rue le Peletier 11 j the. Art Nouveau (Bing), Rue Chauchat 19 and Rue de Provence 22; etc. Horse Races (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, usually on the second Sun- day after the English Derby ; Chantilly (p. 378) ; Vincennes (p. 311) ; Neuilly-Levallois (PI. B, 4; trotting-matches); La Marche (p. 335) ; Enghien (p. 348); Maisons-Laffltte (p. 353); St. Ouen (p. 214), Colombes (p. 351), etc. Full details in the newspapers. — Members of the English Jockey Club are admitted to all the privileges of the French Jockey Club (p. 38). Boating is a favourite summer-recreation, the chief starting- points being Asni^res (p. 297), Argenteuil (p. 350), and Bougival (p. 337) on the Seine, and Joinville-le-Pont (p. 312) and Nogent (p. 312) on the Marne. Regattas are frequently held. Cycling is the favourite amusement of the day, and is largely patronized by ladies, who almost without exception wear ‘rational’ dress. For police-regulations, etc., see p. xv. Within Paris each cyclist must obtain the permission of the prefect of police by means of an application on stamped paper (60 c.) The largest cycling clubs in France are the Union Vilocipidique de France, 40 Rue St. Ferdinand (20,000 members), and the Touring Club de France, 5 Rue Coq-Heron (60,000 members). Comp, the ‘Annuaire General de la Velocipedie’, published annually in Paris. Cycles may be hired (I 1/2 fr. per hr. ; 7-10 fr. per day) at the VHodrome de la Madeleine, Cite du Reliro 30; Petit, Avenue des Champs-Elysees 23; Palais-Sport, Rue de Berri (9-12, 2-7, 9-12, adm. 1 fr., Sun. and Thurs. 50 c.) ; and at various shops in the Avenue de la Grande-Armee, etc. — Cycle-tracks : Piste Municipale, Bois de Vincennes (p. 311), where the ‘Grand Prix de Paris’ is competed for in July; Velodrome Buffalo, Avenue de la Revolte and Boul. de Villiers; Velodrome de la Seine, at Levallois (PI. B,7); VHodrome de Courhevoie, Boul. Bineau 20; Vdlodrome du Parc des Princes, Bois de Boulogne, near Auteuil; Vdlodrome de VEst, at Charenton, near the Bois de Vincennes (PI. G, 41). — Dealers, see p. 41. — Maps, see p. 43. 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). Many skaters go to Versailles, where the Grand Canal in the park of the Chateau presents a larger surface of ice and is less crowded than the 38 10. CLUBS. Preliminary lakes of the Bois de Boulogne. A portion of the canal is reserved (adm. 1 fr.). Military^ band on Sun. afternoon. — Artificial ice- skating from October to the end of April at the Palais de Glace in the Cbamps-Elysees (PI. B, 15; II) and at tbe Pole Nord^ Rue de Clicby 18, beside tbe Casino de Paris. Other amusements are Football^ played especially in the Bois de Bou- logne, near the lakes; Cross-Country Runs ox Paper-Chases (‘rally e-papers’), in the woods in the direction of St. Cloud, Ville d’Avray, and Meudon; Bowls^ with clubs in the Bois de Boulogne and Bois de Vincennes; Polo^ in the Bois de Boulogne, near the Pont de Suresnes, etc. ; Cricket^ Lawn Tennis^ etc. There is a Oolf -Course at Maisons-Laffitte (p. 353). Clubs. The following are the principal clubs of Paris, to most of which strangers are admitted during their stay on the introduc- tion of a member: Jockey Club, Rue Scribe, Ibis* Cercle Militaire (or ‘Cercle National des Armees de terre et de mer’), Avenue and Place de POpera ; Cercle National, Avenue de I’Opera 5 ; Union Artistique (‘PEpatant’), Rue BoisSy-d’Aiiglas 5; Cercle de la Rue Royale, Place de la Concorde 4 ; Cercle de V Union, Boulevard de la Madeleine 11 ; Cercle Artistique et Litteraire, Rue Yolney 7 ; Yacht Club, Place de I’Op^ra 6 and Boul. des Capucines 8; Automobile Club, Place de I’Opera 4; Grand Cercle Republicain, Rue de Gram- mont 30 ; Cercle des Capucines , Boul. des Capucines 6 ; Sporting Club, Rue Caumartin 2; Cercle des Chemins de Per, Rue de la Micho- diere 22; Cercle de VEscrime, Rue Taitbout 9; Grand Cercle, Boul. Montmartre 16; Cercle Central, Rue Yivienne 36; Cercle Agricole, Boul. St. Germain 284 ; Cercle de la Librairie, Boul. St. Germain 117; Alpine Club, Rue du Bac 30. Gaming is practised extensively in most of the clubs. 11. Shops and Bazaars. Shops. With the exception of the houses in the aristocratic Faubourg St. Germain, there are few buildings in central Paris which have not shops on the groundfloor. The most attractive are those in the Grands Boulevards, the Rue de la Paix, Avenue de 1’ Opera, Rue Yivienne, and Rue de Rivoli. A few of the best and most respectable of the innumerable and tempting ‘magasins’ of Paris are here enumerated. The prices are generally somewhat high, and not always fixed, especially when the purchaser is not thoroughly versed in French. Strangers should avoid shops in which ‘English spoken’ is announced, as the Eng- lish-speaking shopman is almost always ‘temporarily absent’, and the use of English only invites an attempt to fleece the foreigner. Those shops which announce a Vente Forcee or Liquidation should also be avoided. Those are most satisfactory in which the price of each article is marked on it in plain figures. The Grands Magasins de Nouveautes, large establishments for the sale of all kinds of materials for ladies’ dress, trimmings. Information, 11. SHOPS. 39 laces , etc. , form a very important feature of modern Paris , and owing to the abundant choice of goods they offer are gradually superseding the smaller shops. Perhaps the most important of these establishments is the Bon Marche, Rue du Bac 135 and 137, and Rue de Sevres 18-24 (PI. R, 16; IV), rather distant from the centre of the town, with which may he mentioned the Grands Magasins du Louvre, in the Place du Palais-Royal (PI. R, 20 ; 77; p. 59), with reading and writing rooms , and a buffet where refreshments are dispensed gratis. Of a similar character are: Le Printemps, at the corner of the Boul. Haussmann and the Rue du Havre ; the Petit St. Thomas, Rue du Bac 27-35 ; the Gagne-Petit, Avenue de rOpera 21-23; the Place Clichy , in the place of that name; the Ville de St. Denis, Rue du Faubourg-St-Denis 91-95; Pygmalion, corner of the Rues St. Denis and de Rivoli, and Boul. de Sebasto- pol 9-13 ; the Samaritaine, Rue du Pont-Neuf and Rue de Rivoli, moderate ; Au Pont Neuf, opposite the preceding, new ; etc. The prices affixed to articles in the windows and at the doors of these establishments are often no criterion of those charged within. Similar to these Grands Magasins de Nouveautes are the Ba- zaars , at some of which all kinds of household requisites and luxuries may be obtained, while others devote themselves to cheap goods of every kind. Among the most attractive of the former are La Menagere, Boul. Bonne-Nouvelle 20, and the Bazar de VHotel- de-Ville, Rue de Rivoli 50-54, beside the Hotel de Yille. Among the others may be mentioned the Bazar de V Quest, Rue d’ Amsterdam, to the right of the Gare St. Lazare, the Bazar Metropole, Rue du Faubourg- Montmartre 16 & 18, new, and the Bazar du Chateau d'Eau, Rue du Faubourg-du-Temple 2, Place de la Republique. Antiquities and Curiosities: Laurent, Rue Meyerbeer 2, first floor ; Stettiner, Rue St. Georges 7 ; Lowengard, Boul. des Capu- cines Ala Croix de ma mere, Quai Malaquais 19, and several other shops on this and the adjoining quay; Duveen, Rue de la Paix2; Jamarin, Rue de Clichy 35; Seligrnann, Place Yendome 23 (Rue de la Paix) ; Caillot, Rue Lafayette 17. Also at several other shops in the Rue Lafayette and in the Rue Drouot, Rue Laffitte, and Rue le Peletier, near the Hotel des Yentes (p. 199). — Chinese and Japanese Goods: Dai-Nippon, Boul. des Capucines 3 & 5; Mon Ange, Boul. PoissonniMe 13. ‘Articles de Yoyage’: Bazar du Voyage, Avenue de I’Opera 3 ; Au Depart, same street 29 ; at several other establishments in the same street; Mcwmer, Faubourg-Poissonniere 34; and at the Bazaars (see above). English goods at Old England, Boul. des Capucines 12. Booksellers (reading-rooms, etc.), see p. 45. Bootmakers (ftottier, cordonnier; boots and shoes, chaussures): Poivret, Rue des Petits-Champs 32; Pinet, Rue de Paradis 44; Delail, Passage Jouffroy 46; Bacquart, Passage Jouffroy 35. — For Ladies: Ferry, Rue Scribe 11 and Rue Auber 2. — Ready-made 40 11. SHOPS. Preliminary boots and shoes may be procured in almost every street j Au Prince Engine, Rue de Turbigo *29; Raoul, Boul. des Italiens 22; and many others. Fretin, Rue de Rennes 64, etc. — Boots and shoes of a more expensive style at Nos. 18 and 30 Boul. des Italiens. English boots and shoes at Boulevard Montmartre 3 and 19. Bronzes (bronzes d'art): *Barbedienne, Boul. Poissonniere 30; *T/iie6awt, Avenue de rOpera 32 ; Siot-Decauville, Boul. des Italiens 24; Ardavani, Boul. des Italiens 27; Caisso ^ Cie., Boul. de la Madeleine 1 ; Colin, Boul. Montmartre 5; Susse Freres, Place de la Bourse 31. See also Leather Wares. — Church bronzes and orna- ments in the vicinity of St. Sulpice (p. 258). Carpets (made at Aubusson): Sallandrouze , Boul. Poisson- niere 23 ; Braquenie, Rue Yivienne 18. Chemists and Druggists: Pharmacie Normale, Rue Drouot 19 ; Ferre, Rue de Richelieu 102 ; Pharmacie Centrale des Boulevards, Rue Montmartre 178 ; Homeopathique, Boul. Haussmann 21 ; Tanret, Rue Basse-du-Rempart 64; T. P. Hogg, Swann, Rue Castiglione 2 and 12 ; Roberts ^ Co. ( Shorthose) , Rue de la Paix 5; W. D. Hogg, Avenue des Champs- Elysees 62 (the last four are English). China, see Glass. Chocolate, Tea, etc.: Compagnie Coloniale, Aven. del’Op^ra 19 ; F. Marquis, Passage des Panoramas 57-59, Rue Yivienne 44, and Boul. des Capucines 39 ; L. Marquis {Siraudin; see Conflseurs) ; Lombart, Boul. des Italiens 11; Masson, Boul. de la Madeleine 9, Rue de Rivoli 91, and Rue du Louvre 8; Ouerin-Boutron, Boul. Poissonniere 29; Devinck, Rue St. Honore 175 and Rue Lafayette 76; Pihan, Rue du Faubourg -St -Honore 4; Potin, see Delicacies. Suchard^s, Menier's, Lombards, and Ibled's chocolates are sold at many other shops. See also Conflseurs. Cigars. The manufacture and sale of tobacco (‘caporal ordi- naire’ and ‘supdrieur’) 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 everyv^here. English and American tobacco may be obtained at various shops in the Rue de Rivoli, the Boulevards, and other streets frequented by strangers. Good imported cigars (25 c. each, and upwards) may be purchased at the principal depot, Quai d’Orsay 63, at the Place de la Bourse 15, at the Grand-Hotel, or at 180 Rue de Rivoli. ,The home-made cigars usually smoked are the Bordelais at 5 c. each, Etrangers at 10 e., Demi-Londres at 15 c., M4dianitos at 20 c., Regalias and Cam4lias at 25 c., LondrH at 30 c., and Londrls extra at 35 c. There are also special brands manufactured for the restaurants, cafes, etc. (25-50 c., each). Cigarettes are sold in packets of twenty at 50-80 c. Oriental cigarettes are to be had at Boul. des Capu- cines 12 and Place de la Bourse 15. The ordinary smoking-tobacco is of two qualities (caporal ordinaire, caporal supirieur), sold in packets of 40 grammes at 50 and 80 c. There are also much more expensive varieties. Passers-by may avail themselves of the light burning in every tobacco shop without making any purchase. Clothing, see Tailors, Dressmakers, Milliners, etc. Confectioners, see p. 20. Information. 11. SHOPS. 41 CoNFiSEURS (comp. p. 20): Boissier, Boul. des Capucines 7 ; Gouache, Boul. de la Madeleine 17; L, Marquis (Siraudin), Place de I’Opera 3 and Boul. des Capucines 17 ; Behatte% Rue du Faubourg- St-Honore 12; Bonnet, Rue Vivienne 31, Place de la Bourse ; Jour- dam, Rue de la Michodiere 2 and Rue St. Augustin 28 ; Seugnot, Rue du Bac 28 ; Au Chat Noir, Rue St. Denis 32 ; Fuller (American confectionery), Rue Daunou 4. — Preserved Fruits (fruits confits) are sold in these shops and in most large groceries. Price about 5 fr. per kilogramme (2t/5 lbs.). — See also Chocolate. Cycles. Humber, Rue du Quatre-Septembre 19 ; Rochet, same street 29; Clement, same street 31 ; Budge, Rue Halevy 16; Decau- ville, Boul. Malesherbes 1 3 ; Gladiator, Boul. Montmartre 18 ; Peugeot, Avenue de la Grande- Armee 22; Singer, same avenue 45. Many other dealers, including some of the best English makers, also have shops in the Avenue de la Grande- Armee. Delicacies (preserved meats, etc.; comestibles'): C/ievet, Palais- Royal, at the entrance, near the Theatre Fran^ais ; Corcellet, Avenue del’Opera 18 ; Potel ^ Chabot, Boul. des Italiens 25 and Rue Vivienne 28; F. Potin, Boul. de Sebastopol 101-103 and Boul. Malesherbes 45-47 (also ‘English- American grocer’) ; Testot, Rue de la Chaus- see-d’Antin 15; Aux Bords du Rhin, Rue Richer 47 ; Jacob, Rue du Bac 30; Faguais, Avenue des Champs -Elysees 42, Winterborn, same avenue 73 (these two ‘English- American’ grocers). — Salted Provisions: Maison du Jambon d'York (Olida), Rue Drouot 11. Dressmakers, Milliners, etc. The endless variety of the re- quirements of different travellers renders it practically impossible to give a satisfactory list under this head. Ladies will probably have little difficulty in finding suitable shops for themselves, but they should remember that it is generally possible to reduce the prices by a little bargaining. The most fashionable shops are to be found in the neighbourhood of the Opera: Rue de la Paix, Rue Taitbout, Rue Louis-le-Grand, Rue du Quatre Septembre, and the adjoining Boulevards. At these a simple walking-dress is said to cost not less than 400 fr., while an evening-costume may amount to 1500 fr. Hats and bonnets range from 60 to 120 fr. according to style. The Grands Magasins (p. 39) have lower charges and employ skilful modistes ; while ready-made clothing can also be obtained there, as well as in the shops mentioned under Tailors. Electro-Plate (ruolz, alfenide): *Christofle ^ Cie., Boul. des Italiens 33 and Rue Roy ale 12; Alfenide, Boul. de Sdbastopol 40; A la Menagere, Boul, Bonne-Nouvelle 20; and at the Grands Maga-^ sins (p. 39). — Silver or plated goods sold ‘en liquidation’ are rarely satisfactory. Engravings (estampes, pravwrcsj and Photographs : ^Goupil # Cie., Boul. des Capucines 24; ^Braun, Clement, ^ Co., Avenue de rOpera 43 and Rue Louis-le-Grand 18 (photographs of paintings ; comp. p. 108) ; * Jules Hautecoeur (Ancienne Maison Martinet), Rue de 42 11. SHOPS. Preliminary Rivoli 172; Albert Hautecoew\ Boul. des Capuciiies 12; E. Haute- coeur, Avenue de TOpera 35 (views of Paris) ; A la Bibliotheque Nationale^ Rue Yivienne 8; Champagne^ Kuhn^ Rue de Rivoli 180 and 220; Pinte^ Rue St. Honore 217; Roux^ Rue Bonaparte 1. Fancy Articles, see ‘Articles de Voyage’, Toy-shops, Bronzes, Leather; also Bazaars (p. 39). Fans: Kees^ Boul. des Capuciiies 9; Faucon^ Avenue de I’Opera 38; A. Weyl, Avenue de I’Opera 24; Duvelleroy^ Boul. des Oapu- cines 35 and Passage des Panoramas 17 ; Couvreux, Passage des Panoramas 50. Furriers : Revillon Freres , Rue de Rivoli 77-81 ; Compagnie Russe^ Rue de la Chaussee-d’ Antin 26 ; Orunwaldt^ Rue de la Paix 6 ; A la Ville de Bombay^ Boul. des Capucines 35 ; Bougenaux-Lolley ^ Rue St. Honore 249 ; Valenciennes^ Rue Yivienne 17 ; the Grands Magasins de Nouveautes^ etc. Glass (porcelain, etc.): Boutigny ^ Passage des Princes (Boul. des Italiens) and Peristyle Montpensier, to the W. of the Galerie d’Orleans (Palais-Royal) ; A la Paix, Avenue de I’Opera 34 ; Ver- mont, same avenue 12; Grand Depots Rue Drouot21. Also several shops in the Rue de Paradis (PI. B, 24; III). — Venetian Glass (Salviati), Avenue de I’Opera 16. — Bohemian Glass, Boul. des Italiens 20. — Art Pottery : JDecfc, Rue Halevy 10. — Golfe Juan Pottery, Avenue de I’Opera 36. — Earthenware : Delaherche^ Rue Halevy 1. Glovers (glove, le gant; kid glove, gant de chevreau or de peau de chevreau^ or de peau) : A la Petite Jeannette^ Boul. des Italiens 3 (English ties, hosiery, etc.); Au Carnaval de Venise, Boul. de la Madeleine 3 (English goods) ; Jourdain et Brown^ Rue Halevy 16 ; Perrin^ Avenue de I’Opera 45; Sante-Charlier, Rue St. Honore 167 (men’s gloves only); Persin, Passage Jouffroy 24-26 ; Au Roi d' Yve- tot^ Pass. Jouffroy 31 ; Grands Magasins. Goldsmiths and Jewellers : very numerous and tempting, especially in the Rue de la Paix, the Rue Royale, and the Avenue de I’Opera. All genuine gold and silver articles hear the stamp of the Mint. Hairdressers in almost every street, frequently in the entresol. — ‘Taille de cheveux’ 30-50 c., ‘coup de fer’ (curling) 25-50 c., ‘pour faire la barhe’ 20-30 c., ‘friction’ (washing the hair) 50 c. — For gentlemen : Boul. Montmartre, 21, 19, 11; Boul. des Italiens, 12, 23,29; Rue du Holder 3, etc.; Boul. des Capucines, at the Grand Hotel, No. 39, etc. ; Rue de la Paix 17, etc. ; Boul. St. Ger- main 180; Boul. St. Michel 36. — ‘Coiffeurs’ for ladies: Auguste^ Rue de la Paix 7 ; Dubois.^ same street 13 ; Autard^ Rue de Castig- lione 6 (2-5 fr.); Gabriel^ Rue St. Honore 229; and Cotreau^ Rue Royale 18 (courtyard). Many of the ordinary establishments have ladies’ rooms. Hatters (chapeliers): Delion ^ Boulevard des Capucines 24 and Information. 11. SHOPS. 43 Passage JoufTroy 21-25; A. Berteil, Rue du Quatre-Septembre 10, Itue de Richelieu 79, Boulevard St. Germain 134, and Place St. Augustin; Gibus (inventor of the folding hat), Rue du Quatre-Sep- temhre 11 ; Pinaud ^ Amour ^ Rue de Richelieu 89 ; Leon, Rue Dau- nou 21 ; Bravardj Boul. St. Michel 47 ; and others in the Rue de Richelieu and Rue Yivienne. English hatters in the Grands Boule- vards. — Ladies’ hatters, see Milliners. Hosiers and Shirtmakbrs. Grande Maison de Blanc ^ Boul. des Capucines 6; Doucet^ Rue de la Paix 21 ; Chemiserie du Palais Royal^ Rue St. Honore 167 (shirt 8-13i/2l^0j Chemiserie Speciale^ Boul. de Sebastopol 102 (3Y2-14Y2 1^0 5 Maison des 100,000 Che- mises, Rue Lafayette 69 and Rue Madame 1; the Grands Magasins (p. 39), etc. See also Glovers. Jewellers, see Goldsmiths. Leather Wares (maroquinerie) : Maquet, Avenue de l’Operal9; Brentano, same avenue 37 ; Boudet, Boul. des Capucines 43. See also ‘Articles de Voyage’. Maps. Barrere (Andriveau- Goujon), Rue du Bac 4; Baudoin (Dumaine) , military bookseller , Rue and Passage Dauphine 30 (1st floor); Delorme, Rue St. Lazare 80; Challamel, Rue Jacob 17 (charts). Maps of the Environs of Paris. The Army Ordnance Department has published a coloured map on a scale of 1:20,000 (38 sheets at 85 c. each) and another uncoloured, 1:40,000 (9 sheets at 40 c.). Barrere has issued maps of the W. and N.W. districts (1:5000) for 2 fr. (uncoloured), *of the department of the Seine (1 : 12,000) in 12 sheets at 2 fr., and of the en- virons of Paris (1 : 50,000) in 4 or 9 sheets in colours at I 1/2 or 3/4 fr. — Cyclist maps : Neal, flue de Rivoli 248 (Plan-Velo series). Milliners, see Dressmakers. Music: Heugel (Au Menestrel), Rue Yivienne 2bisj Choudens, Boul. des Capucines 30; Durand-Schoenewerk, Place de la Made- leine 4; Hamelle, Boul. Malesherbes 22 ; Grus, Place St. Augustin; Schott Cie., Faubourg St. Honore 70. Musical Instruments. Pianos : *Erard, Rue du Mail 1 3 ; *Pleyel, Rue Rochechouart 22 ; Herz, Rue St. Lazare 20 ; Gaveau, Boul. Montmartre 8 (entresol); Rue de la Chaussee- d’Antin 6; Boul. St. Germain 232, etc. ; Bord, Boul. Poissonniere 14bis^ etc. — Organs; Cavaille-Coll, Avenue du Maine 15; Merklin, Rue De- lambre 22. — Harmoniums: Alexandre, Rue Lafayette 81. — Stringed Instruments : Bernardel, Passage Saulnier4; Collin, Fau- bourg Poissonniere 10 ; Tournier, Boul. St. Martin 4 ; Thibouville, Boul. de Sebastopol 92 and Rue Reaumur 68. Opticians (spectacles, des lunettes; opera-glass, une lorgnette, or des jumelles; eye-glasses, un lorgnon or binocle): Chevalier, Ga- lerie de Yalois 158 (Palais-Royal) ; Lafontaine, Galerie Montpen- sier 18; Fischer, Hazehroucq, Cam, all in the Rue de la Paix, Nos. 7, 23, 24; Armand, Valery, Ducatillon, all in the Boul. des Capu- cines, Nos. 12, 25, 29; Jos. Godchaux, Boul. des Italieiis 9; Rosso, 44 11. SHOPS. Preliminary Rue Vi'vienne 26, moderate ; Derogy, Quai de I’Horloge 33; Iseli, Boul. St. Germain 149. - Paper-Hangings. Maigret et Cie., Boul. de la Madeleine 11 ; Barbedienne (Dumas), Rue Notre-Dame-des-Victoires 24. Perfumery: Violet, Boul. des Italiens 29; Pinaud, Boul. des Italiens 30 and Boul. de Strasbourg 37 ; Fiver, Boul. de Stras- bourg 9 ; Gelle Freres , Avenue de I’Opera 6 ; Lubin , Rue Ste. Anne 55 ; Bimmel (English), Boul. des Oapucines 9 ; Guerlain, Rue de la Paix 15; Agnel, Avenue de I’Opera 16; Boul. des Capu- cines 21 ; Boul. Malesherbes 31 and 83 ; Rue Auber 9 ; Botot, Rue de la Paix 17, and Rue St. Honord 229 ; Oriza (Legrand), Place de la Madeleine 11; Houbigant, Rue du Faubourg-St-Honore 19; Dr. Pierre (dentifrices), Place de I’Opera 8; Bully (vinaigre de toilette), Rue Montorgueil 67 ; Stephen ^ Lucca (English), Avenue de rOpera 14. Photographers : Braun, Clement, ^ Co., Rue Louis-le-Grand 18 ; Nadar, Rue d’Anjou 51 ; Liebert, Rue de Londres 6 (25-500 fr. per doz.); Watery, same street, 9bisj Firou, Rue Royale 23 and Boul. St. Germain 5 ; Benque, Rue Royale 5 ; Boyer, Boul. des Oapucines 35 ; Mulnier, Tourtin, Ladrey-Disderi, Boul. des Italiens, Nos. 25, 8, 6; Reutlinger, Ogereau, Courret, Boul. Montmartre, Nos. 21, 18, 10; Camus, Rue Yivienne 18; Pierre-Petit, Place Cadet 3. — For sellers of photographs, see Engravings. Pictures and Sculptures. At the galleries of Durand Fuel and Georges Petit (p. 37) ; at GoupiVs (see above, under Engravings) ; also at various shops in the Rue Laffltte and at the sellers of bron- zes. — Ancient Pictures at Ch. Sedelmeyer's, Rue de la Roche- foucauld 6. Porcelain, see Glass. Preserved Meats, see Delicacies. Tailors. The general remarks under Dressmakers (p. 41) may be repeated here. There are several good tailors in the Boulevard des Italiens, Avenue de TOpera, Palais-Royal, etc. The following are said to be average prices in the Grands Boulevards : suit 200- 400 fr., overcoat 150-200, evening-coat 150-250, trousers 50-60, waistcoat 45, jacket 110-150 fr. — Ready-made Clothing : A la Belle Jardiniere, Rue du Pont-Neuf 2, a large establishment where garments of all kinds may be obtained; Coutard, Boul. Mont- martre 4; Old England, Boul. des Capucines 12; Maison de t Opera, Avenue de I’Opera 20 ; A la Grande Fabrique, Rue de Turbigo 50 ; A St. Joseph, Rue Montmartre 115-119; etc. Tobacco, see Cigars. Toy Shops : Au Nain Bleu, Boul. des Capucines 27 ; Magasm des Enfants , Passage de I’Opera ; Au Paradis des Enfants, Rue de Rivoli 156 and Rue du Louvre 1 ; and, about the New Year, in the Grands Magasins and Bazaars. Travelling Requisites, see ‘Articles de Voyage’. Information. 12. BOOKSELLERS. 45 Watchmakers: Leroy et Cie.^ Galerie Montpensier 13, Palais- Royal (chroDometers) ; Rodanet, Rue Vivienne 36 (chronometers); Breguet, Fleury^ Capt^ Rue de la Paix, Nos. 12, 25, 22; Au Nhgre^ Boul. St. Denis 19 (also jewellery) ; Gamier, Rue Taithout 6. — Lepaute (clocks), Rue Halevy 5 ; Detouche (clocks). Rue St. Mar- tin 228-230 ; Planchon, Rue de la Chaussee-d’Antin 5 and Rue Meyerbeer 2. Flower Markets. Quai aux Fleurs (PI. R, 23; F), on Wed. and Sat. (a bird-market on Sun.); Place de la B4puhlique (PI. R, 27; ///), on Mon. and Thurs. ; Place de la Madeleine (PI. R, 18; //), on Tues. and Frid. ; Place Si. Sulpice (PI. R, 16-19; JV), on Mon. and Tbnrs.; etc. There are beautiful flower-shops in the boulevards and elsewhere ; e.g. Vaillant., Lab- rouse, Boul. des Capucines Nos. 41, 12; Lachaume., Rue Royale 10; Bories, Augustin, Boul. St. Germain 179, 110, Those who desire to transmit purchases direct to their destin- ation should procure the services of a goods-agent (p. 26). Commissionnaires, or messengers, are to be found at the corners of some of the chief streets (no tariff ; 1-2 fr. according to distance). Many of them are also Shoeblacks (20 c.). 12. Booksellers. Beading Booms. Libraries. Newspapers. Booksellers. OalignanVs Library, Rue de Rivoli 224, with library (see p. 46) : Neal, Rue de Rivoli 248, with library and reading-room (see below), Brentano, Avenue de I’Opera 37 ; these three are English and American booksellers. Ollendorff, Rue de Richelieu 28 bis (general agent for Baedeker’s Handbooks). Flammarion 4" Vaillant, Boul. des Italiens 40, Boul. St. Martin 3, Galeries de POdeon, etc. ; Arnaud, Avenue de I’Opera 26 ; Sevin, Boul. des Italiens 8 ; Dentu, Avenue de I’Opera 36bis and Boul. de Sebastopol 73; Fontaine, Boul. Montmartre 19. — Haar ^ Steinert, Rue Jacob 21, Le Soudier, Boul. St. Germain 174, and Vieweg, Rue de Richelieu 67, for German books ; Boyveau, Rue de la Banque 22, English and German books. — Rare books : Jfor- gand. Passage des Panoramas 55 ; Fontaine, see above; Rouquette, Passage Choiseul 69 ; Conquet, Rue Drouot 5. For the addresses of other ‘libraires-^diteurs’, consult the Directory of Paris. ■ — The famous house of Eachette ^ Cie. is at 79 Boul. St. Germain. — The Second-Hand Book Stalls on the quays on both banks, E. of the Pont Royal, are interesting. The shops in the Galeries de I’Odeon and the numerous book-shops near the Sorbonne may also be mentioned. Beading Booms. Neal, Rue de Rivoli 248 (adm. 25 c., per week 1 fr.), well supplied with English newspapers and English and American magazines. — Reading Room of the New York Herald, Avenue de TOpera 49 (adm. gratis), well supplied with American, English, and French newspapers. Both of these are frequented by ladies. — Salon Litteraire, in the Passage de I’Opera (N. side of the Boul. des Italiens), Galerie du Barometre 11 and 13, French, Ger- man, and English newspapers; adm. 30 c. — Salons de Lecture of the same kind at the Librairie de Paris, Boul. Montmartre 20, 46 12. NEWSPAPERS. Preliminary These reading-rooms are convenient places for letter-writing. Materials for the purpose may also he procured at any of the cafes. Circulating Libraries. Bibliothhque Cardinal, Place St. Sulpice, to the right of the church ; Neal, Rue de Rivoli 248 (from 1 fr. per month) ; Qalignani, Rue de Rivoli 224 (from 2 fr. per month) ; Bibliotheque JJniverselle, Rue Tronchet 4 ; La Lecture TJniverselle, Rue des Moulins 5 (2 fr. per month, 10 fr. per annum); Bahl, Rue Chauveau-Lagarde 14 (2 fr. per week, 5 fr. per month) ; Delorme, Rue St. Lazare 80 (1 1/2 fr. per month, 10 fr. per annum) ; Biblio- theque Oiler, Rue Bonaparte 76. Newspapers. The oldest Parisian newspaper is the ‘Gazette de France’, which was founded in 1631 by Renaudot (p. 229). No fewer than 150 new journals appeared in 1789, 140 in 1790, and 85 in 1791 , hut most of these were suppressed at various times hy government, Napoleon finally leaving only thirteen in existence. On the restoration of the monarchy about 150 newspapers and period- icals were published, hut only eight of these concerned themselves with political matters. Since then the number has been constantly on the increase , and now amounts to about 2400. The political papers number over 160 , and are sold in the streets or at the ‘kiosques’ in the Boulevards (p. 72). The larger papers cost 10, 15, or 20 c. , the smaller 5 c. Morning Papers. Pepuhlican : Le Petit Journal (largest circulation) ; Le Matin, La Lihre Parole (antisemitic) ^ U Intransigeant (Henri Rochefort) ; Le Journal, L'Echo de Paris (these two more literary than political); Le Gil Bias (‘journal de fine gauloiserie’); L' Eclair; Le Petit Parisien ; La Lan- terne; etc. — Conservative: Le Oaulois, Le Soleil (these two Orleanist) ; L'AutoriU (Bonapartist) ; UJJnivers (clerical); Le Moniteur Universel. The Figaro, the most widely circulated of the larger papers (80-100, CKX)), may also he called conservative, but is rather a witty literary sheet than a serious political journal. — Unclassified : Le Journal Officiel. Evening Papers. Republican: Le Journal des Dibats (20 c.; one of the best Parisian papers) ; Le Temps (well edited and influential); Le National; La Ripuhlique Frangaise; Le Soir; La Liberti ; etc. — Conservative: La Gazette de France (royalist). Reviews and Periodicals: La Revue des Deux Mondes (the oldest); Nouvelle Revue (Republican); Le Correspondant (Conservative); Revue Bri- tannique; Revue Illustrie (artistic); Revue des Revues; Revue Ginirale des Sciences; Revue Scientifique; La Nature; Revue Bleue, Revue Blanche (both literary); Revue Larousse (general); Revue de Paris; Cosmopolis; etc. Illustrated Journals: L' Illustration ; DUnivers Illustri; Le Journal Amusant ; Le Journal pour Rire; Le Charivari; La Vie Parisienne ; Le Journal Illustri. Most of these are issued weekly. English, German, and other foreign journals are sold in the kiosques near the Grand-Hotel and in some others on the principal boulevards. — The Daily Messenger (20 c.), formerly ‘Galignani’s Messenger’, an English paper published in Paris (office. Rue St. Honore 167), has been in existence for over 80 years. It con- tains an excellent summary of political and commercial news, the latest information from England, the United States, and the whole of the Continent, and a list of the principal sights and amusements of Paris. The English and American places of worship (p. 49) are Information > 13. BATHS. 47 enumerated every Saturday. — The European edition of the New York Herald (office, Avenue de 1’ Opera 49) is a daily paper of a similar kind (price 15 c., Sun. 25 c.). — The American Register (office, Boul. Haussmann 39), with lists of American travellers in Europe and general news, is published every Saturday (price 30 c.). Strangers desiring to learn French or other languages will find ample facilities at the Berlitz School of Languages^ Avenue de TOpera 7 and Rue Madame 49 (left hank), and at the Institut Rudy, Rue Caumartin 4, where a course of three lessons per week costs 10-15 fr. a month. Private lessons are also given. The Institut Polyglotfe, Rue de la Grange-Bateliere 16, is a similar establishment. The addresses of private teachers may be obtained from Galignani and the other booksellers. — The Franco- English Guild, Rue de la Sorbonne 6, for women, supplies information regarding the conditions of study at the Sorbonne, the art-schools, and studios; the ex- aminations held by the University of Paris; special branches of study; etc. The annual inscription fee, including use of dining-room and reading-room, is 10 fr. ; course of ten lessons in French 30 fr.; full course of ten months 225 fr. 13. Baths. Physicians. Maisons de Sante. Baths. Warm Baths in the floating establishments on the Seine, and in many others in different parts of the town. Charges: ‘Bain complet’, 1^2“^ j ‘bain ordinaire’ towels extra. De la Samaritaine, below the Pont-Neuf, right bank (PI. R, 20; ///); Vigier, above the Pont-Royal, Quai Voltaire ; de Diane ^ Rue Yol- ney 5 ; Vivienne, Rue Vivienne 15 ; 8te. Anne, Rue Ste. Anne 63 and Passage Ohoiseul 58 ; de la Madeleine, Rue du Faubourg-St-Ho- nore 30, Cite du Retiro (80 c.-3 fr.) ; de Jouvence, Boul. Poissonniere 30 and Rue du Faubourg-Montmartre 4 ; dela Chaussee-d" Antin, Rue de la Chaussee-d’Antin 46; Ventadour, Rue des Petits-Champs 48, near the Avenue del’Opera; Chantereine, Rue de la Victoire 46 and ! Rue de Chateaudun 39; de la Bourse, Rue St. Marc 16; Thermes \ Romains, Rue Montmartre 163 (with swimming-bath, 1 fr., reserved I on Wed, for ladies); St. Denis, Rue du Faubourg-St-Henis 50 (with I swimming-bath); St. Oermain-des-Pres, Boul. St. Germain 180; 1 Racine, Rue Racine 5. ! Turkish, Vapour, and other baths: Le Hammam, Rue des j Mathurins 18, corner of the Rue Auber (entrance for ladies, Boul. j Haussmann 47), very handsomely fitted up (Turkish bath 5 fr.); Le Balneum, Rue Cadet 16bis^ of the same category (2 fr.); Ham- mam Monge, Rue Cardinal-Lemoine 63, on the left bank (bath 1 1 / 2 - 2Y2fi*0» — Piscine Rochechouart, Rue de Rochechouart 65 I (lY 4 fr.; reserved for ladies on Frid.). — Rams Guerftofs, Rue duBourg- i I’Abbe 7. — Bains de Fumigations, Rue de Dunkerque 56. — Com- , pressed Air Baths (Bains d'Air Comprime) , Rue des Pyramides 17. • Cold Baths in the Seine, open from May 1st to Sept. 30th : *Grande Ecole de Natation, Quai d’Orsay, near the Pont de la Concorde (PI. R, 14, 15; /i); *Bains de Solferino, between the Pont do la Concorde and the Pont de Solferino, for ladies also ; Bains 48 13. PHYSICIANS. Preliminary du PonURoyal (entered from the Quai Voltaire) ; Henri IV (entrance near the statue on the Pont-Neuf) ; Ouarnier, Quai Voltaire, for ladies also ; Bains du Louvre, near the Pont des Arts, The usual charges at these cold haths are; admission 20-60, swim- ming-drawers and towel 25, fee to the ‘garcon' 10 c. — It should be ob- served that one-half of each bath is generally very shallow, being intended for non-swimmers, while the other half is "often not more than 6-9 ft. in depth. Divers should therefore use great caution. Physicians. Should the traveller require medical advice during his stay in Paris, he should obtain from his landlord the name of one of the most eminent practitioners in the neighbourhood of his hotel or lodgings. Information may also he obtained at the English and other chemists’ shops (p. 40), or at OalignanVs (p. 45). As changes of address are not infrequent, the ^Bottin\ or Directory, may also be consulted. Usual fee from 10 to 20 fr. per visit or con- sultation. The following English and American physicians may be mentioned: — Dr, Anderson, Rue du Bois -de- Boulogne 5; Dr. Austin, Rue Gambon 24 ; Dr. Barnard, Rue St. Honore 362 ; Dr. Boyland, Avenue d’Antin73 ; Dr. Magill, Rue deClichy 54 ; Dr. Chamberlain (Amer.), Rue de Berri 8 ; Dr. Clarke (Amer.), Rue Cambaceres 2 ; Dr. Deer- ing, Rue Godot-de-Mauroi 3; Dr. Dupuy, Avenue Montaigne 53 ; Dr. J. Faure-Miller, Rue Matignon 28; Dr. R. Faure-Miller, Rue Miromenil 8 ; Dr. H. Fischer, Avenue Matignon 5 ; Dr. Good, Avenue du Bois-de-Boulogne 23; Dr. Hein, Rue Tronchet 34; Dr. Herbert, Rue Duphot 18; Dr. Jennings, Rue Vernet 17; Dr. Thomas Linn, Rue Caumartin l9 ; Dr. Pellereau, Rue duEaubourg-St-Honore 170; Dr. Prendergast, Rue d’ Anjou 1. Oculists : Dr. Loubrieu , Rue de Rivoli 50 ; Dr. Bull, Rue de laPaix4; Dr. Meyer, Boul. Haussmann 73; Dr. de Weaker, Av- enue d’Antin 31. Dentists: T. W. Evans, Rue de la Paix 15; I. B. ^ W. S. Davenport, Avenue de I’Opera 30; Hy. Didsbury, Rue Meyerbeer 3 ; Dugit , Rue du 29 Juillet 6 ; Duchesne , Rue Lafayette 45 ; J. Evans, Avenue de I’Opera 19 ; Rossi-Hartwick, Rue St. Honore 185 ; Ryan, Rue Scribe 19; Weber, Rue Duphot 25; Rykert (Canadian), Boul. Haussmann 35; Daboll, Avenue de I’Opera 14; Barrett, Avenue de I’Opera 17. Chemists and Druggists, see p. 40. 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 well as good tables d’hote, are provided for convalescents. The following may be recommend- ed : — Maison Municipale de Sante (Dubois), Rue du Faubourg- Information. 14. DIVINE SERVICE. 49 St -Denis 200 (terms 5-16 fr. per day, everything included); Maison des Hospitaliers de St. Jean-de-Dieu, Rue Oudinot 19 (10- 20 fr.); Maison des Dames Augustines de Meaux^ Rue Oudinot 10 (for women ; 300-500 fr. per month) ; Etablissernent Hy dr other apique d^Auteuil, Rue Boileau 12 and Rue de Miromenil 63 ; Maison Rivet^ at St. Mande, Grande Rue 106, for ladies. The ^Hertford British Hospital, or Hospice Wallace (PI. B, 8), is a large Gothic edifice in the Rue de Villiers, at Levallois- Perret , near Neuilly , built and endowed hy the late Sir Richard Wallace. It has accommodation for between thirty and forty patients, and is surrounded by a large garden. — Mention may also be made of the Protestant Hospice Suisse (for men ; apply at the Swiss Em- bassy, Rue Marignan 15) and the Maison des Diaconesses Pro-- testantes (for ladies). Rue de Reuilly 95. Public Hospitals^ see p. 229. — The Institut Pasteur^ for the treatment of hydrophobia, is at Rue Dutot 25 (PI. G, 13); see p. 293. 14. Divine Service. English Churches. For the latest information , visitors are recommended to consult the Saturday number of The Daily Mes- senger or New York Herald (p. 46). At present the hours of ser- vice are as follows : — Episcopal Church: — English Church, Rue d’Aguesseau 5, Faubourg St. Honore, opposite the British Embassy; services at 8.30, 10.30, 3.30, and 8. — Christ Church, Boul. Bineau 49, Neuilly; ser- vices at 10.30 and 4. — St. George's (Victoria Jubilee Church), Rue Auguste-Vachery 7 (Avenue d’lena); services at 8.30, 10.30, 3, and 8. — Church of the Holy Trinity (Amer.), Avenue de PAlma 19; services at 8.30, 11, and 4. — St. Luke's Chapel (Amer.), Rue de la Grande Ch^umiere 5 ; services at 8.30, 10.30, and 8. English Congregational Services, Rue Roy ale 23, at 11.15 a.m. and 7.30 p.m. English Roman Catholic Church: Eglise St. Joseph, 50 Avenue Hoche, mass at 6, 7, 8, 9, 10,. and 11.30, on Sundays ; ser- mons at 10.30 and 3. Confessions heard daily, 6-9. American Chapel, Rue de Berri 21 ; service at 11 a.m. Church of Scotland , Rue Bayard 17, Champs-Elysees ; ser- vices at 11 a.m. and 8 p.m. Wesleyan Methodist Church, Rue Roquepine4, adjoining No. 41 Boulevard Malesherbes, near the Madeleine. Service on Sun- days at 11 and 8, on Wednesdays 8 p.m. — Service also at 3.30 p.m. on Sun. at Rue Demours 16, Asnieres. Baptist Churches: Rue de Lille 48; French service at 2 p.m.; English service at 4 p.m. — Rue St. Denis 133 ; service in French at 2 and 8 p.m. French Protestant Churches (Temples Protestants). Calvinist : Baedeker. Paris. 13tb Edit. 4 50 14. DIVINE SERVICE Preliminary VOratoire^ Rue St. Honore 145; service at 10.15. — Ste. Marie^ Rue St. Antoine 216, near the Bastille; service at 10.15, in winter at noon. — Temple de VEtoile, Avenue de la Grande-Armee 54; services at 10 and 4. — Temple des Batignolles ^ Boul. des Batig- nolles 46 (10.15 and 4). — Eglise de Pentemont^ Rue de Grenelle 106 (10.15 and 4). — St. Esprit, Rue Roquepine 5 (10.15 and 1). — Temple Milton, Rue Milton (10.15). — Temple de Passy, Rue Cor- tambert 19 (Trocadero; 10.15). — Temple de Neuilly , Boulevard d’Inkermann 8 (10.15), etc. Lutheran (Confession d" Augshourg) : Temple des Billettes, Rue des Archives 24, to the N. of the Hotel de Ville; service at 10.15 or 12.30 in French, at 2 in German. — Temple de la Redemption, Rue Chauchat 16; service in German at 10.15, in French at 12. — Swedish Church, Boulevard Ornano 19 (2.30). Free (Litres): Eglise Taitbout, Rue de Provence 42; service at 10.15 a.m. — Eglise du Nord, Rue des Petits-Hotels 17 (10.15). — Temple du Luxembourg, Rue Madame 58 (10.30 a.m. and 8 p.m.). — Chapelle du Centre, Rue du Temple 115 (10.30). Synagogues: Rue Notre- Dame -de- Nazareth 15; Rue de la Victoire 44 (a handsome edifice) ; Rue des Tournelles 21t>is, near the Place des Vosges; Rue Buffault 28 (Portuguese). Greek Ghurclies ; Russian Church (see p. 203) , services on Sun. and Wed. at 11 a.m., on Sat. at 8 p.m. — Eglise Orthodoxe, Rue Bizet 5 (PI. R, 11 ; i). — Greek Catholic Church (St. Julien- le-Pauvre), see p. 233. — Roumanian Chapel, Rue Jean-de-Beau- vais 9Ms (PL R, 19; V), service at 10 a.m. and 4 p.m. Missions. For those interested in home mission work the following notes may he of service. The M^All Mission has now between 30 and 40 stations, of which the most important are at Rue Royale 23, Boul. Bonne-Nouvelle 8, and Rue St. Antoine 104^ meetings every week-day at 8 p.m. Sunday meetings at 4.30 p.m. at Rue Royale 23 and at 8.16 p.m. at Rue du Fauhourg-St-Antoine 142 and Rue Nationale 157. The offices of the mission are at Rue Godot-de-Mauroi 36 ^ chairman and director, Rev. Chas. E. Greig, D. T). — Anglo-American Young Men^s Christian Association, Rue Montmartre 160 (10 a.m. -10.30 p.m.). — Miss de Broen^s Mission, Rue Bolivar 32, Belleville, and Rue Clavel ^ ; meetings every evening and on Sun. at 3.30 and 8.30 p.m. Dispensary on Mon., Tues., Thurs., and Frid., at 10 a.m. — The QirW Friendly Society, Rue de Provence 48, affords cheap lodgings. — SocUU Centrale de la Mission Int^rieure : agent , Pastor J. Pfender, Rue Labruyere 46. 15. Embassies and Consulates. Ministerial Offices. Banks. Embassies and Consulates. — Great Britain : Ambassador, Rt. Hon, Sir Edmund Monson, Rue du Faubourg- St-Honore 39. — Consul, A. P. Inglis, Esq., Rue du Faubourg-St-Honore 39 (11-3); vice-consul, O, 0. F. Atlee, Esq. United States : Ambassador, General Horace Porter, Avenue Kleber 18. — Consul General, Col. J. K. Gowdy, Avenue de TOpera 36 (10-3); vice-consul general, Edward P. MacLean, Esq. Information. 15. BANKS. 51 The following are the present addresses of the Ministers and Consuls of other countries, but changes of residence sometimes take place. — The offices are generally open from 1 to 3. Austria^ Rue de Varenne57. — Consulate: Rothschild’s, Rue Laffltte21 (11-1) Belgium^ Rue du Colisee 38 (also consulate). Denmark^ Rue de Courcelles 29. — Consulate, Rue d’Hauteville 53. Germany, Rue de Lille 78 (I 2 -IV 2 ; also consulate. Greece^ Rue Debrousse 3. Italy ^ Rue de Crenelle 73 (also consulate). Netherlands^ Rue de Lubeck 29 (also consulate). Russia, Rue de Crenelle 79 (also consulate). Spain, Boul. de Courcelles 34. — Offices and consulate, Rue Bizet 6. Sweden and Norway, Rue Eassano 12. — Consulate, Rue d’Athenes 14. Switzerland, Rue Marignan 15. Turkey, Rue de Presbourg 10. — Consulate, Place St. Ferdinand 31. Vatican, Rue de Varenne 58 (Tues., Thurs., & Sat. 2-4). Ministerial Offices. The days and hours of admission are fre- quently changed. Consult the ‘Bottin’. Affaires Etrangeres, Quai d’Orsay 37 and Rue de FUniversite 130. Agriculture, Rue de Yarenne 78. Colonies, Pavilion de Flore, Tuileries. Commerce, Industrie, Posies et Telegraphes, Rue de Varenne 80 and Rue de Crenelle 99-105. Finances, at the Louvre, Rue de Rivoli (PI. R. 20; 11). Querre, Boul. St. Germain 231 and Rue St, Dominique 10-14. Instruction Publique, Beaux- Arts, et Cultes, Rue de Greiielle 110. Jnlerieur, Place Beauveau, Rue Camhaceres 7-13 and Rue des Saus- saies 11 ; Rue de Crenelle 103 and Rue de I’Universite 176. Justice, Place Yendome 11 and 13. Marine, Rue Roy ale 2. Travaux Publics, Rue de Crenelle 244-248. Banks, Banque de France, Rue de la Yrilliere and Rue Croix des Petits-Champs (PI. R, 21; 11) and Place Yentadour (annexe for bonds) ; Caisse des Depots et Consignations, Rue de Lille 56 (PI. R, 17 ; II, IV) ; Caisse d'Epargne, Rue Coq-Heron 9 (PI. R, 21 ; ///); Credit Fonder, Rue des Capucines 17 and 19 (PL R, 18); Credit Lyonnais , Boulevard des Italiens 15-21 , with 30 branch offices ; Societe Qenerale , Rue de Provence 54 and 56 , with 52 branches; Comptoir National d’Escompte , Rue Bergere 17 (PI. B, 21; 111), with 18 branches; Rothschild, Rue Laffitte 21-25. — English and American Banks. Munroe ^ Co. , Rue Scribe 7 ; Morgan, Harjes, ^ Co., Boul. Haussmann 31. Money Changers (changers) are found in almost every part of Paris, particularly in the Palais-Royal, near the Exchange, the Boulevards, the Rue Vivienne, and the other streets frequented by strangers. That at the Cridit Lyonnais (see above) may be recommended. Stamps. Receipts for sums above 10 fr., as well as various commer-* cial documents, must be stamped. Receipt-stamps are sold at the post- office and at many tobacconists (p. 40). 52 16. Preliminary Drive. After a preliminary study of tlie general remarks on Paris at p. XXVI, the best way of obtaining a general idea of the appearance of Paris is to take a drive on the top of an omnibus or tramway-car, or in an open cab, through the principal streets. If a cab is hired it should be engaged a Vheure^ and the driver desired to take the fol- lowing route. CabDbive. The Palais-Royal (p. 60) is chosen as a convenient starting-point. Thence we drive to the E. through the Eue de Ri- voli (p. 61), passing the Tour St. Jacques (p. 63) and the Hotel de Yille (p. 65) ; then through the Rue St. Antoine, as far as the Place de la Bastille (p. 70) and the Colonne de Juillet (p. 71), and along the Grands Boulevards (pp. 72 et seq.) to the Madeleine (p. 81), and so to the Place de la Concorde (p. 82). We next ascend the Champs-Elysees (p. 152) to the Arc de I’Etoile (p. 154). Then we drive to the Pont de I’Alma (p. 161), and across it to the Champ-de-Mars (p. 287) and Hotel des Invalides (p. 279); Rue de Grenelle, Ste. Clotilde (p. 278), Boulevard St. Germain as far as St. Germain-des-Pres(p. 257), Rue Bonaparte to St. Sulpice(p. 258), and on to the Palais du Luxembourg (p. 260) ; the Rue de Me- dicis, at the end of which is the Rue Soufflot leading to the Pan- theon (p. 245). Thence down the Boulevard St. Michel (p. 232), passing the Sorbonne (p. 243) and Hotel de Cluny (p. 234) on the right, and the Fontaine St. Michel (p. 233) on the left; next traverse the Boulevard du Palais and the ‘Cite’, where Notre-Dame (p. 229) is observed on the right, at some distance, and the Palais de Justice (p. 224) on the left, beyond which we regain the right bank of the Seine at the Place du Chatelet (p. 63). Soon after we again reach the Rue de Rivoli, where we may dismiss the cab and descend through the Boulevard de S^astopol to the Grands Boulevards. The drive will occupy about 3 hrs. and (according to the vehicle) cost 7-10 fr., including 1 fr. gratuity. Omnibus Drive. Gentlemen may explore the city by taking a similar excursion on the outside of an omnibus or tramway-car, which 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. 81) to the Bastille, line E, without ‘correspondance’ (15 c.), as far as the Place de la Bastille (p. 70) ; thence take a tramway-car (coming from Yincennes ; 15 c.) to the Hotel de Yille (p. 65), and hence proceed by an omnibus of line C (Hotel de Yille-Porte Maillot) 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. 82), without correspondance. Walk down to the quay and take line AF to the Pantheon (p. 245), without 16. PRELIMINARY DRIVE. 53 correspondance. Walk thence hy the Boulevard St. Michel to the Jardin du Luxembourg (p. 266) and the Odeon (p. 267). Here take the Oideon and Batignolles-Clichy line H as far as the Palais-Royal (p. 60); 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 I’Est line to the Rue de Rivoli (p. 61) or on to the Grands Boulevards (p. 72). Good walkers may, of course, perform parts of this route on foot and so obtain a closer view of the objects of interest. They may, e.g . , walk along the Grands Boulevards to the Place de la Repub- lique (about 2 M. from the Opera) ; from the Hotel de Ville to the Place de la Concorde (about lY2^0i ^^®m the Luxembourg to the Rue de Rivoli (nearly 1 M.), or to the Boulevards ( 3/4 M. farther). A good general view of the city may be obtained from the Towers of Notre Dame (p. 232), but for this purpose clear weather is necessary, and that occurs seldomer than might be supposed. Even when the sun is shining, the middle distance is frequently in- distinct, a fact which may also be noticed from the ground in the longer streets. The best views are obtained when the weather is clearing just after a shower, and on dry windy days; but in the latter case the wind is often disagreeable on the to]p of the towers. A general survey from another point of view is afforded by a visit to the Butte Montmartre (p. 209). The Eiffel Tower (p. 287) is too far from the centre to afford an entirely satisfactory survey. Having acquired a general idea of the external appearance and topography of the city, the traveller may then proceed at his leisure to explore it in detail. 17. Distribution of Time. A stay of a fortnight or three weeks in Paris may suffice to con- vey to the visitor a superficial idea of the innumerable attractions which the city offers, but a residence of several months would be requisite to enable him satisfactorily to explore its vast treasures of art and industry. The following plan and diary will aid him in regulating his movements and economising his time. The routes in the Handbook are arranged as far as possible so as to avoid loss of time and unnecessary detours, but they may easily be re- solved into new combinations or made in a reverse direction , as the convenience or pleasure of the sight-seer may dictate. Fine days should be spent in the parks, gardens, and environs. Excur- sions to the country around Paris, in particular, should not be post- poned to the end of one’s sojourn, as otherwise the setting in of bad weather may preclude a visit to many beautiful spots in the neighbourhood. Rainy days should be devoted to the galleries and museums. The table at p. 56 shows when the different collections and objects of interest are open to visitors, but does not include buildings 54 17. DISTRIBUTION OF TIME. Preliminary that are open gratis every day, which must he looked for in the index. Parks, public gardens, cemeteries, and the like are also omitted, as they are -practically always open. The days and hours enumerated, though correct at present, are liable to alteration ; and the traveller is therefore referred to The Daily Messenger (p. 46), to the principal French newspapers, and to the bills posted on the advertising pillars in the boulevards. The museums and collections are apt to be uncomfortably crowded on Sundays and holidays. The numbers in the following tables refer to the Routes of the Handbook. Diary. Days Every day • Every day except Monday Objects of interest Days Objects of interest 1. Palais Royal, Rue de Rivoli, Bastille, and Boulevards (p. 59). 3. Champs-Elysees and Bois de Boulogne (p. 152). 14. St. Cloud, Sevres, Meudon (p. 297). 15. Vincennes (p. 306). 18. St. Denis, Engbien, Montmorency, Argen- teuil (p. 342). 19. Valley of the Oise (p. 351). 20. Sceaux , Chevreuse, Montlhdry , etc. (p. 353). 21. Fontainebleau(p.368). 1, 14, 15, 18 to 21, as above. 2. Louvre and Tuileries (p. 86). 9. The Cite and Sor- bonne quarter(p.223). 10. Quarters of St. Ger- main and the Luxem- bourg Cp. 250). 16. Versailles (p. 313). Sunday < but not the Gobelins (p. 268). 12. Invalides and Champ de Mars (p. 275). 17. St. Germain-en-Laye (p. 334). 22. Chantilly and its En- virons (p. 377). [ 1, 14, 18-21, as above. Monday 7 7. La Villette and Mont- [ martre (p. 204). Tuesday < 1, 2, 5, 9, 10, 11, 14-21, as above. 6. Quartiers de la Bour- se, de la Chaussde- d’Antin, and de I’Eu- rope (p. 190). 13. Outlying quarters to the S. ( 1, 2, 9, 10, 14-16, 18-21, I as above. Wednesday -J 11. As above, except the I natural history gal- { leries (p. 270). Sunday 1, 2, 9, 10, 14-16, 18-21, as above. 4. TrocaderOjPassy, and Auteuil Cp- 165). 5. Halles Centrales, Arts et Metiers, Pere-La- chaise (p. 170). 8. Quartiers du Tem- ple and du Marais (p. 214). 11. Jardin des Plantes, Thursday 1, 2, 4, 5, 7, 8-22, as above. Friday | 1, 2. 6, 9, 10, 11, 14-16, 18-21, as above. Saturday 1, 2, 6, 9, 10, 11, 13, 14- 16, 18-21, as above. 11. Jardin des Plantes and the Gobelins (p. 268). 55 Information. 17. DISTRIBUTION OF TIME. Visit of Three Weeks. Beginning on — Sunday | Monday | Tuesday Wednesday! Thursday j Friday | Saturday Beginning on — 1 Sunday j 1 Monday | Tuesday j Wednesday! Thursday ! Friday Saturday 1,3 3 2 9 4 10 11 Wednesday) 8 14 13 16 17 18 21 Sunday . . < 8 15 5 14 12 6 16 (continued) \ i .22 20 19 1,3 2 11 1 [17 18 13 21 22 19 20 4 7 5 9 10 6 15 i r — *1,3 2 3 4 6 11 Thursday < 8 14 12 16 13 18 21 8 i 7 5 10 13 16 15 1 ,22 20 17 19 Monday . . < 1 ^2 14 17 13 21 20 19 1 f — — 1,3 2 1 [ 22 J 1 4 14 5 9 7 6 10 ( f — 1,3 2 4 11 9 Friday . . < 1 ^ 15 12 16 13 18 11,15 1 8 7 6 10 5 15 13 1 ll7 20 21 19 22 Tuesday . < 1 16 14 12 18 17 21 20 1 r— 1,3 1 [ 22 19 1 4 7 2 9 5 6 10 1 r 1,3 2 6 9 Saturday < 15 12 16 13 14 11 Wednesday^ [ 4 7 5 10 12 15 1 11 1 ll7 18 21 |20 22 19 Visit of a Fortnight. Be- ginning on — Sunday ! Monday Tuesday ! Wednesday 1 Thursday | Friday Saturday Be- ginning on — 1 Sunday | Monday Tuesday ! Wednesday Thursday ! Friday ! Saturday f 1,3 3 2 9 4 6 10 j [ — _ 1,3 2 13,18 Sun. 1 8 13,18 5 16 12 14 11,15 Thurs. < ' 4 5 6 9 7 10 11,15 i ( 1,3 2 13,18 4 6 9 1 L 8 14 12 16 Mon. 1 8 7 5 10 12 16 11,15 1 r — _ _ 1,3 2 1,3 2 4 13,18 9 Frid. { 4 1^8 5 9 7 6 11,15 Tues. \ 5 7 10 16 12 6 11,15 1 1 8 14 10 16 12 \ . 8 14 1,3 2 13,18 9 1 r— 1 Wed. I 4 7 5 10 12 6 11,15 Sat. \ ' 4 13,18 2 9 5 10 ll,lo 8 15 16 18 7 6 16 12 14 ^ JVoie. St. Denis (18) might be visited on the morning of the day spent \ at St. Cloud (14). St. Germain-en-Laye (17), Fontainebleau (21), and Chan- f ally (22) each require an additional day. Visit of a Week, W) cq Sunday Tues- day Wed- nesday 1,12 {l0,12 {1042 1ioTi2' 2,4 2.4 1.4 16,14 9.3 9,11 2.3 1.3 5,8 5,8 5,8 5,8 16,14 10,11 16,14 7,6 16,14 9,11 2,4 9,11 Thurs- J — day \5,8 Friday {g-g Satur- / — day \5,8 1 Monday ! Tuesday Wednesday Thursday Friday Saturday 7,6 10,12 16,14 1,4 2,3 9,11 77e 10,12 9,11 16,14 1,3 2,4 _ 1,3 1,6 10,12 9,11 2,4 16,14 17. DISTRIBUTION OF TIME. Preliminary Sun. and holidays Monday Tuesday | \ Wednes- day Archives Rationales (p. 215) Arts & Metiers. Conservatoire des 12-3 - - - (p. 1T3) 10-4 — 10-4 — Beaux- Arts^ Ecole des (p. 253) . . . BibliotMque Rationale^ Exhih. (p. 191) 12-4 10-4 10-4 10-4 — — 10-4 — Bourse (p. 198) — 12-3 12-3 12-3 Charribre des DipuUs (p. 276) . . . . 9-5, 6 9-5, 6 9-5, 6 9-5, 6 Chantilly^ Ghdteau de (p. 379) . . . 1-5 — — — Fontainebleau^ Palais (p. 370) .... 10-5 10-5 10-5 10-5 Gobelins^ Manuf. des (p. 273) .... — — — 1-3 Hdtel de Ville (saloons; p. 65). . . . — 2-3 2-3 2-3 Imprimerie Rationale (p. 217) . . . — 1 — — Invalides^ Hotel des (p. 279) 12-4 12-4 12-4 12-4 Jar din des Plantes^ Minagerie (p. 269) 11-4, 5 11-4, 5 11-4, 5 11-4, 5 , Conservatories (p. 270) .... — — 1-4 — , Rat. Hist. Collections (p. 270) 11-3 — 11-3 — Luxembourg., Palais du (p . 260) . . . — 9-5, 6 9,5, 6 9-5, 6 — , Musie du (p. 262) 10-4 9-5 9-5 9-5 Monnaie., Mus4e Jc Studio (p. 252). . — — 12-3 — Mus4e Carnavalet (p. 218) — d'' Artillerie et de VArmie (Inva- 11-5 — 11-5 — lides^ p. 280) 12-4 — 12 4 — — de Cluny (p. 234) 11-4 — 11-4, 5 11-4, 5 — de GallUra (p. 161) 12-4 — 12-4 12-4 — de Minir. et Giolog. (p. 289) . . — — 1-4 — — du Conserv. de Musique (p. 76). . • — 12-4 — — — d? Ethnographie(Tvoz?kdi^ro ^ p. 167) 12-4 — 12-4 — — du Garde- Meuble (p. 286) .... — du Louvre., Paintings s et qreeques, etc. I . Es coder dn iwus^ dw Mojeu - Ag& etdelou Renaissance, etc. J . EscalzerEenri IT ( adlectim In Caze, Tuusee de pebtture, etc .) . U . Escoder des gcderies frccneodses sortie de leu Grande Galerie. U . Direction/ des mnsees natianmisc. M. Rm^eauoc de V cedjmmstraiixm/ . ^.Escxdier Eeiiri IF, sortie qmuidy zL jr cc fouZe. Rota. -Zes salles indufoees id dgamhe sur le qunt ne soixt pas an rez-de~diauss4e, mats d one sorte de sexioTod entresot, SOILS la Grande Galerie. Parilloii Lenou MUSiES DU LOUVRE. ^ — ^.° Metres. SECO^tD ETAGE. K. Petits escaZi£rs. ^,OraiUl escdPet'. 2. LOUVRE. 89 a Museum. The E. half of the S. wing of the New Louvre also con- tains collections, while the N. wing is occupied by the offices of the minister of finance. Those who wish to make use of their time before the Galleries are open, or after they are shut, may walk through the Jardin des Tuileries (p. 150) to the Place de la Concorde (p. 82), or along the quays on the Seine to the Pont-Neuf (p. 228), or even as far as the Palais de Justice (p. 224). The Galleries caqnot be properly seen in one day. — Dejeuner may be taken at the Palais-Eoyal (see pp. 13, 15). II. THE GALLERIES OF THE LOUVRE. The Louvre Collections are open gratis to the public daily^ except Mondays and certain holidays (see p. 58)^ hours, see p. 56. The best time for visiting the galleries is as early as possible in the morning, as they are often crowded in the afternoon, particularly on Sun- days. — Overcoats, sticks, and umbrellas may, and parcels must, be left in charge of the officials at the principal entrances. — Conveniences for the use of visitors are to be found ofl‘ the Galerie Mollien and RR. VII and IX of the picture-gallery^ keys kept by the custodians. Persons desiring to copy in the Louvre or Luxembourg apply to the Administration des Mus^es^ the office of which is in the S.W. angle of the court of the Vieux Louvre (PI. M). The conditions and regulations are posted up in the various galleries. The history of the **Louvre Collections dates from the time of the French monarchs of the Renaissance of the I6th cent., who were not only intimately connected with Italy in their political relations, but paid en- thusiastic homage to Italian culture. Foremost among patrons of art and collectors was Francis I. His efforts, however, were but partly successful ; for the School of Fontainebleau, as the group of Italian masters employed by him and by Henri II is usually called, exercised no permanent in- fluence on the character of French art. In the reign of Louis X/F., who purchased the collections of the banker Jabach and of Charles I. of England, it again became the fashion to make collections of treasures of art, both with persons of the highest rank (such as Cardinal Mazarin) and members of the middle class (like Crozat). The royal collections, how- ever, known collectively as the ‘Cabinet du Roi’, were inaccessible to the public. To the Revolution the collections of the Louvre are chiefly in- debted for their great extent and magnificence. The principle of centrali- sation was then for the first time applied to art collections, and various treasures distributed throughout the royal palaces, in churches, and in the suppressed monasteries were united here in 1793. At length, when the French armies returned to Paris from Italy, the Netherlands, and Ger- many, laden with treasures of art, the Louvre Collection became par excellence the museum of Europe and was so celebrated under the name of the ‘Musee Napoleon', that the Allies in 1814 did not venture to restore its treasures to their former owners. The act of restitution was, however, performed in 1815, but many fine paintings and statues still remained in Paris, and the collections of the Louvre can still boast of being the most extensive and valuable on the continent. They are constantly being in- creased by purchases, and still more by gifts, for nearly every art-collector in France bequeaths some of his treasures to the Louvre. The rooms of the Louvre, most of which are connected with each other, are so numerous that it takes 2 hrs. to walk through them all without stopping, and it is indispensable for the visitor to be provided with a plan for his guidance. Before entering , the visitor should particularly note that the — Ground Floor contains the Sculptures , ancient and modern, and the Engravings. 90 2. LODVKE. Ancient The First Floor contains the Pictures, the Smaller Antiquities, the Mediaeval, Renaissance, and Modern Art Objects, the Drawings, and various small collections. The Second Floor contains the Musee de Marine, another room with Paintings, the Musee Ethnographique , the Musee Chinois, and the Supplementary Saloons of Drawings. Visitors who have only a short time to devote to the Galleries should begin with the Antique Sculptures (see below) and the Pictures (p. 108), which are the first to be opened in the morning (see p. 54). They are also recommended to adhere closely to the following order of proceeding through the rooms, so as to avoid missing their way or losing time by going twice over the same ground. The less important rooms are here described in small type or indicated as such. To find the description of any particular saloon, see the Index. The authorities caution visitors, by means of numerous notices, not to employ the guides who assail the public at the entrances to the Galleries. — Not much reliance can be placed on the Custodians for information outside the sphere of their special duties. Entrances. Most of the Galleries have special entrances, which are marked on the plan. The Principal Entrance, leading to the Gallery of Antique Sculpture and to the First Floor, is in the Pavilion Denon (PI. G, groundfloor), in the court of the New Louvre, on the side next the Seine. The descriptions below and at p. 108 begin here. The Catalogues sold at the entrances of most of the collections not only enumerate the objects in each, but contain biographical notices of the art- ists and other information. In several of the departments the objects are furnished with the names of the artists, and sometimes with explanatory notices. Our enumeration includes only the objects of greatest interest. Changes in the arrangement of the exhibits are not infrequent. A. GROUND FLOOR. The ** Collection of Ancient Sculpture ( Musee des Marhres An- tiques), though inferior to the great Italian collections, boasts of a number of works of the highest rank. We begin our enumeration at the end next the Pavilion Denon (comp, above). The brief official catalogue of the antique sculptures, with illustra- tions and indexes, costs 1 fr. 85 c. As the numbering of the specimens is neither complete nor on one uniform S3-stem, the numbers have been for the present omitted in the following description. The new numbers appear on the left side of the sculptures. It may also be noted that the wooden labels give the origin of the specimens in large letters in the first line, not the subject of the sculpture. In the Vestibule is a cloak-room (optional). To the right is the Galerie Mollien, which contains ancient statues , more or less mutilated and of inferior value, a large By- zantine mosaic, found near Tyre, in Phoenicia, two antique sarco- phagi, etc. At the end is a staircase ascending to the French de- partment of the Picture Gallery (PI. K; see p. 129). — We turn to the left in the vestibule and enter the — Sculptures. 2. LOUVRE. 91 Galerie Denon , where,, copies of bronzes from the antique, executed in the 16-18th cent’ at Fontainebleau and Rome , and mutilated antiquities are exhibited. Bronzes. To the1c-Hotep III. (13th Dyn.). D 1. Colossal Sarcophagus of Ramses III. (20th Dyn.), in pink granite (the lid is at Cambridge). — To the right and by the windows are portions of sarcophagi and steles remarkable for the beauty of their reliefs. D 10. Sarcophagus of an official named Horus; in the interior are the 42 infernal judges who assisted Osiris in judging the dead. — To the left, by the wall, C 48. Stele of pink granite, in the form of an Egyptian temple-gate under the 18th Dyn.; farther on, D29. Naos of Amasis, mono- lithic votive chapel in pink granite (5th cent. B.C.). At the end of this hall is a staircase, on the left of which is the stone lining from a wall in the temple at Karnak, with a fragment of a list of the campaigns of Tutmes III., the most powerful of Egyptian kings (18th Dyn.). Higher up is an alabaster statue (freely restored) of Ramses II. Also a glass-case with shoes. To the left, at the foot of the staircase, is the Salle d’Apis, of 102 2. LOUYRE. Mediaeval Sculptures, less interest to the ordinary, visitor. It derives its name from the figure of a hull, dating from the 30th Dyn. (4th cent. B.C.). The Apis was the animal sacred to Ptah, the great god of Memphis. The hull to be thus honoured required to be black in colour, to have a white triangle on his forehead, a white mark on his back reseihbling an eagle, and an excrescence under his tongue in the shape of the sacred scarabseus beetle. After his death the sacred bull was interred with great pomp in the vaults known to the Greeks as the ‘Serapeum\ a word derived from ‘Osiris Apis’, which the Egyptians applied to the dead Apis» At the side are several Canopi^ or sepulchral vases in the shape of human heads. Around the walls are Steles, erected by devout persons in the tombs of the bulls, which give the dates of the deaths of these revered animals, with the king’s reigns when they occurred, affording a valuable clue to Egyptian chronology. The Lion, near the window, of a late period, should be noticed. — At the entrance to an adjacent apartment is the gateway of the Serapeum (under glass), with inscriptions of the period of the Ptolemies. In this room is a statuette of Bes, a grotesque Egyptian divinity, etc. A door leads hence to the rooms containing the Renaissance Sculptures (see below). Another gallery, for monuments anterior to the New Empire, is about . to be opened under the colonnade beside the Salle d’Apis. Tbe above-mentioned staircase ascends to the first floor, on which are the Remaining Egyptian Collections, to the left (p. 142), etc. "^Collection of Mediaeval and Renaissance Sculptures (Musee des Sculptures du Moyen Age et de la Renaissance). The chief en- trance is in the S. wing of the inner Court of the Louvre , by the door on the left of the passage, as we face the Seine (PL D ; p. 87) ; hut it may also he reached via the small room under the staircase at the end of the large room of the Egyptian antiquities (see above). The first room is next the latter entrance. — Catalogue, 1 fr. 25 c. Salle Beauneveu or Room I contains statues from tombs and statuettes of the French school of the 14-15th centuries. The chief work is the ^Monument of Philippe Pot, grand-seneschal of Burgundy and favourite of Philip the Good, who was buried at the Abbey of Citeaux. The recumbent statue reposes on a slab supported by eight mourning figures. By the window towards the Seine, a Flemish *Calvary, in wood (16th cent.). Opposite, a Cruci- fix of the 12th century. At the window towards the Place is the bronze sepulchral tablet of a Catalan merchant (1400). In the centre the tomb-figure of Blanche de Champagne, in beaten copper (14th cent.). Salle du Moyen Age (II). Other French tomb-statues of the 14th century; wooden figure of the Virgin (12th cent.); three fig- ures of the Virgin, Christ, and bas-reliefs of the 14th century. Statue of Childebert, King of France (13th cent.). Gothic *Door from a house in Valentia in Spain (15th cent.). Sculptured fragments, including four from the rood-loft of the cathedral of Bourges and another from Notre-Dame at Paris (in the centre); capitals, etc., of the ll-13th centuries. Salle Michel Colombb (III), the works in which show the Renaissance Sculptures. 2. LOUVRE. 103 French school of sculpture uninfluenced by Italian art. By M. Co- lombe or Michault Columb (1431-1514), the chief representative of the Loire school of his period, from whom the room takes its name ; opposite the entrance, a relief of *St. George and the Dragon. To the right, *Virgin, of the same school. Below the relief. Entomb- ment, ascribed to G. Pilon. In the middle: ^Mercury and Psyche, bronze, by A. de Vries; Mercury, a replica of the bronze statue in Florence by Giov. da Bologna., an imitator of Michael Angelo, and a native of Douai in Flanders ; Fame, by Berthelot. Behind and at the sides, sepulchral stafues and bas-reliefs of the 15-16th cent. ; statue of Henri IV, ascribed to B. Tremblay and G. Gissey ; bust of Giov. da Bologna, byP. Tacca; ^Virgin (16th cent.); bronze bust of Francis I.; *Tomb of Jean de Cromois, abbot of St. Jacques, at Liege (d. 1525). By the second window, ‘La Mort St. Innocent’, a skeleton from the former Cemetery des Innocents ; fine bas-reliefs, including a Holy Family, after Diirer, attributed to Hans Daucher. Salle Jean Goujon (IV) , named after the most dis- tinguished French sculptor of the 16th century, who executed, under Henri II, a great part of the decorations of the Louvre. His best- known work is the large group of *Diana with the stag in the middle of this saloon , which affords an excellent example of the grace- fulness of form and other attributes characteristic of French taste. (The visitor will find it interesting to compare this Diana with Benvenuto Cellini’s Nymph of Fontainebleau , p. 104.) In the middle of the room are also placed a marble group of the Three Theological Virtues or Three Graces (the urn on whose heads was once destined to contain the heart of Henri II), and wooden statues representing the Four Cardinal Virtues (destined as the supporters of a reliquary), works by Germain Pilon (d. 1590), showing the same style as the Diana, and one which the French painters soon afterwards adopted. — Round the room from right to left : Barth. Prieur, Bronze genii, from a tomb; French School of the 16th cent.., Charles de Magny; G. Pilon., Valentine Balbiane, Mater Dolorosa, in painted terracotta; B. Prieur, Statue of Anne de Montmorency; G. Pilon., Chimney-piece, with bust of Henri II attributed to J. Gou- jon ; Le Hongre, Mausoleum of the Cosse-Brissac family ; G. Pilon., Bust of Henri III ; bronze statue of the Chancellor de Birague ; Fremin Roussel , Genius of history; French School (Jean Cousin)., Statue of Admiral Phil, de Chabot ; G. Pilon, Bust of Henri II ; J. Goujon, Fountain -nymphs from the Fontaine des Innocents. — At the third window: Jean Richier, *Daniel come to judgment (relief); Ligier Richier, Infant Jesus; Pieta, by an unknown artist of the 17th cent. ; Fr. Roussel, Nymphs awakened; G. Pilon, Bust of Charles IX. and Entombment (marble relief). At the second win- dow : B. Prieur, Statue from a tomb; School of J. Goujon, Nymphs and Venus (bas-reliefs); G. Pilon, Entombment (bronze reliefs). At the first window : G. Pilon, Fragments of a pulpit. — The — 104 2. LOUVRE. Benaissance Sculptures. *Salle Michel-Ange (V), containing Italian sculptures of tlie 15-17tli cent., is named from the marble statues of the two **Eettered Slaves, by the great Florentine sculptor Michael Angelo Buonarroti. These figures were intended to form part of a magnificent monument to Pope Julius II., and to represent, along with several others of a simi- lar character, the virtues fettered and doomed to death in consequence of the decease of that pontiff. Michael Angelo executed them in 1513-16, and in 1544, when the original ambitious design of the monument was abandoned, presented them to Eoberto 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 next room, consisting of a *Portal of the end of the 15th cent., re- moved from the Palazzo Stanga in Cremona, and attributed to the brothers Bodari. The reliefs represent scenes from the life of Her- cules, the mythical founder of Cremona , and from that of Perseus. In the middle of the room are a marble fountain from the chateau of Gaillon (p. 255), an Italian work of the 16th century. Beside the entrance : to the right. Bust of John the Baptist as a child, by Mino da Fiesole; Julius Csesar, bas-relief by Donatello (?) ; Six Virgins, by unknown artists of the 15-16th cent., and one by Sansovino; several busts; wood-carving of the Venetian school of the 15th cent. ; etc. High up: "^Benvenuto Cellini., the ‘Nymph of Fontainebleau’, a large relief in bronze executed for an archway in the Palace at Fontainebleau, and mentioned in the master’s auto- biography. By the back-wall : Jason, and Hercules slaying the Hydra, two bronze statues of the 16th cent. ; equestrian figure in high-relief of Rob. Malatesta, captain - general of the papal forces (end of 15th cent.); Virgin and the angel Gabriel (Florentine school of the end of the 14th cent.) ; Busts of a man and woman (15th cent.); Virgin in enamelled terracotta attributed to Andrea della Bobbia; Virgin in high relief (15th cent.); etc. In front. Bronze bust of Michael Angelo (16th cent.); bronze bust of *Filippo Strozzi, by Benedetto da Majano; painted wooden bust of a woman of the Florentine school (15th cent.). By the first window : Romulus and Remus suckled by the wolf, another Italian work of the 16th cent., in white marble and rosso antico. — The highly interesting collection of early-Renaissance ^Bronzes by the windows includes eight bronze reliefs by Andrea Briosco, surnamed Riccio, of Padua (1480-1532). Originally belong- ing to the tomb of Marcantonio della Torre, these reliefs illustrate the life and death of that celebrated physician in a thoroughly an- tique style. Also, six bas-reliefs of the Virgin, three of which are by Mino da Fiesole. At the second window: Statue of a negro, after the antique, and a bronze medallion of Charles V., by Lionelioni d^ Arezzo. Salle Italienne (VI). Virgin and Child, group in painted and Modern Sculptures. 2. LOUYRE. 105 gilded wood (15tli cent.); Bust of John the Baptist hy Donatello; alto-relief of a funeral, in imitation of the antique. Opposite, three reliefs of the Yirgin (15th cent,). At the window: Ornamental sculptures, etc. Salle Italienne (VII). This room contains nearly 50 reliefs, statues, and statuettes in enamelled terracotta hy the Della Robbias and their school (Florence; 15th cent.). Then, in the middle of the room, St. Christopher, in painted and gilded wood, hy VeccJiietta; and to the left and right, beginning at the entrance: has-reliefs (Descent from the Cross, in hronze; three scenes from the life of St. Anne, in painted wood, 15th cent.); busts and statues: e. g. Friendship, hy P. P. Olivieri^ Nature, hy Tribolo (at the end) ; reliefs of the Yirgin, including a large one of the School of Donatello ; Bust of Ferdinand I. of Aragon, King of Naples (1424-94); Statue of Louis XII., hy Lor. da Mugiano] etc. Yestibule, next the entrance from the Court. Reproduction of a fountain-group from Fontainebleau, with a hronze Huntress Diana, after the antique (p. 97), and four hronze dogs of the French school of the 17th century. — The rooms to the left are not yet arranged. — The — Salle des Antiquites Chretiennes, to the right, contains sarcophagi, reliefs, a mosaic, and inscriptions, chiefly of the 4th and 5th centuries, from S. France, Italy, Algeria, etc. The '^Collection of Modern Sculptures (Musee des Sculptures Modernes), which forms a continuation of the Renaissance collection, occupies the W. portion of the Yieux Louvre (PI. E). Entrance hy the second door to the right of the Pavilion d’Horloge, opening into the — Salle de Puget, named after Pierre Puget of Marseilles (1622- 94) , the most famous and the most exaggerating of the French followers of the theatrical school of Bernini, which aimed exclusively at effect. Among his works are, in the middle : Perseus and Andro- meda (1684); Hercules reposing (1660); '^Milo of Croton fighting with a lion, the best-known and most admired of his works (1682), described hy Yiardot as a ‘reminiscence, nay more, a rival of the Laocoon’. On the wall to the left, Pugetj Diogenes requesting Alexander the Great to stand out of his light, a bas-relief ; Coyzevox (see p. 106), Monument of Cardinal Mazarin, the allegorical figures of which are specially noteworthy. By the window: Theodon, Atlas. Between the windows, P. Legros, Hermse of the Seasons. By the second window, the large ‘Yase deMarly^ of the French school, to which also belong the two vases in the centre. Oirardon, Bronze model and a fragment of the equestrian statue erected to Louis XIY. in the Place Yendome in 1699. — By the next window: Theodon^ Phaetusa converted into a reed. To the right : Fr. Anguier^ Monument of Jacques de Thou (d, 1617), with statues of his two 106 2. LOUVRE. Modern wives, the first by B. Prieur^ the second by Fr. Anguier. Sim. Oil- lain^ Louis XIII., Louis XIV. as a child, Anne of Austria, bronzes. — The door on the left of the entrance leads to the — Salle i>e Coyzevox, named after Charles Antoine Coyzevox^ one of the ablest masters of the same school, especially happy in his portrait-busts. In the centre ; Fr. Anguier^ Monument of Duke Henri de Longueville. By the back-wall and left wall: Coyzevox^ The Rhone, Nymph with a shell, Duchess of Burgundy as Diana, Shepherd playing on the flute, Venus, and various busts. Between the windows. Remains of the old monument to Henri IV on the Pont Neuf, by P. Francheville or Franqueville. On the side next the en- trance: Mich. Anguier^ Amphitrite ; P. Premm, Flora; Francheville., David and Groliath; Fr. Anguier., Jacques de Souvre; S. Guillain, Charlotte de la Tremoille; Francheville, Orpheus; Fremin, Diana. In the centre, O. Guerin, Tomb-statues of the Duke and Duchess de la Vieuville. — To the right of the entrance is the — Salle des Coustou, in which are assembled the plastic master- pieces of the pleasure-loving age of Louis XV. The brothers JSico- las Coustou and Guillaume Coustou, and the son of the latter, another Guillaume Coustou, were artists of the 17th and 18th cent, who exaggerated the tendencies of their predecessors. In the centre: Nicolas Coustou , Adonis resting from the fatigues of the chase (1710). Behipd, *Cupid with his dart, \>y Antoine Tassaert (below is the inscription by Voltaire: ‘Qui que tu sois, voici ton maitre, il Test, le fut, ou le doit etre’). L. 8. Adam, Lyric Poetry; Allegrain, Venus and Diana bathing. To the left. Falconet, Music; Nic. Coustou, Csesar; Guillaume Coustou the Elder, Maria Lesczinska of Poland, queen of Louis XV. (1731); Pajou, Statue of the same queen as Charity. Facing this : Nic. Coustou, Louis XV. Between the win- dows : J. B. Pigalle, Mercury fastening his sandals, a leaden statue formerly in the Luxembourg gardens. On the other side of the door, Slodtz, Hannibal. Above, on the wall : Martin Desjardins, Six bas- reliefs in bronze from the statue of Louis XIV. in the Place des Victoires, now replaced by another. — Then the — Salle de Houdon, dedicated chiefly to Antoine Houdon (Ver- sailles, 1741-1828). By Houdon, in the centre of the room : Bronze statue of the nude Diana (1783), executed first in marble for the Empress Catherine II. of Russia (1781). — To the right of the en- trance, and farther to the right, Pajou, Psyche (1790), Bacchante. In a niche, Bouchardon , Cupid carving a bow out of the club of Hercules; Copy of the Barberini Faun at Munich; P. Julien, Amal- thea. — The following busts are also by Houdon: Mirabeau (two), 'Washington, Rousseau (bronze), Abbe Aubert (d. 1814), Diderot, Franklin, Buffon, and Voltaire (bronze). Pajou, Busts of Mme. Dubarry, Buffon, etc. — Opposite the window: Pigalle, Love and Friendship ; Bouchardon , Model of the statue of Louis XV. that stood in the Place de la Concorde, in bronze. Sculptures. 2. LOUVRE. 107 The Salle de Chaulet 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 left : Clodion , Bacchante ; Chaudet, Cupid with a butterfly; Roland., Homer; Cortot, Daphiiis and Chloe ; Delaistre, Cupid and Psyche ; Roman, Nisus and Eu- ryalus. In the centre: Bosio, Aristseus, god of gardens; *Canova, Cupid and Psyche ; Chaudet , The young (Edipus rescued by the shepherd Phorbas. Round the hall, as we return ; Cortot, Soldier of Marathon ; Lemire, Cupid; Bridan, Epaminondas; Legendre- Heral, Giotto; *Canova, Cupid and Psyche with the butterfly ; Du- paty, Biblis changed into a fountain; Bosio, the Nymph Salmacis; Ruxiiel, Psyche borne by Zephyr (1814) ; Sergell, Drunken faun. — Beyond the door: Cortot, Victory (bronze); Bosio, Hyacinthus; Cal- delari, Narcissus ; Debay, Mercury ; Statue of Cato of Utica, begun by Roman, and finished by Rude in 1840. The Salle de Rude , the last , named after the sculptor Fran- cois Rude (1784-1855), contains the most modern works admitted to the Louvre (comp. p. 262). From right to left: Foyatier, Spar- tacus; Jaley, Louis XL; Barye, Bronze animals. Centaur and Lapith; *Carpeaux, Four quarters of the globe supporting the sphere, model of the group on the Fontaine du Luxembourg (p. 290); Rude, Mercury, in bronze; Perraud, Despair; Rude, Maurice of Saxony, Joan of Arc, Napoleon I. awakening to immortality. Young Neapolitan fisher (on the right); Pradier, Sappho; ^'David d' Angers, Philo- pcemen wounded with a spear; Rude, Christ; *Duret, Young fisher- man dancing the tarantella; opposite, Jolty, Prayer; Pmdicr, Psyche’; Ramey, Theseus and the Minotaur ; Nanteuil , Eurydice ; *Duret, Neapolitan Improvisatore, in bronze; ^Perraud, Childhood of Bac- chus; *Carpeaux, Dance, model of the group at the Opera (p. 79); Dumont, Genius of Liberty, a model of that on the July Column (p. 71) ; opposite, Pradier, Child of Niobe (after the antique), Atalanta’s toilet. On the walls: Several medallions by David d' Angers. — The next rooms are not yet opened. To reach Picture Gallery hence we turn to the right on leaving and pass through the first pavilion, to the principal entrance, or we ascend the Escalier Henri II (see p. 108), to the left in the pavilion. B. FIRST FLOOR. The most important collection on the first floor of the Louvre is the Picture Gallery , which occupies more than half of the S. con- necting gallery between the Old Louvre and the Tuileries ( Qalerie du Bord de VEau), together with the whole of the inner gallery of the New Louvre parallel to it, and also several saloons in the Old Louvre. — The first floor of the Old Louvre also contains the Ancient Bronzes (p. 139), the Drawings (p. 139), the Mediaeval, Renais- sance, and Modern Works of Art (p. 140), the Ancient Vases and the Smaller Antiquities (pp. 144-145), the Jewels (p. 136), the Gems, Enamels, and Gold Ornaments (p. 134). 108 2. LOUVRE. Modern Sculptures. The Principal Entrance to the first floor is hy the Pavilion Denon (where sticks, ate., may he left), whence the Escalier Daru (p. 91} ascends to the picture-gallery. — Those who wish may ascend the Escalier Henri 11 (comp. p. 99), whence they proceed to the right to the Collection La Gaze (p. 137), the Salle Henri II (p. 137), the Salle des Sept - Cheminees (p. 136), the Salle des Bijoux (p. 136), the Rotonde d’Apollon (p. 133), and the Galerie d’ Apollon (p. 134), which leads to the Salon Carre (p. 113). It is, perhaps, preferable to ascend by the Escalier Daru. On the landing are a portion of the collection of Etruscan terracottas (p. 145) and also the of Samothrace^ on a pedestal represent- ing the prow of a trireme. This figure was originally erected in memory of a naval victory won by Demetrius Poliorcetes about 305 B.O. The much mutilated statue represents the goddess on the prow of a vessel, in the act of sounding the signal for battle upon her trumpet. In dignity of conception and in the masterly handling of the voluminous drapery, this sculpture is perhaps the finest extant work of early-Hellenistic art. — To the left, seven steps higher, is a replica of the Victory of Brescia, a variation of the Venus of Milo (p. 95). Thence we may either enter by the door to the right of the last- named Victory and pass through the Galerie d’Apollon, as indicated below 5 or we may ascend the seven steps to the right of the Nike and reach a colonnaded vestibule and the Salle Duchatel (p. 116), at the end of which is the Salon Carre (p. 113). The Vestibule just mentioned formed part of a staircase removed when the Louvre was extended. Its ceiling is painted by Meynier: France as Minerva receiving homage from the Fine Arts. Photographs of the pictures, drawings, and sculptures, by Braun, are sold in this vestibule. The large photographs, 20 in. long and 16 in. broad, cost 12 fr. ; the smaller, 12 in. by 91/2 in., cost 5 fr. The prices are marked on the specimens in the albums for public use. Cheaper photographs (10-20 fr. per doz.) are sold by the ordinary dealers (p. 41). **Picture Gallery. The numbers on the pictures were altered during the preparation of a new catalogue, of which an abridgement, for the entire musee, has appeared (1 fr. 5 c.). Several sections of the old catalogue are out of print, but most of the pictures also bear the old numbers (below, to the left). Labels, with the names of the artists and the subjects of the paintings, have also been placed on the frames. The former are the painters’ family names, and not the names by which they are commonly known; thus, Sanzio (more correctly Santi) instead of Raphael , Vecellio instead of Titian.^ etc. Tbe Picture Gallery of tbe Louvre, tbe saloons of wMeb have an aggregate length of over 1/2 M. , comprises about 2500 se- lect works , almost every school being represented by numerous masterpieces. There are indeed some masters whose acquaintance can be satisfactorily made in the Louvre alone. For the follow- ing general review of the most important works, arranged in schools, we are indebted to the pen of Prof. Anton Springer^ the eminent Picture Gallery. 2. LOUVRE. 109 German historian of art 5 and we recommend his sketch, as well as the various incidental notices of particular pictures by Mr. Crowe and other distinguished authorities , to the perusal of the visitor before proceeding to view the gallery itself. Most visitors to the Louvre will of course be chiefly interested in the Italian Painters. Among the 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. 1290; p. 118), while Benozzo Oozzolis Glory of St. Thomas Aquinas (No. 1319 ; p. 118) affords an instance of the inveteracy with which the artists of that age clung to medi- asval ideas. Fra Filippo Lippi is admirably represented by a Ma- donna among angels and archangels (No. 1344; p. 118) ; hut Domen- ico Ghirlandaj o' sYisitSitiony of the year 1491 (No. 1321 ; p. 118), is not one of his best works. — To the earliest period of Perugino, the chief master of the Umbrian school, belongs a round picture of the Madonna with SS. Rose and Catharine, and to his culminating period (1505) the Conflict between Cupid and Chastity (Nos. 1565, 1567; p. 117). — The Louvre also possesses several impor- tant creations of Andrea Mantegna^ a master of Upper Italy: Mt. Parnassus and the Victory of Minerva (Nos. 1375, 1376; p. 117) 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. 1374; p. 117). 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. 1601 ; p. 114), 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. 1600; p. 120). No gallery in Europe is so amply supplied with works of Ra- phael as the Louvre. Even when the doubtful pictures (No. 1508. Raphael and his fencing-master ; 1644, The handsome youth leaning on his hand) are deducted, there remains so complete a series of his works that with their help the student will have no difficulty in tracing the various stages of the master’s development. To his earlier period, before he had shaken off the influence of Perugino’s school, belong the small pictures of St. George and St. Michael, which he is said to have painted for the Duke of Urbino (Nos. 1503, 1502, p. 119). A gem of his Florentine period is the ‘Belle Jar- diniere’, painted in 1507 (No. 1496 ; p. 115), in which pure maternal no 2. LOUVRE. Picture joy, a favourite motive, in Raphael’s Madonnas, is expressed with the most lifelike fidelity. The Apollo andMarsyas (No. 1509 ; p. 113), a masterpiece of a different style, was also painted in this period. To his early Roman period belongs the ‘Yierge au Voile’ (No. 1497; p. 114). His progress in dramatic effect and in depth and contrast of colouring are exemplified by his large Holy Family and his St. Michael conquering Satan (Nos. 1498, 1504; pp. 115, 116), two works painted with the aid of his pupils in 1518, by order of Leo X. , as a gift for the king and queen of France. The touch of inferior hands, and the haste with which the work was probably executed , serve to account for the unpleasing effect produced by the blackened shadows and the coldness of the lights. A specimen of his best period (1515) is the portrait of Castiglione (No. 1505; p. 119), in which we are struck with his consummate skill in modelling, in blending a warm yellow tint with a delicate green, in giving roundness without sudden contrasts, and in lighting with- out the slightest glare. The portrait of the beautiful Johanna of Aragon, wife of Ascanio Colonna, Constable of Naples (No. 1507 ; p. 119), 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 Oiulio 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 with angels (No. 1512; p. 118), removed from the Villa Magliana near Rome, is now universally attributed to Lo Spagna. Correggio is fairly well represented in the Louvre by the Mar- riage of St. Catharine (No. 1117 ; p. 116) and Jupiter and Antiope (No. 1118, p. 113; formerly called Venus and-a Satyr). With specimens of Titian’s works in all his various styles the gallery is admirably provided. His Entombment (No. 1584; p. 113) is a work of the most touching pathos and most magic colouring. The Christ at Emmaus (No. 1581 ; p. 120), a favourite scene with the Venetian school, and one which gradually led to the delineation of great and ceremonious banquets, rather approaches the genre style, but is lifelike and pleasing. Very imposing as a study of character is the Christ crowned with thorns, between the execu- tioners (No. 1583; p. 120). Among the pictures of the Virgin we may mention the Madonna with the rabbit (No. 1578 ; p. 120), paint- ed in 1530 for the Duke of Mantua. To this beautiful idyll the Holy Family (No. 1580; p. 121) forms a companion picture of al- most equal excellence. A work over which the master has shed a radiant poetic halo is the Sleeping Antiope approached by Jupiter in the form of a Satyr, while fauns are couching on the outskirts of the wood, a hunter quiets a dog, and in the background the signal of victory is being blown on the horn (No. 1587 ; p. 121). The pic- Gallery. 2. LOUVRE. Ill ture was formerly known as tke Venus del Pardo, from a palace at Madrid. In all these works the landscape in the background is worthy of examination. In order fully to appreciate Titian’s merits as an artist the visitor must not overlook his portraits, painted either for the purpose of embodying his ideal of female beauty, or for that of displaying his skill in psychological delineation. To the former class belongs the picture known as Titian and his Mistress (No. 1590 5 p. 114), representing a girl arranging her hair in pre- sence of her lover, who is holding the mirror. Most interesting as a study of character is the Portrait of Francis I. (No. 1588; p. 121), 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. 1592 , p. 116 ; ‘L’homme au gant’). Half portrait, half allegory, is the likeness of Alphonso Davalos, Marchese del Vasto, the famous general of Charles V. (No. 1589; p. 120). Equipped for departure, he stands beside his wife, a sister of Johanna of Aragon, who sits with a crystal globe in her lap, mourning over his departure, while emblem- atic figures of Victory, Cupid, and Hymen appear to console her. — By these fine compositions the other Venetian works are almost entirely eclipsed. The most attractive of them is the Rustic Festival (No. 1136; p. 116), attributed to Giorgione, The banqueting scenes by Paolo Veronese., in a rich, but somewhat materialistic style, are too large to be easily overlooked (thus No. 1192; p. 116). 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 Northeun 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 Sehald Beham for Arch- bishop Albert of Mayence (No. 2701 ; p. 128). The portraits of Eras- mus of Rotterdam, Archbishop Warham of Canterbury, and Nicho- las Kratzer, the astronomer, by the younger Holbein (Nos. 2715, 2714, 2713; p. 128) 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. 1986; p. 115). To an important altar-piece by Memling belong the St. Magdalen and John the Baptist with rich landscape in the background (Nos. 2024, 2025; p. 128). The Late Flemish, or Brabant School is magnificently repre- sented by Rubens, by whose brush the gallery possesses 21 large scenes from the life of Marie de Medicis (Nos. 2085-2105 ; pp. 123, 124). However objectionable it may be from a strictly sesthetical point of view to combine portraits with allegory, the spectator will be unable to refrain from admiring these pictures for the freshness of their composition , richness of colouring , and the lifelike vigour of the numerous characters they contain, although their meaning is 112 2. LOUVRE. Picture not always distinctly intelligible. As a painter of ecclesiastical works and of dignified mytbological and historical scenes, Rubens may be studied elsewhere as well as in the Louvre, but his Flemish Fair (No. 2117; p. 123) in this collection exhibits him to us in an entirely new light. Of the broad humour and exuberant merriment which characterise his countrymen he was by no means destitute, and no painter has shown himself better acquainted with national customs except Teniers alone, who is rather to be regarded as a follower of Rubens in this sphere than the originator of the genre style. So successful, however, were the labours of Teniers, though Louis XIY. utterly despised him, that the fine collection of his works in the Louvre forms one of the chief boasts of the gallery. The Dutch Mastehs of the 17th cent, can be thoroughly appre- ciated only on their native soil, but the Louvre gallery possesses good specimens of the handiwork of all the most celebrated. Among these are Rembrandt's Angel of Tobias, Holy Family at Nazareth, known as the ‘Carpenter’s Family’, Christ atEmmaus, his own por- trait with the gold chain (Nos. 2536, 2542, 2554, 2555), besides his Bathsheba , or woman bathing (No. 2549) added by the La Caze collection (p. 138). To that collection the Louvre is also indebted for the Laughing Girl (No. 2384; ‘La Bohdmienne’) by Frans Hals. The latter is well calculated to exhibit the broad humour of the master, while his portrait of a woman (No. 2385) presents him to us as a most brilliant colourist. The collection originally possessed only one canvas by Hals, the portrait of Descartes (No. 2383; p. 127), but has lately been enriched by three other portraits by him (Nos. 2386, 2387, 2388). Van der Heist is also well represented by his Distributors of Prizes (No. 2394 ; p. 125). — The most famous of the genre pictures are : Terhurg's Officer and Girl (No. 2587), Bou's Woman selling spices, and particularly his Dropsical Woman (Nos. 2350, 2348), Vegetable Market (No. 2458), Jan Steens Tavern Festival (No. 2578), Adrian van Ostade’s Schoolmaster (No. 2496), and an Interior by P. de Hooch (No. 2415). — Of the numerous excellent landscapes of the Dutch School it is unnecessary to make any special mention , as the visitor will have no difficulty in making a selection to suit his own taste. The renown of the Spanish pictures in the Louvre had its origin in a time when Spain was seldom visited by travellers, and when the treasures which Madrid and Seville possessed in the master- pieces of Velazquez and Murillo were known only in limited circles. Since that period the study of Spanish art has become both wider and more profound, and it is now admitted that it can be perfectly estimated in Spain alone. This is especially true with regard to Ve- lazquez, of whose works the Louvre possesses only one eminently good example, the portrait of Philip IV. (No. 1732; p. 122). The most famous of Murillo’s works in this collection is the ‘Conception’ (No. 1709; p. 114), while the ‘Nativity of the Virgin’ (No. 1710), QalUry. 2. LOUVRE. 113 and the ‘Cuisine des Anges’ (No. 1716; p. 122) are also admirable specimens of his power. The French School is naturally more numerously represented in the Louvre than any other, though to obtain a complete idea of it the collections at Versailles and the Luxembourg and some provin- cial galleries must also he visited. Comp. Introduction, p. xxix. We now proceed to enumerate the most important works in the order in which they are distributed throughout the various saloons. Our list is necessarily limited to the more interesting and celebrat- ed pictures, to which the traveller who pays only a few short visits to the gallery should specially direct his attention ; 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 and the lower paintings are mentioned first. The **Salon Carr6, or Room IV, like the Trihuna in the Uffizi at Florence , contains the gems of the collection. The ceiling is richly sculptured by Simart. The routes to this room are indicated on p. 108. We begin to the right of. the entrance from the Galerie d’ Apollon. *2545. Rembrandt^ Portrait (1658). — 1516. Andrea del Sarto ^ Holy Family. — 1373. Mantegna, Mount Calvary. — 731 . V. Poussin, Narcissus and Echo. — *2547. Rembrandt, Portrait. — 1354. Luini, Infant Christ asleep. *1198. Paolo Veronese, Jupiter hurling thunderbolts against the Crimes, once a ceiling-painting in the assembly-hall of the Council of Ten in the Doges’ Palace at Venice. **1584. Titian, Entombment of Christ, painted for the Duke of Mantua about 1523. 1706. Herrera, St. Basil expounding his doctrines. *2542. Rembrandt, Holy Family at Nazareth, known as the ‘Carpenter’s Family’, signed 1640. Tkis 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 16th and 17th centuries, which viewed the Bible as a standard of life in a very different sense from the mediaeval church. **1118. Correggio, Antiope and Jupiter disguised as a satyr, executed about 1518, for the Duchess of Mantua; the atmosphere is full of magical charm, and the conception is naive and unaffected. — *2946. Adrian van Ostade, The Schoolmaster, dated 1662; the dramatic force and warm golden tone are characteristic of the master’s most finished style. — Above, 1554. Ouido Reni, Dejanira carried off by the Centaur Nessus. — *1509. Raphael, Apollo and Marsyas, Baedeker. Paris. 13th Edit. 3 114 2. LOUVRE. Picture purchased in 1883 for 200,000 fr. ; its authenticity is vouched for by a drawing hy Raphael in the Academy at Venice. 1048. Jean Perreal or J, de Paris, Madonna and donors. — 723, Nic. Poussin, St. Francis Xavier resuscitating a dead woman in Japan, painted in 1641. — *1731. Velazquez, Infanta Margaret, daughter of Philip lY. — 1976. A, van DycJc, Portrait. *2587. Ger. Terburg, A handsome officer sitting in a room with an elegantly-dressed girl, to whom he offers money: the heads full of life, admirably drawn, and of a delicately-blended silvery tone; one of his finest works. — *2459. Gabriel Metsu , Officer saluting a young lady, a gracefully-conceived and delicately-coloured work. 1352. Sebastian del Piombo, The Salutation, signed Rome, 1521, a most impressive picture. *2348. Gerard Dou, The dropsical woman, his greatest work : a successful composition, in which the grief of the daughter is touchingly pourtrayed ; most elaborately finished , although un- usually large for this master. — 1947. Ph. de Champaigne, Portrait of the artist. **1709. Murillo, The Immaculate Conception, one of his greatest works (1678), pervaded with an intense sentiment of religious enthusiasm. As usual in the Spanish School, the master has drawn his inspiration from the ‘woman clothed with the sun , and the moon under her feet , and upon her head a crown of twelve stars’ (Rev. xii. 1). The picture was bought from Marshal Soult for 615,300 fr. *1590. Titian, ‘La Maitresse du Titien’, a girl at a toilet- table, with a man behind her with two mirrors, perhaps Laura Dianti and Duke Alphonso of Ferrara, painted shortly after 1520. ‘■The light is concentrated with unusual force upon the face and bust of the girl, whilst the form and features of the man are lost in darkness. We pass with surprising rapidity from the most delicate silvery grada- tions of sunlit flesh and drapery, to the mysterious depth of an almost unfathomable gloom , and we stand before a modelled balance of light and shade that recalls Da Vinci, entranced by a chord of tonic harmony as sweet and as thrilling as was ever struck by any artist of the Vene- tian school.’ G. & G. 1977. Van Dyck, Portrait. — *1644. Italian School of the 16 th cent. (? Franciabigio), Portrait of a young man. — *1497. Raphael, Madonna with the veil, also called the Virgin with the diadem (p. 110). — *1514. A. del Sarto, Charity (painted in 1518). **1601. Leonardo da Vinci, Portrait of Mona (Madonna) Lisa, wife of the painter’s friend Fr. del Giocondo of Florence, and hence known as ‘La Gioconda’. ‘The eyes’, says Vasari (d. 1574), the painter and biographer of artists, ‘have the moist radiance which we observe in living persons the mouth, the lips, the redness of which blends at the corners with the rose tint of the cheeks — this is not colour, but actual living flesh’. These excel- lences are now concealed by the darkened shades, but the face still delights us with the wonderful charm of its smile. 1184. Bronzino, Portrait of a sculptor. — *1193. Paolo Vero~ Gallery . % LOUVRE. 115 nese^ Christ in the house of Simon the Pharisee, painted in 1570-75. *1987. AnU van Dyck, Portrait of Charles I. of England, a work of the most pleasing delicacy of execution and fidelity to nature. — 1219. Annibale Carracci , The Madonna appearing to St. Luke and St. Catharine. — *1533. Andrea Solaria, Head of John the Baptist. 1499. School of Raphael, Holy Family; the original, according to F. Notte, is at the chateau of Isle-Adam (p. 355). **1498. Raphael, ‘Great Holy Family of Francis I.’ (Rome, 1518). ‘This picture is one of the richest and most dramatic compositions of Raphael. In care and uniformity of execution, in fulness and grandeur of the nude, in breadth and delicacy of the drapery, in lightness and freedom of the motions, and in powerful effects of colour, this work approaches most nearly to the Transfiguration in the Vatican’. — Waagen. 1510. Raphael (?), Abundance. — 1221. Ann. Carracci, Pieta. — *741. Poussin, Diogenes throwing away his bowl. — 2077. Rubens, Adoration of the Magi. — 60. Valentin, Drinking party. — *2539. Rembrandt, The Supper at Emmaus, dated 1648, from the collection of his friend the Bui;gomaster Six. As in the picture of Tobias, a subdued red is here the predominating colour, and the whole work is pervaded with a warm and hazy glow (Vosmaer). — Claude Lorrain, 319. Sea-piece, 320. Landscape. **1496. Raphael, Madonna and Child with St. John, usually called ‘La Belle Jardiniere’; Florence, 1507. ‘With the Madonna and Infant Christ, who are represented alone in the simpler and earlier representations of the Madonna, is associated the young St. John. This addition has not only given rise to more varied gestures of infant life, but has enabled the master to form a more regular group. Standing or kneeling at the Madonna’s feet are the two children, forming a broad pedestal for the composition, which is easily and natur- ally completed by the Madonna. This idea was first expressed by sculp- tors, and afterwards eagerly adopted by Florentine painters, including Raphael, who within two years painted the ‘Madonna in the Garden’ three times, one of the replicas being now at Vienna’ (Springer: '‘Ra- phael db Michael Angelo'). — The original drawings for this work have lately been bequeathed to the Louvre. *1986. Jan van Eyck, The Chancellor Rollin revering the Vir- gin, with a beautifully-executed, landscape. The strong and the weak points of Van Eyck’s art are combined in this picture. The figure of the chancellor is admirably faithful to life, contrasting strongly with the commonplace Madonna and the wooden form of the Child. 1932. Phil, de Champaigne , Pietk, resembling Holbein’s Pietk at BMe. — 437. Jouvenet, Descent from the Cross. — 783. Rigaud, Portrait of Bossuet, the celebrated preacher. — 1427. Jacopo da Bassano, Descent from the Cross. *129. Fr. Clouet, Elizabeth of Austria, wife of Charles IX. of France. — *2715. Holbein the Younger, Erasmus of Rotterdam, exceedingly lifelike and admirably executed. *1598. Leonardo da Vinci, Madonna and Infant Christ with St. Anne; one of the gems of the gallery, with beautiful heads and 8 * 116 2. LOUVRE. Picture most expressive features, but somewhat careless in the details. (There are several sketches for this picture at Windsor.) *1134. Antonello da Messina^ Portrait of a man, known as the Condottiere, (1475). — 1143. Guercino^ Patron saints of Modena. — 288. Foucquet, Portrait of Guillaume Juvenal des Ursins. — *1136. Giorgione^ Rustic festival: very charming from the depth and warmth of the colouring, the golden glow of the flesh tones, and the rich treatment of the landscape, in spite of its having been freely retouched. 73. N, Poussin, Portrait of the artist. — 2082. Rubens, Cruci- fixion. — 63. Valentin, Drinking party. **1192. Paolo Veronese, Marriage at Cana, finished in 1563, the largest picture in the collection , 32 ft. long and 21 ft. high, occupying nearly the whole S. wall, a perfect ‘symphony in colours’. Among the figures are numerous portraits. The bride is Eleanor of Austria, the young Queen of France; behind her the court-jester; at her side Francis I., with a curious head-dress; then Mary of England in a yellow robe, Sultan Soliman near a negro prince; at the corner of the table the Emperor Charles V., with the Grolden Fleece. The musicians are portraits of Venetian painters of the' day. Paolo Veronese himself, in white, plays on the viol, behind him Tintoretto with a similar instru- ment, on the other side Titian with a bass-viol, and the elder Bassano with a flute. *2555. Rembrandt, Portrait of tbe artist at an advanced age (1660). — **1117. Correggio, Betrothal of St. Catharine, ‘with a celestial expression in the faces’, says Vasari. — *1592. Titian, Young man in black, holding a glove, or ‘L’Homme an Gant’, an admirable portrait of his middle period. Comp. p. 111. *1713. Murillo, Holy Family; the light and harmonious colour- ing are of great beauty. — 1137. Guercino, Lot and his daughters. — 1435. Francia, Nativity. *1504. Raphael, St. Michael the conqueror of Satan, painted in 1518 for Francis I. of France, a work of sublime poetical character and strikingly sudden in its action , painted partly by Giulio Ro- mano and other pupils (comp. p. 110). — No number, Umbrian School, St. Sebastian. — 1139. Guercino, Raising of Lazarus. No number, Memling, Betrothal of St. Catharine, with John the Baptist and the donor. — 2195. Rogier van der Weyden, Virgin and Child. — 1938. Ph, de Champaigne, Portrait of Richelieu. — 1538. Lionello Spada, Concert. The Salle Duch&tel, or Room V, nearly opposite the Marriage at Cana, connecting the Salon Carre with the EscalierDaru(seep.l08), contains five paintings bequeathed in 1878 by the Comtesse Du- chatel, viz. : 421. Ingres, (Edipus solving the riddle of the Sphinx, with a view of Thebes in the background, painted in 1808, when the master was still swayed by his admiration of the plastic features of antique art ; *422. Ingres, The Spring, painted in 1856 and per- haps the most perfect specimen of the treatment of the nude among Gallery. 2. LOUYRE. 117 modern paintings ; *2026. Memling, Madonna and CMld , with SS. James and Dominic, and the donors, a work of solemn dignity and appropriate colouring; to the right, *2480, *2481. Ant. MorOj Port- raits , probably Louis del Rio, an official of Brabant, and his wife. This room also contains several frescoes, transferred to canvas, of the Milanese School , which reflected the influence of Leonardo da Yinci, — 1357, 1358, 1359, *1360, *1361. Bern. Luini, Two hoys with vine-foliage, Nativity, Adoration of the Shepherds, and Christ pronouncing a blessing, from Milan. Temporarily placed in this room are two recent acquisitions: Piero della Francesch^ Yirgin; H. van Aken (J. Bosch)^ *The Con- demned. We may now leave the Salon Carre by the door at the end oppo- site the Galerie d’ Apollon, and enter the Grande Galerie (p. 118); but in order to obtain a better chronological survey of the Italian School , it is advisable first to visit the so-called Salle des Pri- mitifs, the first saloon on the right. The Salle des Frimitifs (formerly des Sept Metres'), or Room YII, contains an admirable collection of pictures of the earlier Italian School, particularly by Florentine masters of the 15th century. The series begins at the farther end of the room, where a door (now closed) led to the Escalier Daru. On the right: 1268. C. Crivelli, St. Bernardino of Siena; 1668. Bolognese School, Judgment of Paris; 1400. Palmezzano , Pieta; 1211. Carpaccio, St. Stephen preaching at Jerusalem; *1259. Cima da Conegliano, Madonna and Child; 1350. Lor. Lotto, St. Jerome; *1394. Montagna, Concert of children; Gentile Bellini and his School, 1156. Portraits, 1157. Reception of a Yenetian ambas- sador at Cairo; *1158. Giov. Bellini, Madonna with SS. Peter and Sebastian; 1540. Lo Spagna, Yirgin and Child; 1384. Massone, Nativity, with saints and donors; 1261. Lor. Costa, Court of the Muses, held by Isabella d’Este, Duchess of Mantua, an attractive allegory ; Andrea Mantegna, *1375. Mount Parnassus, 1374. Madonna della Yittoria, one of his last works, painted about 1495 for Giov. Franc. Gonzaga, Duke of Mantua, *1376. The Yices banished by Wisdom, companion to No. 1375. — 1567. Perugino, Conflict be- tween Cupid and Chastity ; the visitor should compare this work with the similar scenes by Lor. Costa (No. 1261) and Mantegna (No. 1376). Perugino, 1568. Dead Christ, 1569. St. Francis of Assisi, 1570. St. Jerome. — 2721. North Italian School, Annun- ciation and saints. — Perugino, 1566a. St. Sebastian, 1566. St. Paul, *1565. Holy Family with angels. *1564. Perugino, Madonna and Child with angels, St. Rose, and St. Catharine. ‘An early work, remarkable for clearness of outline, pure and rich brilliancy of colour, and soft, pale yellow flesh tone.’ Crowe & Cavalcaselle. 118 2. LOUVRE. Picture 1278, 1279. Gentile da Fabriano^ Scenes from tlie life of tlie Yirginj 1422bis. Vittore Pisano^ Portrait of a princess of the house of Este- No number, Sienese School^ Mt. Calvary; *1383. Simone di Martini^ Christ on the vray to Calvary. On the wall at the end: *1312. Giotto^ St. Francis of Assisi re- ceiving the stigmata; below, Yision of Innocent III. , the same pope confirming the statutes of the order of St. Francis, and St. Francis preaching to the birds : a genuine, signed picture, painted for the Pisans. — 1260. Cimabue, Yirgin and angels, a strange composition resembling a Russian icon. — 1151. Bartolo, Presentation in the Temple. On the next wall, as we return: 1313-1317. School of Giotto^ Funeral of St. Bernard, Madonnas, Birth of St. John the Baptist; 1301. Gaddi, Annunciation; 1658. Florentine School^ St. Jerome; 1293. Fra Angelico da Fiesole, Martyrdom of St. Cosmas and Damian, — *1319. Benozzo Gozzoli, Triumph of St. Thomas Aquinas. Above is Christ, witli Paul, Moses, and the Evangelists. In tlie centre of the glory is the celebrated theologian between Aristotle and Plato ; at his feet, overwhelmed by his eloquence, is Guillaume de St. Amour, a professor of the Sorbonne; below, an ecclesiastical assembly with Pope Alexander IV. *1290. Fra Angelico da Fiesole, Coronation of Mary, with acces- sories, extolled by Yasari, the faces of the saints full of holy aspira- tion (freely restored). — 1345. School of Fra Filippo Lippi, Madonna and Child; 1320. B. Gozzoli, Altar-piece; 1295. Botticelli, The Magnificat; *1344. Fra Fil. Lippi, Madonna and Child with two sainted abbots. — 1296. Botticelli (school-piece). Madonna with the Child and John the Baptist; *1343. Fra Filippo Lippi, Nativity (the Yirgin is said to be a portrait of Lucrezia Buti). D. Ghirlandajo, 1322. Portraits of a man and a boy, 1321. Yisitation. 1367. Mai- nardi. Madonna and Child; 1299. School of Botticelli, Yenus; 1482. Rosselli{f), Madonna in glory; *1263. Lor. di Credi, Madonna and Child with saints; 1167. Fr. Bianchi, Madonna enthroned, between SS. Benedict and Quentin; 1607. B. Vivarini, S. Giovanni da Capistrano. — Above the door: 1512. Lo Spagna (not Raphael), God the Father and two angels, frescoes removed from the Yilla Magliana near Rome; purchased in 1873 for the extravagant price of 206,500 fr. (8260 ^.). The *Grande Galerie, or Room YI, is divided into six bays, marked A, B, C, D, E, F, on the dividing arches. — It contains nearly all the remaining pictures of the Italian, Spanish, German, Netherlandish, and Early French Schools. The paintings have re- cently been rearranged and several of secondary importance have been removed. The works of each artist are as far as possible placed together; sometimes, however, on opposite sides of the gallery. Gallery. 2. LOUVKE. 119 Bay a. High Renaissance Italian Masters. On THE right: 1417. PinturiccMo^ Madonna and Child; 1539. Lo Spagna^ Nativity, 1303. Raffaelino del Garbo^ Coronation of the Virgin; 1661. Florentine School of the 16th cent.^ Madonna and Child and four saints; 1526. Luca Signorelli., Adoration of the Magi; 1416. Piero di Cosimo, Coronation of the Virgin; *1114. Albertinelli., Ma- donna and Child with SS. Jerome and Zenobius, dated 1507, a fine work; 1371. Manni^ Adoration of the Magi; 1115. Albertinelli, Christ appearing to Mary Magdalen. — Fra Bartolommeo., 1153. Annunciation; *1154. Madonna enthroned, with saints (1511). ‘Christ gives the ring to the kneeling Catherine of Siena. This charming idea, rendered with Leonardesqne elegance, conveys a sense of great affec- tion and veneration towards Christ on the part of his mother, expressed chiefly by movements emulating those of the Bella Giardiniera in softness.' G. & C. Pontormo, 1242. Visitation (copy), 1240. Holy Family; 1515. A. del Sarto, Holy Family. Raphael, *ibOQ. Portrait of a young man, painted after 1515 (long erroneously regarded as a portrait of himself), 1502. St. Michael (1501, an early work), 1503. St. George and the dragon, 1509bis. Head of St. Elizabeth (?). *1505. Raphael, Portrait of Count Castiglione, a poem regarding which still exists, painted about 1516, with masterly management of the different shades of colour. Comp. p. 110. *1507. Raphael and Giulio Romano, Portrait of Johanna of Aragon, painted in 1518, the head only, according to Vasari, having been painted by Raphael (comp. p. 110); 1500. Raphael, John the Baptist in the wilderness, probably genuine, but completely ruined; *1501. Raphael, St. Mar- garet, painted, according to Vasari, almost entirely by Giulio Romano ; 1511. School of Raphael, St. Catharine of Alexandria ; 1508. Ra- vhael, Portraits; 1513. After Raphael, Madonna of Loretto (original lost). Above the Raphaels: *1418. Giulio Romano, Nativity, painted as an altar-piece for S. Andrea at Mantua; 1183. Bronzino, Christ and Mary Magdalen; 1484. Rossi, Thomas’s unbelief; 1420. Giulio Romano, Triumph of Titus and Vespasian, composed in the style of the ancient reliefs on the Arch of Titus at Rome; 1258. Chimenti da EmpoU, Madonna in glory. On the LEFT, beginning at the entrance again : Fr. Francia, *1436. Crucifixion, 1437 (above). Madonna and Child; 1388. Mazzolini, Christ preaching to the multitude; 1553. Garofalo , Child Jesus asleep; 1276. Dosso Dossi, St. Jerome; 1353. B.Luini, Holy Family; 1605. School of Leonardo da Vinci, Portrait; Marco da Oggiono, no number, Madonna and Child, 1382. Holy Family; 1488. Sacchi, The four doctors of the church; 1284. Lor. di Pavia, Family of the Madonna; *1355. B. Luini, Salome receiving the head of John the Baptist, painted under the infiuence of Leonardo da Vinci ; Borgognone , 1181. Presentation in the Temple, 1182. St. Peter of Verona and a kneeling woman ; Andrea Solario, *1530. ‘Madonna 120 2. LOUYRE. Picture with the green cushion’, rich and radiant in colouring, with a beau- tiful landscape, 532.- Crucifixion ; 1597. Leonardo da Vincij John the Baptist, with an enthusiastic, ecstatic expression of countenance (retouched) 5 *1604. School of Leon, da Vinci (perhaps Cesare da Sesto\ Madonna with the scales; *1599. Leonardo da Vinci.^ Holy Family, known as ‘La Yierge aux Rochers’, a work of the highest merit ; the light on the flesh-tints is still brilliant, but the shadows have become very dark. — *1600. Leonardo da Vinci (?), Female portrait. ‘It was formerly, witbont any authority, called La Belle FerronnUre (a mistress of Francis I.), but is probably the portrait of Lucrezia CrivelU., 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.' Kugler. 1602. Leon, da Vinci (? school-piece), Bacchus, originally com- posed as John the Baptist in the Wilderness; 1531. Solario^ Por- trait of Charles d’Amboise; 1603. Marco da Oggiono (?), Copy of Leon, da Yinci’s fresco of the Last Supper (at Milan), one-third smaller than the original; 1169. Boltraffio^ Madonna of the Casio family, with the poet of that name on the right (the painter’s masterpiece, according to Yasari); 1519. Savoldo., Portrait. *1578. Titian, ‘La Madonna del Coniglio’, or the Yirgin with the rabbit, painted in 1530. ‘A master-piece in which Titian substitutes for the wilds of Bethlehem the lovely scenery of the Isonzo and Tagliamento. He represents the Virgin seated on the grass with her hand on a white rabbit, and St. Ca- therine by her side stooping with the infant Christ : a charming group in the corner of a landscape, — a group on which all the light of the picture is concentrated , whilst the broad expanse behind with the wooded farmstead in its right, the distant village, the chain of hills, and the far-off mountains lost in blue haze, lies dormant under the shade of a summer cloud. St. Catherine and the Virgin are both portraits.’ — C.worTh 12-15 million francs ; to the right, the *Mazarin., a rose-diamond of immense value, and the ^C6te de Bretagne\ a large ruby in the shape of a dragon. In front, *Sword (‘epee militaire’), made at the order of Napoleon I., and set with gems, valued at 2 million francs. — Behind: to the right. Crown of Louis XV, (false jewels), to the left Crown of Napoleon in imitation of Charlemagne’s; between these, ^Ornament commemorating the Peace of Teschen (1779), an interesting German work. In front. Watch presented to Louis XLV. by the Dey of Algiers ; pearl dragon-brooch and elephant of the Danish order of the Elephant. — To the left. Chatelaine of Catherine de Midicis, set with diamonds. Case V. Objects of the 16-17th centuries. — On the top shelf: Vases of rock-crystal. — On the middle shelf and below: Vessels of sardonyx, agate, and jasper, with enamels, etc. — In the centre: * Scourging of Christ, a statuette in blood jasper, on a richly ornamented pedestal. Case VI, behind, to the left. — To the left : ^Enamelled Reliquary., with the Virgin and Child (early 14th cent.); behind, reliquary-picture (13th cent.), in imitation of a Byzantine work; silver relief in beaten work (12th cent.). — In the middle : Antique vases in porphyry and sardonyx, remounted in the 12th cent. ; Vase of Eleanor of Aquitaine., wife of Louis VII. of France and afterwards of Henry II. of England (12th cent.), in antique rock-crystal, remounted in the 12th cent.; in front. Chalice in enamelled silver (14th cent.), and Sacrament- Platter of the Abbot Suger of St. Denis (12th cent.) ; to the right, ^Reliquary for an arm of St. Louis of Toulouse, enamelled, on the hand a sapphire ring (14th cent.) ; reliquary of St. Henry (12th cent.); French reliquary cross and silver plaque (both 12th cent.); Byzantine reliefs in beaten work. Case VII, behind, to the right. Casket once belonging to Anne of Austria; objects from the above-mentioned Chapel of the Holy Ghost. In front of the adjoining window is a handsome ’'Bureau formerly in the possession of Louis XV., by Riesener, with bronze ornaments by Hervieux. The cabinets along the wall opposite the windows, and the glass-cases in front of the windows , chiefly contain "^Enamels. The collection of enamels in the Louvre is one of the finest in Europe. There is also a good collection in the Musee de Cluny (p. 234). Like majolica-painting in Italy, the enameller’s art was practised in France at a very early date. Its culminating period was coeval with that of the School of Fontainebleau (second half of the 16th cent.), and Limoges was its headquarters. The most famous artists in enamel were Nardon Pinicaud., Leonard Limosin., Jean and Pierre Courteys., and Pierre Reymond, The practice of the art died out in the 18th cent., but has recently been revived with some success. — Enamels are termed Cloisonnes when the coloured vitreous glaze is deposited in compartments formed by thin metal partitions (cloisons) following the outlines of the design on the surface of the plate; Champlevis when the compartments are sunk into the thickness of the plate; Translucides or Transparents when the design is incised on the plate and covered with transparent enamel; Painted (peints) when the entire surface of the plate is covered with coloured enamel. Cloisonnd and champleve enamels were made by Byzantine and mediaeval artists, but the translucid process was not invented until the 15th century. By the First Window, near the entrance: Transparent enamels of the 14-15th cent. ; "Binding of a Prayer-boolc., with filigree ornamentation. 136 2. LOUVRE. Salle des Bijoux. enamels (symbols of tbe Gospels), and embossed gold reliefs (Crnciflxion), a Byzantine work. — Second Window: Champlevi Enamels of tbe 12th cent., from the Rhine; Limoges Enamels of the 13th century. — Third Window: Enamels (‘Emaux Peints’) by the P^nicauds. — Fourth Window : Enamels by the same. — Fifth Window: ’’'Goldsmiths’ work ; snutf-boxes, bonbonnieres, caskets, etuis, medallions with miniatures, rings, chains, crosses, pendants, and other ornaments enamelled or set with pearls and gems; cameos; intaglios; etc. — Sixth Window: Limoges Enamels. — Seventh Window: Articles used at the coronation of the French kings: sword of the end of the 12th cent. ; buckle (14th cent.) ; spurs (12th cent.) ; *Sceptre of Charles V. (14th cent.); ‘Hand of Justice’ of the kings of the 3rd dynasty ; ring of St. Louis. — Book of hours of Catherine de Medicis ; mirror and sconces of Marie de Medicis, set with sardonyx and cut and engraved agates, presented to the queen by the Venetian Republic; poniard of the grand-master of the Order of Malta (16th cent.). — The cases at the remaining windows contain Limoges enamels. Cases XIII- XVII, opposite the windows, contain enamels by P. Cour- teys ,and L. Limosin (in the 2nd and 3rd), and other Limoges enamels. In the last case also is goldsmith's work: '"Shield and '"Helmet of Charles IX. (d. 1574) in gold and enamel; silver ewer and platter in repousse and chased work, representing the expedition of Emp. Charles V. against Tunis in 1535. We return to tbe Salle Ronde, and turn to tbe rooms of tbe Old Louvre on tbe right, first entering tbe — Salle des Bijoux, wbicb is adorned with a ceiling-painting by Mauzaisse, representing Time showing tbe ruins that be causes and tbe works of art be brings to light; below. Seasons, Elements, etc. Tbe room contains an extremely valuable collection of ancient orna- ments, jewels, and enamels. 1st Central Case. At the top : Three gold crowns, including a Grseco- Etruscan ^Diadem (unique). Gilded iron helmet (Gallo - Roman) , with enamel ornamentation (found in the Seine near Rouen) ; conical Etruscan helmet, with golden circlet and wings; golden quiver. Below are golden crowns, necklaces of gold, silver, enamel, and pietra dura, some with artistic pendants of the finest filigree work. Side next the Seine (5th divi- sion, upper row): *198. Golden Etruscan necklace adorned with a head of Bacchus (?) with , the horns and ears of a bull. The ornaments in the 4th division on the other side should be noticed. — 2nd Central Case. *Treasure of Bosco Reale, consisting of 94 silver articles discovered on the site of a house destroyed by the eruption of Mt. Vesuvius in 79 A.D. These objects are Alexandrian, (Jreek, and Roman works of the 1st cent., though some are in such admirable preservation as to seem modern. — Wall Case. Silver objects, *Ceres, with movable arms; silver-plate found in Notre- Bame-d’Alencon near Brissac in 1836; Etruscan earrings; rings of Greek and Roman workmanship. Side next the Court. Small Window Case: Gold Tiara of Saitaphar- nes^ presented to the king of that name by the Greek colony of Olbia in Sarmatia, with flat reliefs, 3rd cent. B.C. (? authenticity disputed). Above, *Collar and two ear-covers in the Greek style, also from Olbia. — Case to the Right: Buckles; gold and bronze bracelets. — Case to the Left: Gold rings, with and without precious stones; gold necklaces and earrings; bronze buckles. Side next the Seine. 1st Window Case. Intaglios. Gold and bronze rings, bracelets. — 2nd Case. Cameos; intaglios; ‘phalerse’ or ornaments for horses, etc. — 3rd Case. Gold necklaces; plaques of beaten gold; earrings. — 5th Case. Articles from Notre-Dame-d’Alencon (see above). Proceeding in a straight direction, we next enter tbe — Salle des Sept Cheminees, or Room III, containing a number of tbe finest pictures of French Masters of the 19th Century , or of tbe Empire and tbe Restoration. Salle des 7 Cheminees. 2. LOUYRE. 137 Beginning on the left : *188. David^ The Sabine women inter- posing between the Romans and the Sabines; in front Romulus about to hurl his spear at Titus Tatius ; the artist’s master-piece, painted on the model of an antique medallion (1799). *187. David^ Leonidas at Thermopylae, finished in 1814 as the Allies entered Paris; 360. Girodet-Trioson, The Deluge (1814); Prud'hon^ 751. Empress Josephine, *747. Crime pursued by Justice and Divine Vengeance, a work of tragic earnestness, painted in 1808 for the Criminal Court; *338. Gericault^ “Wreck of the Medusa, a French frigate which went down with 400 men on board, of whom only five were saved on a raft (1819; this painting created a great sensation, comp. p. xxxix): 392. Gros^ General Fournier- Sarloveze; *746. Prud'hon^ Assumption; *202bis. David^ Coronation of Napoleon I. ; *522. Mine. Lebrun^ Portrait of the artist and her daughter; David, *198. Portrait of Pope Pius VII. (1805), 202. Portrait of the artist; *526. Mme. Lebrun, Mme. Mole-Raymond, of the Comedie Fran- 9aise(1786); 343. Gericault, Carabinier; *337. Gerard, Portrait of the Marchesa Visconti. *328. Gerard, Cupid and Psyche (1796); No number, Gros, Por- trait of Mme. Lucien Bonaparte; 393. Guerin, Return of Marcus Sextus (an imaginary incident); *756. Prudlion, Rape of Psyche, a work to which the artist largely owes his title of ‘the French Cor- reggio’; *362. Girodet-Trioson, Burial of Atala (from a story by Chateaubriand), 1808; *388. Gros, Bonaparte in the plague-hos- pital at Jaffa (1804) ; 332. Gerard, Portraits of Isabey, the painter, and his daughter (1795) ; 396. Guerin, Pyrrhus taking Andromache and her children under his protection (1810). Passing through the door to the left of the entrance (or to the right if we face the entrance), we reach the — Salle Henri II, or Room II, a badly-lighted room, with a ceil- ing-painting by Blondel, representing the strife of Pallas and Po- seidon, and Mars and Peace. To the right: 834. St. Jean, Fruit; 17. Benouville, The dying St. Francis of Assisi carried to Sta. Maria degli Angeli; *83. Brascas- sat, Landscape with animals ; no numbers, Ingres, Three sketches, one being the ‘Apotheosis of Napoleon I.’, for a ceiling in the old Hotel de Ville; 143. Courbet, The burial at Ornans ; 833. St. Jean, Flowers ; 420. Ingres, Joan of Arc at the coronation of Charles VII. ; 82. Brascassat, Bull; 361. Girodet-Trioson, PiUdymion-, *120. Chas- seriau, Tepidarium, one of the finest canvases ever inspired by the revival of the antique ; 359. Giraud, Slave-dealer; 14. J. H, Belloc, The artist’s wife and daughter; no number, P. Delaroche, The youthful martyr; H. Vernet, Portrait of Isabey; Bellange and Dau- zats. Review at the Tuileries (1810); 416. Ingres, Virgin with the Host; 771. Regnault, Execution without trial. — Fine view from the window at the W. end of this room. Collection La Caze (Room I). This collection, which was pre- 138 2. LOUVRE, Coll. La Caze. sented to the museum in 1869, and remains distinct from the others by desire of the donor, forms in several respects a valuable comple- ment to the Louvre galleries. It comprises several French paintings of the rococo period and Dutch masters not otherwise represented. Beginning on the left: 2208. Flemish School of the 17 th cent.^ Old woman; *2454. Nic. Maes^ Grace; 2515. Is. van Ostade, Winter landscape; 2175. Teniers the Younger, Smokers; 659. Nattier, Por- trait of Mile. de Lambesc, with the young Count deBrionne; 1468. Tintoretto, Susanna at the bath ; Teniers, 2177. The smoker, *2170. Rustic festival; 471. Lancret, Boldness rebuked, from Lafontaine; *491. Largilliere, Portraits of the painter and his wife and daughter ; Teniers, 2184. Chimney-sweep, 2187. Landscape, 2176. Temptation of St. Antony; Chardin, 106. Still-life, 103. The house of cards (1737); 1914 (small), Adr. Brouwer, The writer; *1925. J. Brueghel [‘Velvet Brueghel’), The bridge ofTalavera; 2179. Teniers, The collector; *2385. Fr, Hals, Portrait of a lady; *792. Rigaud, Por- trait of J. F. P. de Crequi, Due de Lesdiguieres, as a child; *983. Watteau, Gilles (p. xxxvii); *1041. French School (18th cent.), Por- trait; 2337. Brekelenkamp, The consultation; 2174. Teniers, Village fete; 292. Fragonard, Pastoral scene; 2550. Rembrandt, Woman bathing; 2017. Jordaens , Mythological banquet; *548. Le Nain, Rustic meal (1642); 1995. J. Fyt, Game and implements of the chase; 2121, 2127, 2120. Rubens, Studies; 1311. L. Giordano, Death of Seneca; *2384. Fr. Hals, Gipsy; 488. Largilliere, Portrait of the President De Laage ; 376. Greuze, Head of a girl; 115. Chardin, Grapes; 991. Watteau, Jupiter and Antiope. 105. Chardin, Still-life (other examples farther on); 1979. A, van Dyck, Study of a head ; 2402. J. van der Heyden, Landscape ; *1916. Adr. Brouwer, The smoker; 2707. Denner, Portrait of an old woman, executed with great delicacy; 2573. Sorgh, Tavern in- terior; 2513. Is. van Ostade, Pig-sty; 791. Rigaud, Portrait of Car- dinal de Polignac ; 46. Boucher, Venus and Vulcan ; 1469. Tintoretto, Madonna and Child, with saints and donor; *986. Watteau, Gay company in a park; 2132. School of Rubens, Portrait of a woman playing the mandoline; 2634. Wouverman, Pilgrims; 987. Watteau, Conjurer; *2551. Rembrandt, Portrait (1651) ; 2109. Rubens, Por- trait of Marie de Medicis in the character of Gallia; 1736. Velazquez, The Infanta Maria Theresa, afterwards wife of Louis XIV. ; 2504, *2505 (farther on), Adr. van Ostade, Reading, The newspaper; 2178. Teniers, Guitar- player; *2549. Rembrandt, Woman after the bath (1654); 2406. Hondecoeter, The white turkey ; 2171. Teniers the Younger, The duet; 1946. Phil, de Champaigne, Portrait; 2172. Teniers the Younger, The smokers; 2503, *2502. Adr. van Ostade, The reader. The drinker; 297. Fragonard, The study; *1725. Spagno- letto, Boy with a club-foot (1642); *2579. J. Steen, The repast; 2393. Heemskerck, Interior. — In the centre two Sevres vases (1878). The exit leads to the staircase (Escalier Henri II, p. 99) of Drawings. 2. LOUVEE. 139 the Pavilion de VEorloge or Pavilion Sully, through which we may quit the Louvre. Beyond this staircase, to the left, is the — Saloon of the Ancient Bronzes. In the vestibule, in front of the window, is a lifesize gilded bronze statue of Apollo, in good preserv- ation, found near Lillebonne, in Normandy. The saloon, which is entered by a handsome iron doorway, like that of the Galerie d’Apollon, contains a valuable collection of implements, weapons, statuettes, etc. Central Glass Case : Etruscan cists, the largest of which were found at Palestrina, near Rome; buckles, collars, and bracelets; surgical and matbematical instruments; metal ornaments in relief; Greek mirrors, By- zantine bronzes; antique stamps and keys. — By the Windows: in the centre, Archaic Apollo, an excellent work of great historical interest; glass-case containing busts and statuettes of Greek origin, including one of Dionysos. The large statues are placed on pedestals beside the windows. Glass-cases with Greek and Etruscan mirrors. — Glass Cases to the right, as we return: Statuettes and busts, chiefly of deities; among them, an admirable head of a youth, found at Benevento (a Greek work; the eyes were inlaid). — Wall Cabinets, beginning on the same side: Mounts, handles, vases in the shape of heads, feet and ornaments of furniture, Roman balances and weights , domestic implements, platters and stew- pans, antique candelabra of every type, lamps, etc.; then weapons, frag- ments of statues, gladiator’s armour from Pompeii, animals, helmets. On the cabinets are placed busts. — Glass Case to the left, as we return: Greek mirrors with supports, statuettes of female divinities, etc. The staircase to the left beyond this hall leads to the second floor (Musee de Marine, see p. 145). We next enter the — Collection of Drawings (Musee des Dessins), rivalling the great Florentine collection in the Ufflzi, and numbering 37,000 in all, among which are 18,200 by Italian masters (358 by Ann. Carracci), 87 by Spanish, 800 by German, 3150 by Flemish and Brabant, 1070 by Dutch, and 11,800 by French (2389 by Lebrun). Only about 2300 of these drawings are exhibited, under glass. — The ceiling paintings of the first rooms are explained by the fact that the Con- seil d’Etat formerly met here. I. Room. Old Italian masters. Mantegna, Lorenzo di Credi, etc. — Ceiling by Blondel: France victorious at Bouvines. The walls of this and the following rooms are covered with large coloured cartoons by GiuUo Romano: in R. 1, Triumph of Scipio; in R. 2, Burning of a town and Triumph of Scipio; in R. 3, The Prisoners. — II. Room. Italian. Drawings by the most celebrated masters : Leonardo da Vinci, Michael Angelo, Raphael, Titian, and Andrea del Sarto. Ceiling- painting by Blondel: France receiving the ‘Charte’ from Louis XVIII. — By the central window is a sumptuous casket containing an address from the town of St. Peters- burg to ‘la nation amie’. — III. Room. Italian. Drawings, two of them in gouache, by "Correggio: Vice and Virtue. Ceiling- painting by Drol- ling: Justice descends to earth. — IV. Room. Bolognese School. Ceiling- painting by Mauzaisse: Divine Wisdom giving laws to Kings and Lawgivers. — V. Room. Flemish, Dutch, etc. On the wall to the left, *565. Battle of knights, by Rubens, after the celebrated cartoon painted by Leonardo da Vinci in 1504 in competition with Michael Angelo (not extant). The ceiling-painting, by Carolus- Duran, represents the Triumph of Marie de Medicig. In the centre are 23 drawings by Rembrandt, and a fine silver vase with reliefs by A. Vechte, — From the passage between this and the next rooms a small staircase ascends to the left to the Musde de Marine fp. 145), on the second floor. On the other side is a room with archi- tectural drawings. 140 2. LOUVRE. Drawings. VI. Room. Ckalk drawings, chiefly portraits. VII. Room. Early French Drawings and ‘Miniatures. To the left, Drawing by Beauneveu; then, two ‘Miniatures by J. Foucquet (SS. Martin and Margaret), belonging to the series at Chantilly (p. 382); ‘Design for a silk altar-cloth presented to the cathedral of FTarbonne by Charles V. (14th cent.). Near the exit: Clouet^ Portrait of himself. VIII. Room. Early Flemish Drawings, remarkable for their delicacy ; furniture; small bronze group: Jupiter destroying the Titans. In the windows are some fragments of good stained glass. IX. -XIII. Rooms. French School. — R. XI contains the coloured cartoons for the stained glass in the chapel of the Orleans family at Dreux and in the Chapel of St. Ferdinand (p. 155), by Ingres. — A large unfinished oil-painting by David (d. 1825) preserved in R. XII represents the Revolutionary meeting at the Jen de Paume (p. 319). One of the four finished heads is that of Mirabeau. The painting was ordered by the Na- tional Convention in 1790. XIV. Room. Crayons by Chardin (No. 879. his portrait, with com- passes), Vivien., Quentin de la Tour (819. Mme. de Pompadour), Rosalba Carriera.^ Rob. Nanteuil., etc. The glass-cases contain the greater part of the ‘Lenoir Collection (Don Lenoir).^ which includes 204 snuff-boxes and bonbonnieres, 3 enamels, and 74 miniatures (besides 11 ivories, 66 orna- ments, and 23 articles in old lacquer, exhibited elsewhere). The paint- ings comprize works by Augustin (Nos. 103, 172, 181, 188, 189, 209, 210), Blarenberghe (125-132, 212), Hall (175-177, 223-225), Isabey (227), Petitot (79, 155-158, 238-240), Van Pol (249, 250), Van Spaendoncl (251), etc. In the centre of the room are a collection of miniatures from various sources and some fine paintings in gouache by J. G. Baur. German drawings, see below. — A supplementary saloon, also con- taining drawings ( Salle des Boites)., on the second floor, is open daily except Sun. and Mon., after 2 o’clock (see p. 147). The Collection Thiers, a collection of works of art bequeathed to the Museum by the ex-president of the Republic, occupies two rooms adjoin- ing the last of the Collection of Drawings. Of the 1470 very miscellaneous objects (catalogues) the majority are small, and few are of much importance. They include Antiquities., Terracottas (33-35, in the glass-case to the left). Bronzes (113, 110. Busts; 109. Alto-relief; 12. Equestrian statuette; 126. Perseus), Marbles., Carved Ivory (153. Loving-cup; 15. St. Sebastian) and Wood (169. Ecce Homo ; 170. Charles V.), Marquetry (door). Carvings., Fe- netian Glass (209) , Copies of Pictures , Chinese and Japanese Articles., Por- celain., Snuff-boxes., Enamels., and Miniatures. In the first room is a ‘Por- trait of Thiers, by Bonnat. Next follow the Drawings of the German School., amongst which may be noted the two first, by E. S. (1466), 3 by Schongauer, 24 by Diirer, 7 by Holbein., and 5 by H. Baldung Grien. Adjoining is the Donation His de la Salle., a valuable collection of up- wards of 300 drawings by old masters. This gallery leads to the end of the following collection. Adjoining tlie Collection of Drawings is tbe f Collection of Smaller Mediaeval, Renaissance, and Modern Objects of Art (Musee des ohjets d^art du Moyen-Age, de la Renaissance, et des Temps Modernes), wMcb may also be reached by a staircase ascend- ing from tbe Asiatic Museum (p. 100). I. Room (8tb from tbe other end). Glass of tbe 15-18tb cent., chiefly Venetian and German. On the walls, mosaics, including, to tbe left, tbe Lion of S. Marco, by Ant, Fasolo of Murano (16tb cent.). Ebony Renaissance cabinet. Oaken Gothic door. II. Room. Ivory Carvings of the 6-18tb cent., some very valuable (catalogue by Molinier, 1896; 5 fr.). Asiatic Antiquities. 2. LOUYRE. 141 In the cabinets round the walls: Bacchanals by G. van Opstal; several figures of the Madonna and Christ; religious scenes; combs, caskets, dip- tychs, triptych'! ; loving-cups, powder-flasks. In the centre cabinet: *Coron- ation of the Virgin (13th cent.); Italian saddle-bow (13th cent.), with a battle of Amazons; Madonna from the Ste. Chapelle (14th cent.); a Descent from the Cross (13th cent.) ; etc. Between the cabinets are a Gothic oaken chest and a "Flemish tapestry, representing St. Luke painting the portrait of the Virgin (after Rogier van der Weyden). At the sides, four other fine Flemish tapestries (15-16th cent.). Between the windows is an Altar- piece from Poissy, about 7 ft. in height, executed at the end of the 14th cent.: in the centre is the history of Christ, on the left that of John the Baptist, on the right that of St. John the Evangelist, in 71 different reliefs ; below are the Apostles. III. Room. Flemish and German Earthenware of the 16-1 7th centuries. Pottery by Palissy and in his style. lY. Room. French Faience., including specimens of the famous work of Bernard Palissy (d. 1589), which chiefly consists of dishes adorned with snakes, frogs, lizards, fish, and plants moulded from nature. The finest antique French pottery is known as ‘Faiences Henri Deux’ or ‘d’Oiron’ (specimens in the centre case) ; it was manufactured in the 16th cent, at Oiron in Poitou. Tapestries. Y. and YI. Rooms (empty at present) are intended chiefly for a collection of 18th cent, furniture. YII. Room. Oriental Bronzes., vases, and utensils, including a Moorish bowl, known as the Baptistere of St. Louis (13th cent.), used at the christening of French princes. Oriental and Hispano- Moorish Faience. The former is recognized by its Oriental designs, yellow metallic background, and blue patterns ; it dates from the 14th and 15th centuries. Oriental crystal and glass. YIII. Room. Oriental Faience and tiles. From this room a staircase ascends to the 2nd floor (p. 145). — For the Remainder of the Renaissance and Modern Objects of Art., see p. 142. Leaving Room YIII. by the door at the end we reach the top of the staircase [leading to the Asiatic Museum (p. 99). We turn to the right and enter the rooms of the East Wing. Asiatic Antiquities (continuation), in three rooms (Salles de la Susiane and de la Chaldee). I. Room (6th of this collection; comp. p. 99). Small antiquities. Grseco-Babylonian statuettes and other sculptures ; inscriptions ; cylinders, engraved gems, and seals of great delicacy. Also, in the second case to the right, the silver vase of Entemema, with engravings, dating from before the 30th cent. B.C., from the excavations of Sarzec at Tello (Chaldsea). In the second case to the left: Grseco-Parthian gold ornaments and silver vases from Cyprus. By the second window on the left : fine Assyrian bronze lion, with a ring in its back. In the adjoining cabinets: Glazed tiles from Babylon; fragments of bronzes; Chaldsean antiquities, inscriptions, and votive bronzes ; Chaldeean cylinders and bas-reliefs. II. Room. 1st Section: in the middle, plans of the tumuli in Susiana and Chaldsea where the antiquities were found; on the entrance-wall, magnificent frieze of glazed and painted terracotta, 40 ft. long and 13 ft. high, representing the archers of the ‘immortal guard’ of Darius ; to the left, stair-railing from the palace of Artaxerxes Mnemon, also in terracotta; on the partition-wall, the crowning-ornaments of the pylons of this palace, with lions in the same material; on the right side, fragments of a bath and terracotta vases. — 2nd Section: At the back, *Capital of one of the 142 2. LOUVRE. Asiatic Antiquities. 36 columns (each 68 ft. high), which supported the roof of Artaxerxes’ throne-room ; in the cabinet on the left, fragments of the frieze of archers, etc. ; in the glass-cases, glass, small terracottas, cut stones ; cylinders from Susiana, Chaldsea, and Assyria ; seals, etc. III. Room. Continuation of the above collection. Reproduction of the throne-room of Artaxerxes Mnemon (404 B. C.), which covered an area of 11,000 square yards. By the second window is a Grseco-Phoenician bust of a woman, found in Spain in 1897. IV. Room or Salle du D6me. Continuation of the Renaissance and Mod- ern Objects of Art (comp. p. 141). To the left, '-'Armour of Henri II of France. 1st Case: caskets, bronzes from churches, and statuettes. On the walls and in the other cases are Renaissance tapestries and furniture and small bronzes, notably, Giovanni da Bologna.^ Nessus andDejanira, P. Vischer.^ Portrait of the artist (3rd case). Then, interesting armour and weapons. — Cases at the first window : clocks of the 16-17th cent. ; French and German medals. By the second window: Italian bronze statuettes of the Renais- sance, including Arion, St. Sebastian; School of Donatello John the Baptist; Savelli, su.Tndim.ed Sperandio, Equestrian statuette of G. F. de Gon- zaga. Also, cutting weapons of the 15-16th cent, and a hunting-horn of Francis I. By the third window, Italian medals. — In the glass-eases in the centre: reliefs in metal; paxes; locks, keys, etc.; cutlery, spoons, etc.; medallions in coloured wax; watches of the 16th, 17th, and 18th centuries. V. Room. Italian Majolica or Faience. The finest specimens, dating from the 16th cent., were made at Deruta, Faenza, Forli, Venice, Gubbio, Pesaro, Urbino, Castel Durante, etc. In the centre is a fine Renaissance chest. VI. Room. Portrait of Henri II ; silk tapestry of the 16th cent. ; fine wood-carving from the Salle des Sept Cheminees. This specimen and that in the next room are the only carvings of the royal apartments now extant. — Glass-cases at the windows: medallions and other carvings in box- wood, very delicately executed; carvings in other substances, including a relief in lithographic stone by Aldegrever^ representing the Duke of Bavaria and Agnes Bernauer of Augsburg. On the walls are inlaid panels. In the centre of the room is an alabaster bust of Otto Heinrich I., Count-Palatine of the Rhine, founder of the castle of Heidelberg, and a handsome marriage- chest. The case at the end, to the left, contains a fine collection of statuettes in wood, etc. In that to the right are caskets. VII. Room, with alcove, in which Henri IV breathed his last. The wood-carving is from the rooms of Henri II in the Louvre, and was re- stored in the reign of Louis XIV. Fine cabinets. VIII. Room. Portraits of Louis XIII. and his queen Anne of Austria, by Phil, de Champaigns if) \ three large vases of Sevres porcelain; silver statue of Peace, by Chaudet; small group in wax, by J. Mlne^ Stag-hunt. On leaving tMs room we find ourselves at tlie top of the stair- case of the Mus^e Egyptien, which is continued on the landing and in the rooms to the right (comp. PI. of first fioor, p. 89). Egyptian Museum (continued). — The rooms to the right con- tain the smaller Egyptian antiquities. I. Salle Historique , with a ceiling-painting by G'ros, repre- senting the Genius of France encouraging the arts and protecting mankind (1827-31). The objects here are mainly of historical value. On a pedestal with an octagonal glass-shade. Statuette of Psammetichus II., in green basalt. In front. Statuette of a man (new acquisition); behind, '-'Bronze statuette of Queen Karomama (22nd Dyn.), richly damascened (restored). — Glass-case: sepulchral statuettes, scarabsei, symbols of immortality; golden *Ornaments coated with coloured vitreous paste, cup, mask of a mummy, gold chains, etc. — Case to the left of the chimney-piece: *Group in gold of Osiris, Isis, and Horus (22nd Dyn.). Egyptian Museum. 2. LOUVRE. 143 II. Salle Civile, with a ceiling-painting U. Vernet: Bra- mante, Raphael, and Michael Angelo before Pope Julius II. (1827). On the first column, Statuette of Mesu. In the centre, above the glass- case, Statue of an Egyptian Scribe^ painted red, with eyes inserted (5th or 6th Dyn.). In the giass-case: jewels, enamels, toilet-articles in carved wood, articles in bone and ivory. On the second column : *Wooden statuette of Toui, superior of the hermit nuns of Min, the god of Coptos (20th Dyn., i.e. ca. 12th cent. B.C.), acquired in 1894 for 10,(XX) fr. — Cabinets and glass-cases to the left, beginning at the entrance : statuettes ; models of buildings and boats, stools; vases; glass; basket-work, toilet- articles ; fruit, grains, implements and scenes of husbandry; emblems and mis- cellaneous utensils; weapons, musical instruments ; finely- woven ^Garments ; statuettes; box of games, etc. in. Salle Funeraiue, with an allegorical ceiling-painting by Abel de Pujol^ Joseph as the saviour of Egypt (1827). The contents of this room afford an admirable insight into the worship of the dead, which, like the whole religious system of the ancient Egyptians, was closely connected with their doctrine of the immortality of the soul. It was owing to their peculiar form of belief that they used every endeavour to preserve the bodies of the dead by embalming and other- wise, and constructed the spacious and magnificent tombs with which Egyptian travellers are familiar. Our information regarding the Egyptian notions of the soul’s condition after death is chiefly derived from the ‘Book of the Dead’, a collection of hymns, prayers, and instructions for the use of the deceased, and to enable him to answer the questions asked by the judges of the dead. The papyri hung on the walls contain a number of these passages, sometimes illustrated by paintings in wonder- fully good preservation. The finest are in Room V. — In the centre. Mummy-cases , covered with paintings ; wooden statuettes of the ancient empire (about 3000 B. C.) ; chair inlaid with ivory. — Above the fire-place hangs a large picture, of the Grseco-Roman period, representing a departed soul, supported on the left by Osiris and received by Anubis. — In the cabinets and glass-cases (from left to right) : sepulchral figures and cases ; paintings (near the 3rd window), masks, scarabsei, mummies and mummy cases (cabinet between the windows), implements used by gilders and scribes, ‘hypocephali', or talismans placed under the heads of mummies, etc. lY. Salle des Dieux , with a ceiling-painting by Picot, repre- senting Study and Genius revealing Egypt to Greece. This room is devoted to objects illustrating Egyptian mythology: statuettes and attributes of the gods (mostly in bronze), etc. In the centre, statue of Kut, the lion- headed sun-goddess; Horus offering a libation to his father Osiris (yase wanting), a bronze statue. The glass-case contains scarabsei, symbols and attributes of the gods in gilded wood, etc. Above the fire-place, Hobs (?), Sekhet, Ammon, Osiris, and Isis nursing Horus. Y. Salle des Colonnes , adorned with an allegorical ceiling- painting by Gros (in the centre, True Glory leaning upon Yirtue; to the left. Mars crowned hy Yictory and restrained by Moderation ; to the right. Time placing Truth under the protection of Wisdom). This room contains various objects for which a place could not be found in the preceding rooms. Wooden mummy-cases, covered with paintings. In the centre, statue of Nesahor, an official under the 26th Dyn., etc. In the glass-cases are mirrors, bronze weapons, and bronze knives. In the cabinets are deities, bronze implements, papyri, etc. — By the window is the so-called *Royal Papyrus, a splendid and well-preserved specimen of the hieroglyphic ‘Book 144 2. LOUVRE. Antique Pottery. of the Dead’, about 25 ft. long, and not less than 3000 years old. — In the middle and by the windows, three eases containing recent acquisitions. Collection of Antique Pottery (Musee de la Ceramique Antique), — This collection, in the following rooms and the parallel rooms on the side next the Seine (see below), is one of the most complete of its kind. Arranged chronologically, the earliest specimens are at the other end, next the Salle des Sept Cheminees (see below). I. Room or Salle M. Greek Pottery from Asia Minor, the Crimea, Cyrenaica, and Egypt. Terracottas and painted vases, with figures in different colours. Also some tasteful terracottas. — Ceiling-painting by Picot: Cybele saving Pompeii and Herculaneum from total destruction. ‘There is no difficulty in distinguishing the Greek vases from those manufactured in Etruria, which are inferior in form and workmanship, and display designs of a different style. Among the Greek Vases them- selves there are also many differences. The earlier are those with black figures on a red ground, the later those with red figures on a black ground. They have of course no pretension to rank as works of art, being mere manufactures. And yet these vase-painters have depicted mythological and everyday scenes with such spirit and poetry, and produced such pleas- ing scenes with the humble means at their disposal, that their vases (though sometimes despised by the ignorant) bear striking testimony to the flourishing condition of the Attic handicrafts, and thus afford us an idea of the great Athenian works of art which these simple artificers must have had before their eyes.' KekuU. II. Room (L). Greek Pottery found in Greece. In the centre: * Amphora with the contest of the gods with the giants. In the glass-case, terracottas from Greek and Etruscan tombs. Round the room small Greek terracotta articles from Tanagra in Boeotia and other parts of Greece ^ lecythi or oil-vases. — Ceiling-painting by Meynier: The Nymphs of Parthenope (Naples) arriving at the Seine. III. Room (K). Italo- Greek Pottery found in Apulia, Campania, Lu- cania, and Etruria. Vases, some of large size, on a marble table. In the window-cases: Terracotta lamps. — Ceiling-painting by Heim: Jupiter delivering to Vulcan the fire for the destruction of Herculaneum and Pompeii. IV. Room. Greek Antiquities. Small sculptures and fragments of others. In the corner to the right, draped figure of a girl. In the central cases : Antique ivory carvings; Greek terracottas and wood-carvings, etc. — Bust of the Comte de Clarac (1778-1847), long keeper of the Musee des Antiques. Ceiling-painting after Ingres : Apotheosis of Homer (original, see p. 133). The door of exit leads into the Solle des SepU Cheminees (p. 136), whence we proceed to the left into the first part of the Collection of Pottery, formerly known as the Musee Camp ana, consisting of the valuable Campana collection purchased from the papal government in 1861, and subsequently much extended. The ceiling-paintings were executed when the pictures of French artists were exhibited here. I. Room or Salle A. Primitive Pottery , from Phoenicia, the Troad, Cyprus, Rhodes, Attica, and Boeotia. Large archaic cratera and amphora put together from fragments. In the glass-cases in the centre: Golden or- naments, terracottas, and vases. In the other cases, from left to right; Terracottas, statuettes, heads of statues, pottery from Rhodes, etc. — Ceiling- painting by Alaux : Poussin being presented to Louis XIII. by Cardinal Richelieu; to the left Truth, to the right Philosophy. II. Room (B). Terracottas from Italy and from the necropolis of My- rina , near Smyrna : Statuettes and bas-reliefs ; Cists , ornamented with statuettes and bas-reliefs; Vases shaped like figures. Important collection of figurines, etc. from Myrina. Ceiling-painting by Steuben: Battle of Ivry, with Henri IV as a magnanimous victor. Naval Museum. 2. LOUVRE 145 III. Room (C). Etruscan Pottery^ beginning with vases of the rudest type, black, with engraved designs. — Ceiling-painting by Eug. Dev4ria : Louis XIV. inspecting Puget’s marble group of the Milo of Croton Cp. 105). IV. Boom (D). Etruscan and Greek Antiquities^ found at Cervetri, the Csere of the ancient Etruscans. In the centre : ^Sarcophagus, on which are two painted lifesize figures of a man and woman on a couch, clumsy in execution, but not without a certain naive humour. In the glass-cases, small ‘funereal couches’, bas-reliefs, vases, and paintings found in a grave. — Ceiling-painting by Fragonard: Francis I. receiving pictures and statues brought by Primaticcio from Italy. In the adjoining passages are antefix-ee, heads, and vases. V. Room (E). Vases in the Ionian^ Chalcidian^ and Corinthian Styles^ found in Italy. Greek vases formed an article of export from an early period. Similar vases also in the Collection of Greek Antiquities (see above). By the central window are two painted terracotta sarcophagi in the Greek Ionic style of the 6th cent. B. C. — Ceiling- painting by Heim: The Renais- sance in France. Traversing another short passage, with archaic Greek vases, we next enter the — VI. Room (F). Older Greek Vases found in Italy and Sicily. In the centre of the room, vases bearing the name of Nicosthenes. Vases with white background ; below, black vase with white figures. Most of the scenes are from the myths relating to Hercules and Theseus. — Ceiling-painting by Fragonard: Francis I. knighted by Bayard. VII. Room (G). Later Greek Vases., found in Italy, many of which bear the name of the maker and most of which are noteworthy. — Ceiling-paint- ing by Schnetz: Charlemagne and Alcuin, the founder of the university of Paris. VIII. Room(H). Graeco-Italian Vases. In the centre are Rhyta or goblets in the form of horns, with heads and other ornaments, and other vases of curious shapes. At the sides of the room are black vases, with a greenish glaze, to imitate bronze. — ^Ceiling-painting by Drolling: Louis XII. hailed as father of the people by the Estates at Tours. IX. Room. Mural Paintings from Herculaneum and Pompeii. In the glass-cases in the centre: Antique glass objects from Pompeii. — Ceiling painting by Ldon Cogniet: Bonaparte in Egypt. The exit-door leads to the rooms containing the small Egyptian an- tiquities (p. 142), whence we reach the nearest staircase to the second floor by re-traversing the rooms to the left (p. 142). C. SECOND FLOOR. The second floor of the Louvre, which contains the Marine and the Ethnographical Museums, some pictures for which there is not room on the first floor, and a collection of drawings, is open to the public after 11 a.m. (comp. p. 56). There are three staircases ascending to the second floor: — (1) From the 8th room of the collection of smaller Mediaeval, Renaissance, e»nd Slodern objects (p. 141), which is reached from the groundfloor by a staircase near the Asiatic Museum^ (2) From the op- posite end (p. 139), leading to the Galerie des Pirogues (p. 147); and (3). In the Pavilion de I’Horloge or Pavilion Sully (see p. 139), beside the Salle des Bronzes. The *Musee de Marine is a very valuable collection of objects connected with sbip-building and navigation, sucb as models of vessels and machines, plans of harbours in relief, drawings, and relics of historical interest. It occupies 16 rooms and 2 small galleries. Most of the exhibits have full descriptive labels. Opposite the staircase from beside the Asiatic Museum are two New Rooms, the first of which contains models illustrating the French navy from 1789 to 1824 and maps of French colonies. In the second are models of sailing-vessels of the 18-19th cent. ; screw-vacht of 1885. Behind is the Baedeker, Paris. 13tb Edit. 10 146 2; LOUVRE. Ethnograph. Museum. model of a frigate being repaired at Tahiti; to the right, model of the ‘Ocdan’, a man-of-war of_the 18th cent.; the ‘Rivoir leaving the harbour of Venice with the aid of ‘ehameaux’ or rafts to aid it over shallows. Supplementary Room of the Picture Gallery, containing some good paintings of the Flemish and Dutch schools, for which there is no room on the first floor. 2635 (to the left), Fh. Wouverman, Tour de Nesle, at Paris; 1930. Fe Champaigne, Christ; 2146. Snyders^ Dogs in a larder. On the upper part of this and the other walls are views of towns by Van der Meulen. — 2581. Steenwyck^ Christ at Bethany; "2426. K. du Jardin^ Cal- vary; 2612b. Weenix^ Still-life; 2310. Beerstraeten^ Old harbour of Genoa; 2409. Honthorst^ Concert. — 2464. Metsu^ Portrait of Admiral Tromp; 2629. Ph. Wouverman^ Cavalry skirmish ; 2452. J. Vanloo^ Study of a woman. I. Corridor, adjoining the staircase, Models of Merchant Vessels. Musee de Marine. I. Boom (the last coming from the other staircases). Model representing the taking down and embarkation of the obelisk of Luxor (p. 83) ; Erection of the obelisk in the Place de la Concorde. Marine steam-engines; American locomotive. — II. Room. Models of sailing-ships. Two marine paintings by Gudin. — III. Room. Models of steam-packets and parts of ships. — IV. Room. Fire-arms of various calibres. ‘Orgues’ with five and seven barrels. — V. Room. Weapons. Three marine paintings by Jos. Vernet. — VI. Room. Pyramid composed of relics of the frigates ‘Boussole’ and ‘Astrolabe’, which had been sent on a voyage of discovery under Captain de Lapirouse in 1783, and foundered at sea. Bust of Laperouse. Model of a monument erected to the memory of Laperouse at Port Jackson, with English and French inscriptions. Beacons; buoys; Whitehead torpedo. Relief-plans of the islands of Vanicoro or Laperouse and Tahiti. Fourteen marine paintings by Joh. Vernet. — VII. Room (at the end of R. VI). Models of iron-clads, turret-ships, torpedos; submarine boat; planetarium moved by clock-work. Marine paintings (corridor, see below). — VIII. Room. Models of antique vessels and of transports. Planetarium. — IX. Room. Machine for adjusting the masts of a ship. Vessel supported by pontoons. Representation of the interior of the turret-ship ‘Marengo’ (1867). Parts of a ship; cables; rigging; etc. — X. Room. Models of pumps and mach- inery. — XI. Room. Large geographical globe in MS. Navigating instru- ments. Models of xebecs or galleys refitted for sailing. — XII. Room. To the right, small vessel in ivory. Models of galleys and ships of war of the 17th century. The original carving in gilded wood by Fuget^ on the wall, decorated the second of these galleys. Tbe Ethnographical Museum (Musee Ethnographique) begins with the two rooms immediately following the Musee de Marine, and also occupies the large saloon at the end. In the former are models of dwellings of savages, scenes of savage life, portraits of American Indians, war-suits, and implements of various kinds. The saloon is devoted almost exclusively to curiosities brought home by French navigators and the spoil captured in the course of military expedi- tions in India, China, and Japan. The various articles are furnished with explanatory labels, but they are placed in cases where it is difficult to inspect them satisfactorily. Better collections of the same kind may be seen at the Musee Guimet (p. 162) and the Trocade'ro (p. 167). The present collection includes vessels and utensils in gold and silver, in bronze, terracotta, and wood, Indian idols, pictures, statuettes, trophies, stuffs, costumes, figures of warriors, weapons, etc. On the central glass-cases and at the sides are two fine Chinese pirogues and a Turkish caique from Constantinople. — In a glass-case near the end, to the right, *is a curious collection of Salle des Boites. 2. LOUVRE. 147 Indian statuettes, and in another, to the left, of the Javanese mario- nettes known as ‘Wayang’. — By the central window is the musical clock of the Dey of Algiers (made in London) ; and by the window to the right is the crown of King Behanzin of Dahomey. II. CoRBiDOE, tke Galerie des Pirogues (staircase, see p. 139), contains models of Arab, Indian, Chinese, Australasian, and American ships and boats, dwellings, etc. The Chinese Museum (to the left on leaving the Marine Mu- seum), which may be regarded as a continuation of the Ethnographical collection, is also of secondary importance, being surpassed in interest by the collections at the Musee Guimet (p. 162), while its porcelain is far inferior to that of the Collection Grandidier (see below). I. Room. Model of the temple of Juggernaut in India; furniture; idols, including a copper-gilt figure of Kouanyin (‘virgin- mother’), in a shrine of carved wood. — II. Room (to the right). Furniture of various kinds, notably two beds. Model of a Buddhist monastery; statuettes. — III. Room. Porcelain and faience; musical instruments; articles in ivory, lacquer, jade, etc.; statuettes, vases, etc., in bronze. In the centre, ivory carvings from Japan, etc. — IV. Room. Carved furniture, with gilded reliefs; fine cannon from Cochin-China; three handsome teak cabinets and others inlaid with mother-of-pearl and ivory. In the glass-case at the end and on the central table, ^Cloisonne enamels. On another table, elaborately carved *Ship in ivory. Leaving the last room, we enter a corridor, which is adjoined by the Salle des Boites on the right. This saloon and the corridor contain the most valuable drawings by Raphael (19; and an au- tograph), Michael Angelo (6), Leonardo da Vincij Titian, Poussin (18), and Holbein , preserved in wooden cases (whence the room derives its name). The direct approach to this collection is by the staircase called the Escalier Henri II in the Pavilion de I’Horloge (p. 139), by which we leave the museum. Two other collections have recently been arranged in a kind of second entresol on the side next the Seine, viz. the Chalcographie and the Collection Grandidier. The principal entrance to these is by the Porte Jean- Goujon, opposite the Pavilion Denon, but there is to be another in that Pavilion via the Salle des Moulages (see the ground-plan). The Chalcographie was founded by Louis XIV. in 1660, on the model of the Calcografia at Rome. Engravings of most of the great Parisian and foreign works of art, in the provinces of painting, sculpture, and archi- tecture are exhibited and sold here (cheaper than at the retail-shops). It occupies the gallery on the quay, to the right as we enter. It is open daily, except Sun. and holidays, from 11 to 4 or 5, and contains three Exhibition Rooms and a Sale Room in which are albums and detailed cata- logues of over 6000 plates. Farther on are the workshops and stores. The Collection Grandidier is a rich collection of Chinese and Japanese porcelain presented to the Louvre by M. Grandidier. It is open daily, except Mon., from 1 to 4 or 5. The collection occupies ten rooms opposite the Chalcographie, of which the first seven are devoted to Chinese porcelain, embracing 3000 specimens, all remarkable for their decoration though many are small. The three following rooms are occupied by Japanese porcelain (800 specimens), and other Japanese objects, including a collection of engravings of the 18th and 19th cent., in frames and on two radiating stands, statuettes, bronze vases and sword-hilts, combs, caskets, lacquered screens, etc. 10 * 148 2. PALAIS DES TUILERIES. III. THE TUILERIES. Arc de Triomphe du Carrousel. Jardin des Tuileries. The open space between the Louvre and the Tuileries, with the exception of the part beyond the Arc de Triomphe du Carrousel, was occupied down to nearly 1840 by a labyrinth of narrow streets, which Louis Philippe, the first monarch who projected extensive city improvements, began to remove. The work of demolition was completed by Napoleon III., and the space thus cleared was divided into three parts (comp, ground-plan, p. 88): the Square du Car- rousel; the Place du Carrousel^ which adjoins it on the W.; and the Cour des Tuileries. The Monument of Gambetta, between the square and the ‘place’, consists of a lofty stone pyramid with a group in high relief represent- ing Gambetta (1838-83) as organiser of the national defence, in bronze by Aube. At the sides are decorative statues of less impor- tance representing Truth and Strength, and on the top is Democracy (a maiden seated on a winged lion), also in bronze, by Aube. The numerous inscriptions are chiefly passages from Gambetta’s poli- tical speeches. The Place du Carrousel (PI. R, 17, 20; //), formerly much smaller than now, derives its name from a kind of equestrian hall given here by Louis XIY. in 1662. On this site Napoleon I. directed his architects Fontaine and Percier to erect the *Arc de Triomphe du Carrousel, in imitation of the Arch of Severus at Rome, to commemorate his victories of 1805 and 1806. The structure, which was formerly the principal entrance to the Tuileries, is 48 ft. in height, 631/2 ft. in width, and 21 ft. in thickness, but in conse- quence of the immense clearance that has taken place since its erection it is now too small to harmonise with its surroundings. (The Arch of Severus is 75 ft. in height and 82 ft. in width.) The arch is perforated by three arcades and embellished with Corin- thian columns of red marble with bases and capitals in bronze supporting marble statues representing soldiers of the empire.. The Marble Reliefs on the sides commemorate the achievements of the Emperor and the French army. In front: on the right, the Battle of Austerlitz ^ on the left, the capitulation of the Austrian general Mack at TJlm. At the back: on the right, the conclusion of peace at Tilsit^ on the left, entry into Munich. On the N. end, the entry into Vienna ; on the S. end, conclusion of peace at Pressburg. The arch was originally crowned with the celebrated ancient Quadriga from the portal of St. Mark's in Venice, brought thence as a trophy, but sent back to Venice by Emperor Francis in 1814. It was afterwards re- placed by order of Louis XVIII. by a Quadriga designed by Bosio., and intended to represent the ‘Restoration’. The Palais des Tuileries, properly speaking, was burned by the Communards in 1871 and exists no longer. Its only remains are the wings which connected it with the Louvre. That on the side next the river, containing the Pavilion de Flore j was restored in 1863-68 and again after the fire of 1871, in which it sustained little damage. It is at present partly occupied by the Colonial Office. The right 2. PALAIS DES TUILERTES. 149 wing, in the Rue de Rivoli, with the Pavilion de Marsan, was en- tirely burned down in 1871 and was rebuilt in 1875-78; but the interior is still unfinished and unoccupied. The Palais des Tuileries (comp, the Plan, p. 86), founded by Catherine de Medicis, widow of Henri II, was begun in 1564, beyond the city-walls of that period. It derived its name from the tile-kilns (tuileries) that orig- inally occupied its site. The first architect was Philibert Delorme^ who was succeeded by Jean Bullant. The original plan was afterwards much modified and the above-mentioned pavilions were incorporated with it. The palace presented no great architectural interest, but was rich in historical associations, especially those connected with the overthrow of the French monarchy in 1791-92. Before the Revolution the palace was only occasionally occupied by the French sovereigns; but it was the habi- tual residence of Napoleon L, Louis XVIII., Charles I., Louis Philippe, and Napoleon HI. On 5th. Oct., 1789, Louis XVI. was brought by the Dames de la Halle’’ from Versailles to the Tuileries, and in June, 1791, he was again forcibly installed here after the arrest of his flight at Varennes. On 20th July, 1792, the anniversary of the meeting in the Jeu de Paume (p. 333), the palace of the Tuileries was attacked by a mob of about thirty thousand rioters armed with pikes, but on that occasion they con- tented themselves with threatening and insulting the king. On 10th August the storm at length burst forth in all its fury. At midnight alarm- bells began to ring in the suburbs. Thousands of armed men marched to the palace. The fidelity of the national guard posted in the palace- yard and garden began to waver, and they were deprived of their com- manding officer by stratagem. They might, however, in conjunction with the Swiss guard of 1950 men commanded by Colonel Pfyffer, have suc- cessfully defended the palace, had not the king, yielding to solicitations which were in some cases treacherous, quitted the palace with his family. Passing through the garden of the Tuileries, he repaired to the Manage., or riding-school (see p. 84), where the legislative assembly held its meetings. The national guard then dispersed, but the Swiss guard and about 120 noblemen who were faithful to the king occupied the palace and refused to surrender it. As the mob pressed forward more vehemently, the colonel commanded his men to fire, and the palace-yard and Place du Carrousel were speedily cleared. The Swiss guard now believed that victory was assured, but the king sent orders to them to discontinue firing and to surrender the palace. Finding that the guard ceased to fire, the assailants renewed their attack and reopened their fire with redoubled vigour. Within a few seconds they inundated the palace, killed every man they encountered, wrecked the furniture and fittings, and stole or carried to the Hotel de Ville numerous objects of value. The retreating Swiss guard were almost all shot down in the garden, and the rest hy order of liOuis gave up their arms to the national guard in the hall of the national assembly. The Revolution was victorious. Of the hitherto existing state-structure not one stone was left on another. Royalty lay prostrate in the dust, and the legislative assembly continued to exist merely in name. — The king and his family spent the night in a small room in the Manege, and on 13th Aug. he was conveyed as a prisoner to the Temple Tower (p. 214). whence he was only released to be led to the scaffold on Jan. 21st, 1793. From 10th May, 1793, to 4th Nov., 1796, the Convention., and afterwards the Council of Elders down to 1799, held their meetings in the N. wing. On Feb. 1st, 1800, Napoleon, as ‘First ConsuF, took up his quarters here, and the palace also became the official residence of the Restoration and July monarchies. On 24th Feb., 1848, Louis Philippe abandoned the pal- ace to the mob without resistance. Napoleon III. resided here from 1852 to 23rd July, 1870, when he quitted Paris to take the command of the army of the Rhine. The history of the Tuileries as a royal residence closes with the departure of the Empress Eugenie after the battle of Sedan. On 20th May, 1871, the Communards, aware of their desperate position and the impending capture of the city by the government troops, deter- 150 2. JARDIN DES TUILERIE8. mined at one of their secret meetings to wreak their revenge by setting all the principal public Tmildings on fire. The orders which they issued for this purpose, signed by Delescluze, Dombrowski, Eudes, and other ringleaders, professed to emanate from the '"ComiU du Salut Public T Several of these documents still extant show the fearfully comprehensive and systematic character of this diabolical scheme, which also embraced numerous private dwellings, as being ‘maisons suspectes’. A beginning was made with the Tuileries, which was prepared for destruction by placing combustibles steeped in petroleum and barrels of gunpowder in the various rooms. It was set on fire at a number of different places on 22nd and 23rd May, after the Versailles troops had forced an entrance into the city, but before they had gained possession of the palace. The conflagration soon assumed the most terrible dimensions, and all attempts to extinguish it were fruitless. The whole of the W. side of the palace was speedily reduced to a gigantic heap of smouldering ruins. On the pillars outside the large archways leading from the Place du Carrousel towards the Seine, are statues of Naval and Merchant Shipping, by Jouffroy, At the top is a bronze relief , by Mercie, representing the Genius of the Arts. — Pont du Carrousel, see p. 267. The next bridge is the Pont Royal (p. 275), whence the sculptures on the S. facade of the Pavilion de Flore, especially those by Carpeaux, are best seen. The *Jardin des Tuileries (PI. R., 18; //), the most popular promenade in Paris and the especial paradise of nursemaids and children, was enlarged in 1889 by the addition of the gardens occu- pying the actual site of the former palace. The older portion retains the same general features as when first laid out by the celebrated landscape-gardener Le Notre in the reign of Louis XIY. ; but the parts between the Place du Carrousel and the central basin, formerly the ‘Jardin Reserve’, and the Rue des Tuileries are of later origin. The greater part of the Jardin des Tuileries is always open ; but the reserved portion closes between 6 and 9 p.m., according to the season, the signal being given by a bell. The gardens may be entered from the Rue des Tuileries, the Rue de Rivoli, the quays or from the Place de la Concorde at the W. end. At the W. end, beyond the flower-beds, is a shady grove of large trees. On the N. and S. sides the garden is enclosed by terraces, called the Terras se des Feuillants and the Terrasse du Bord de VEau. The first derives its name from a Monastery of the Feuillant Order (reformed Cister- cians), founded here in 1587. The club of the moderate party, founded in July, 1791, by Lameth, Lafayette, and their partizans, in opposition to the more violent Jacobins, used to meet in the monastery, whence they became known as ^Les Feuillants'. The Allee des Grangers^ which skirts the terrace, is adorned in fine weather with two rows of orange-trees in tubs, forty-one of which date from the time of Francis I. (1494-1547). Entering the garden from the Rue des Tuileries by the broad central walk, we obtain a fine view of the whole garden, with the Obelisk in the Place de la Concorde and the Arc de I’Etoile in the background. On the right and left are grass-plots with two cir- cular basins of water, einbellished with marble statues and vases. 2. JARDIN DES TUILEEIES. 151 In the new part , on the site of the palace proper , central walk : in the centre the -Quand-meme' , by Mercii; to the right, Ganymede, by BartMlemy^ and The Awakening, by Mayer; to the left, Elegy, by CailU; The secret, by Moulin. Farther on, to the left: Eve after the Fall, by Delaylancf>e\ Exiles, by M Moreau; Velleda, by Maindron; Suzanne, by Marquesti Galli. On the right, Agrippina with the ashes of Germanicus, \>j Maillet; Judith, by Lanson; Penelope, hj Maniglier; Leander, by and the French Vine, by Becquet. The six Doric columns here supporting gilded globes formed part of the railing in front of the palace of the Tuileries. To the W. of the Rue des Tuileries, central walk, on the right; Omphale, by Eude; Aineas carrying his father Anchises from the flames of Troy, by P. Lepautre; a Bacchante, by Carrier-Belleuse; behind, Venus with the dove, and Nymph with the quiver, by Quill. Coustou; Lion and crocodile, bronze by Cain. In the allee before the rondel: Diana and the Nymph of Fontainebleau, by E. Liveque. On the left: a Corybante, by Cugnioi; Lucretia and Collatinus, by Lepautre; New Year’s Day, by Beaugeault; behind, Flora and Zephyr, by Coyzevox; on the lawn, Lion and peacock (bronze), by Cain. Near the central basin: to the right and left, Orithyia carried off by Boreas, by Duquesnoy and O. Marsy^ Cybele carried off by Saturn, by Regnaudin^ then from right to left, Cassandra and Minerva, by A. Millet; Alexander the Great, by Dieudonn^; Prometheus, by Pradier; Soldier tilling the ground (from Virgil), by Lemaire; the Oath of Spartacus, by Barrias; Cincinnatus, by Foyatier; Alexander fighting, by Lemaire; Rape of Dejaneira, by Marqueste; Pericles, by Dehay. In the transverse walk to the left; Comedy, 'by Roux; the Grinder, after the Florentine antique; Phi- dias, 'by Pradier. In the walk to the right: Masque, by Cristophle; Aurora, bronze figure by Magnier; Ugolino, in bronze, by Carpeaux; Silence, by Legros. — At the beginning of the Allee des Grangers: Return from the hunt, bronze, by Ant. Carles (1888) ; at the flight of steps opposite the street leading to the Vendome Column (p. 85), two groups of animals, by at the end, Hercules subduing the Hydra, in bronze, by Bosio. Other sculptures are placed in the grove, etc. On the Terrasse du Bord de I’Eau, near the Orangerie, Lion and serpent (bronze), one of the principal works of Barye. Under the trees of the small grove, on the right and left of the broad central walk, are two marble semicircular platforms called the Carres dC Atalante., constructed in 1793, in accordance with the instructions of Robespierre, for the accommodation of the council of old men who were to preside over the floral games in the month of Germinal (21st March to 19th April). On that to the right is a group of Atalanta and Hippomenes by O. Coustou, and on that to the left, Apollo and Daphne by Theodon. — In summer a military hand plays near this spot on Sun., Tues., and Thurs. from 4 to 5 or 5 to 6 p.m. Chair 15 c., arm-chair 20 c. At the W. end of the grove is an octagonal basin, 200 yds. in circumference, with a fountain in the centre, where children sail small boats (50 c. ; on hire 1 or 2 fr. per hr.). Near this point are a puppet-show, a cake-stall, and a refreshment stall. On the E. side are marble statues of the four seasons : on the right, Summer and Winter; on the left. Spring and Autumn. On the W. side are four groups of river-gods : on the left, the Nile, by Bourdic, and the Rhine and Moselle , by Van Cleve ; on the right, the Rhone and Saone, by 0. Coustou, and the Tiber by Van Cleve. The Nile is after an antique in the Vatican, the Tiber after one in the Louvre (p. 97). At the ends of the terraces are, to the right a Tennis Court (ball-room), to the left, an Orangery. 152 . CHAMPS-ELYSfiES. A Bog Show is held in May on the Terrasse du Bord de TEau (to the left) and a Flower Show^d^ little later (to the right). The pillars at the entrance to the garden from the Place de la Concorde are crowned with two handsome groups of Mercury and Fame on winged steeds, by Coyzevox. — Description of the Place de la Concorde^ see p. 82. 3. Champs-Elysees and Bois de Boulogne. The first part of this excursion should if possible he performed on foot or in a cab hired by the hour. Those who wish to go direct to the Bois de Boulogne may proceed by the Chemin de Fer de Ceinture, with stations at the Porte Maillot (p. 155), at the Avenue du Bois-de-Boulogne (p. 156), at Passy (p. 168), at the Avenue Henri Martin (Trocadero, p. 168), and at Auteuil (p. 169). Or they may take the tramway or omnibus (see Appx.). On days, however, when races or reviews are held, and even on fine Sundays, it is impossible to secure a place in the omnibuses and tramway-cars bound for the Bois without much waiting. — Luncheon may be taken in the Champs-Elysees or in the Bois (see pp. 14, 16). I. FROM THE PLACE DE LA CONCORDE TO THE PLACE DE L’ETOILE. Place de la Concorde , see p. 82. On the W. side of this Place begin the *Champs-Elysees (PI. R, 15; //), under which name is now included not only the small park adjoining the Place, about 750 yds. long by 400 yds. wide (the Champs-Elysees proper) , but also the whole of the avenue , extending from the Place de la Con- corde to the Arc de I’Etoile, II /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 17th century. This magnificent avenue , flanked with handsome buildings , is one of the most fashionable promenades in Paris, especially between 3 and 5, 6 , or 7 o’clock, when numerous carriages, riders, and pedes- trians are on their way to and from the Bois de Boulogne. Cafes-con- certs, see p. 34. Less frequented parts are better avoided after dusk. At the entrance to the Champs-Elysees are placed two figures of Horse Tamers, by Coustou. They were removed in 1794 from the palace at Marly (p. 335) 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 elsewhere in Paris, were erected by the philanthropist Sir Richard Wallace (d. 1890). To tbe right, separated from tbe Champs-Elysees by a large garden, is the Palais de TElysee (PI. R, 15; //), erected by Molet in 1718 for tbe Comte d’Evreux, but rebuilt on a larger scale by Lacroix in 1850. It is now the official residence of tbe President of tbe Republic (no admission). Tbe entrance is at No. 55 Rue du Faubourg-St-Honord. During tbe reign of Louis XV. tbis mansion was tbe residence of Madame de Pompadour, from whose beirs it was purchased by the king to form a residence for tbe foreign ambassadors. Under Louis XVI. tbe palace acquired tbe name of ElyUe Bourbon from its prolonged occupation by the Dncbesse 3. PALAIS DE L’INDUSTRTE. 153 de Bourbon. During the Revolution tbe palace was offered for sale, but, no purchaser offering, it was converted into a government printing-office. At the time of the Directory the rooms were let to keepers of public ball- rooms and gaming-tables. The palace was afterwards occupied in turn by Murat, Rapoleon 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 Napo- leon III. took possession of it as President of the French Republic, enlarging and improving it considerably. Considerable alterations are being made on the S. side of the Champs-Elysees, in view of the universal exhibition to be held in 1900. The Palais de lTxdustbib, which was erected in 1855 for the first Great Exhibition at Paris and occupied a considerable space here, was demolished in 1897 to make way for two new Palais des Beaux Arts, flanking an avenue which is to be continued by the new Pont Alexandre III, now being built across the Seine (see below). T\70 Pavilions of the old Palais have been left standing temporarily. The chief of these, in which was the main entrance, forms a kind of triumphal arch flanked with Corinthian columns and surmounted by an attic with a bas-relief by Desboeuf, representing Industry and the Arts bringing their products to the exhibition. On the summit is a fine colossal group by Eegnault, representing France awarding laurel-wreaths to Art and Manufacture. Tbe Salon^ or annual exhibition of modern paintings and sculptures, the Agricultural Show, and the Horse Show, which all used to be held in the Palais de ITndustrie, are now held for the present in the Palais des Machines in the Champ-de-Mars (p. 288). The Exhibition of 1900 is to have its principal entrance on the side next the Seine, from the Place de la Concorde. Several other buildings are being erected here. The new Pont Alexandre III, 190 ft. wide, begun in 1896, spans the Seine immediately opposite the Hotel des Invalides, which fills in the vista of the above mentioned new avenue running between the new Palais. To the N.W. of the scaffolding for the two new Palais is a former panorama, converted into a Palais de Glace, with a floor of real ice for skating (p. 36). On the other side of the avenue are the Cirque d*Ete (p. 34) and another old panorama, now converted into the Thidtre Marigny. The park or Carre des Champs-Elysees extends as far as the Bond-Point des Champs-Elysees (PI. R, 15; //) , 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 PAlma (p. 161). To the N. of the Rond-Point the Avenue d’Antin is prolonged to the church of St. Philippe du Roule (PL B, 15; 77), in the Rue du Faubourg- St-Honore, an edifice in a Greek style, by Chalgrin (1769-84). The cupola is adorned with a Descent from the Cross, by Chassiriau. To the left from the Avenue Montaigne diverges the B.ue Jean Ooujon, which attained a melancholy celebrity in May, 1897, owing to a terrible 154 . ABC DE L’ETOILE. fire at a charity bazaar, in which 132 persons perished. A memorial chapel is being built on ihe site of the disaster. Farther on, to the left of the Champs-Elysees, extends the mod- ern Quartier Marbeuf^ consisting of handsome private residences. The Trocadero, about 3/^ M. from this point, may be reached by an omnibus traversing the Rue Pierre- Charron. The Avenue des Champs-Elysees ends at the *Place de l’Etoile (PI. B, 12; /), so named from the star formed by the twelve differ- ent 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 dePEtoile, the largest triumphal arch in exist- ence , and visible from almost every part of the environs of Paris. Begun by Napoleon I. in 1806, it was completed by Louis Philippe in 1836, from designs by Chalgrinf^di. 1811). It consists of a vast arch, 96 ft. high and 48 ft. wide, intersected by a lower transversal arch, 61 ft. high and 27 ft. wide. The whole structure is 162 ft. in height, 147 ft. in width, and 73 ft. in depth. The arch conveys a somewhat heavy impression when approached. The huge pillars of masonry on which it rests are adorned only with colossal trophies, 36 ft. high, with figures 16 ft. high. The final top member is still wanting. The following groups adorn the E. 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 Marceau, 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. Resistance of the French to' the in- vading armies in 1814, by Etex; above it. Passage of the bridge of Ar- eola (1796; death of Muiron, Bonaparte‘*s adjutant), by Feuchlres. On the left, the Blessings of Peace (1815), by Etex; above it, the Taking of Alexan- dria (1798; Kleber, who has received a wound on the head, points out the enemy to his troops), by Chaponnih*e. The reliefs on the N. side, by Gechter, represent the battle of Auster- litz (1805). On the S. side is the Battle of Jemappes (1792), by Marochetti. The figures of Victory in the spandrels are by Pradier. A series of 30 shields on the cornice above the entablature are inscribed with the names of different victories, while the names of 142 other battles appear on the vaulting of the principal arch. On the vaulting of the transversal arch are recorded the names of officers of the Republic and of the Em- pire , the names of generals who fell in battle being underlined (656 in all). The figures of Victory in relief under these names relate to suc- cesses gained in the East, North, and South. The Platforniy to which a spiral staircase of 261 steps ascends, commands a noble *Prospect (adm. free). Best view in a west wind after rain. The following are the chief of the twelve avenues which radiate from the Place de I’Etoile : the Avenue des Champs-Elysees^ described at p. 152; then, to the left, the Avenue Hoche, leading to the Park Monceaux (770 yds.; see p. 202); the Avenue de la Grande- Armee 3. NEUILLY. 155 (see below), continuing the Avenue des Champs-Elysees towards Neuilly (see below); the Avenue du Bois-de-Boulogne 156); the Avenue Kleher ^ leading straight to the Trocadero (tramway) and passing the pretty Palais de Castille (No. 19), the property of Queen Isabella of Spain ; and the Avenue Victor Hugo^ leading to the Bois de Boulogne via the Porte de la Muette (PI. R, 5). A Statue of Victor Hugo (1802-85), who died at No. 124 in the avenue named after him, is to be erected in the Place de Victor Hugo (PI. R, 9). The sculptor is Barrias. Neuilly, wbicb lies to tlie N. of tbe Bois de Boulogne (Jardin d’Accli- matation; p. 158), and is traversed by tbe wide avenue of tbe same name, forming a prolongation of tbe Avenue de la Grande-Armee, is now a suburb with 32^,730 inhabitants. Tbe chateau of Neuilly, once the favourite resi- dence of Louis Philippe, was totally destroyed by tbe mob on 25tb Feb., 1848, and the park was afterwards parcelled out into building-sites, on wbicb numerous tasteful villas have been erected. — Tbe Fair of Neuilly, beginning about June 24tb and lasting two or three weeks, is very characteristic and attracts large crowds from Paris. In Neuilly, near tbe line of fortifications, on tbe right side of tbe Route de la Revolte, is tbe Chapel of St. Ferdinand (PL B, 9), a cruciform mausoleum in tbe Romanesque style, erected on tbe spot where Ferdinand, Duke of Orleans, tbe eldest son of Louis Philippe and father of tbe Comte de Paris, breathed bis last on 13tb July, 1842, in consequence of a fall from bis carriage. Admission daily; visitors ring at No. 13, nearly opposite tbe chapel (fee). Over tbe bigb-altar is a Descent from the Cross, in marble, by Triqiieti. To tbe left is tbe Monument of tbe Duke, also by Triqueti^ from a design by Ary Scheffer^ with a fine praying angel by tbe prince’s sister, Marie di'OrUans (d. 1839). Tbe windows are filled with good stained glass designed by Ingres. The sacristy contains a picture by Jacquand representing tbe death of tbe prince. Farther to tbe W., at tbe Eond-Point d’Inkermann, are tbe new Ro- manesque Church of St. Pierre (PI. B, 5), and a bronze Statue of Perronet (1708-94), builder of tbe Pont de Neuilly, Pont de la Concorde, etc. Close by are a handsome Mairie (PI. B, 5), built in 1882-85, and a bronze Statue of Parmentier (1737-1813), who made bis first experiments in tbe cultivation of tbe potato at Neuilly. Both statues are by Gaudez. From Neuilly a handsome Bridge (1766-1772) crosses tbe Seine to tbe N.E., 2 M. from tbe Arc de Triompbe (p. 154). On tbe opposite side of tbe river, to tbe right, is Courhevoie (p. 297), and to tbe left is Puteaux (p. 298), which are connected by another avenue, 1/2 M. in length, continuing those above mentioned as far as tbe Monument de la Defense (p. 298). II. FROM THE PLACE BE L’ETOILE TO THE BOIS DE BOULOGNE. Hippodrome de Longcbamp. Jardin d’Acclimatation. Visitors who wish to see tbe Bois de Boulogne with tbe least pos- sible expenditure of time should engage a cab by tbe hour (special tariff, see Appx., p. 33). Tbe principal points may thus be visited in 2-3 brs. Those who do not wish to keep the cab waiting for tbe return-journey should finish their drive in tbe Bois before visiting tbe Jardin d’Acclimatation. — Stations on tbe Cbemin de Fer de Ceinture and tramways , see p. 152. — Cafes and Restaurants, see pp. 14, 16. The Avenue de la Orande-Armee., prolonging tbe Avenue des Champs-Elysees beyond the Arc de I’Etoile (p. 154), leads to the Porte Maillot (which is named from the ‘Jeu de Mail’ formerly played here), at the beginning of Neuilly (see above) and near the Jardin d’Acclimatation, the nearest entrance to the Bois de Boulogne. 156 3. ROIS DE BOULOGNE. t B°i^-de-Boulogne (PI. B, R, 9, 6 ), leading iron the Arc de lEtoile to the W. , is the usual route foUowed by th« fashionable crowds in carriages, on horseback, or on foot proceedins from the Ohamps-Elysdes to the Bois de Boulogne. The avenue i« about 140 yds. in breadth (including the side-alleys and the divid- ing plots of turf) and is 3/^ M. long to tlie Porte Dauphine fPl E b). In the distance the Mont Vale'rien (p. 298) is seen rising above I’eginning of the avenue, is the (unfinished) Monument of Alphand (p. 189); to the left of the en- trance to the Bois is a station of the Chemin de Per de Ceinture. Boulogne is a beautiful park covering an area of 4200 acres, bounded by the fortifications of Paris on the E. (see p. xxviii), the Seine on the W., Boulogne (p.299) and the Boulevard d Auteuil on the S., and Neuilly (p. 155) on the N. It is a fragment of the extensive old Foret de Rouvray (from Lat. ^roveretum\ the chene rouvre, i.e. holm-oak), which also comprised the Park of bt. Ouen (p. 214). This forest was long in evil odour, being the re- sort of duellists, suicides, and robbers.. On its skirts, however, were several princely residences — the Chateaux de Madrid fp. 158) de la Muette (p. 169), and de Bagatelle (p. 158) — as well as the fa- mous Abbaye de Longehamp^ founded in 1256 by Isabella of France sister of St. Louis, at one time a pilgrim-resort, but afterwards more notorious for the fashionable and luxurious ‘concerts spirituels’ given in Holy Week towards the end of the 18th century. Down to 1848 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 expense! The authorities accordingly converted it into a park, and it has be- come a favourite promenade of the Parisians. The Bois is still somewhat formal and inonotonous in spite of the care that has been taken to introduce variety into its grouping, — The annexed plan •will enable the visitor to find his way without difficulty. The Bois de Boulogne is most frequented in the afternoon between 3 and 5 o’clock, the favourite routes being those leading from the Avenue du Bois-de-Boulogne to the lakes, where the hand- somest carriages and most elegant toilettes are to be seen. In the morning it is crowded with cyclists of both sexes. We enter the Bois by the Porte Dauphine (see above), in the En- ceinte^ or lines of fortifications (p. xxviii), which are, however, more or less disguised. The broad Route de Suresnes or du Lac, which diverges to the left, leads in about 10 min. to the Carr ef our du Bout des Lacs (p. 157). The Route de la Porte des Sablons, to the right, leads to ( 1/3 M.) the Jardin d’Acclimatation (p. 158), crossing the large Alice de Longchamp or des Acacias, which leads to the left to the race-course (p. 157). This allee has been the chief scene, during the last few years, of the Fite des Fleurs, held (^J 3 ^ ^-.sXZZl^ ^ (yc^c' ocUl'iWP ‘ajjieinejii \\| pelouses tie s. ^^oiu* s e s d’Aiite^^ 3. BOIS DE BOULOGNE. 157 for a benevolent object about tbe same time as tbe ‘Grand Prix’ at Longcbamp (p. 158). Tbe Carrefour du Bout des Lacs is one of tbe finest points in tbe Bois de Boulogne. It lies at tbe lower end of two artificial lakes, tbe Lac Jnferieur ( 2/3 M. in length and 100 yds. in width), and tbe Lac Superieur (t /4 M. in length and 60 yds. in width), which are fed by tbe Canal de I’Ourcq (p. 205) and tbe Artesian Well of Passy (p. 169). Two brooks issue from the Lac Inferieur, one of which flows to the Jardin d’Acclimatation, the other, or ‘Riviere de Long- champ’, to the cascade (see below). We walk round the lakes, begin- ning at the left side. — In the Lac Inferieur are two islands (ferry there and back 10 c. ; boat on the lake 2-3 fr.), on one of which is a cafe-restaurant in the form of a Swiss Chalet. As cafes are one of the chief characteristics of every Parisian resort, the wayfarer will find o-ther places of refreshment in various parts of the park, espe- cially 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. The vacant space here has been converted into the Champ de Courses d'Auteuil., with three race-courses (comp, the Plan), for steeplechases and hurdle-races. The race-stands are situated on the ‘butte’ ; adm. as at Longcbamp (see p. 158). The Grand Steeplechase (value 4800L) is run at the end of May or beginning of June and the Prix du Conseil Municipal (4000^.) in October. — Auteuilj see p. 169. 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 (see above). Hence we follow the Avenue de V Hippo- drome to the left or, if on foot, the walk at the side (see Plan), both of which cross the wide Allee de la Reine Marguerite and lead in 15-20 min. to the *Grande Cascade., an artificial waterfall issuing from a grotto. After viewing the waterfall, we may ascend the eminence a little before it, which affords a fine view of the valley of the Seine; to the left on the opposite bank lies St. Cloud with its modern church ; nearer is the Hippodrome de Longcbamp (see below) ; opposite us are a mill and two towers of the ancient Abbey of Long champ (p. 156), with the village of Suresnes beyond them; to the right, a little farther off, is Mont Valerien (p. 298). A path descends the hill to the interior of the grotto and the foot of the fall. The Hippodrome de Longcbamp is the principal race-course for flat races in the neighbourhood of Paris (see p. 37). The races (cour- ses or reunions) here take place in spring, summer, and autumn, the days being advertised in the newspapers and handbills. The races attract vast crowds and are worth seeing. The ‘Premiere de Longcbamp’, at the beginning of April, opens the spring season. 158 3. JARDIN D’ACCLIMATATION. and fhe new spring fashions then appear in all their glory. The principal race at this meeting is the ‘Cadran’, worth 1200i. The Grand Prix, of 250,000 fr. (10,000Z.), is competed for ahont the middle of June, and may he styled the ‘French Derby’. It may also be said to inaugurate the summer season, as after it the fashionable world of Paris prepares for its annual migration to the country or the sea-side. Charges for admission to the hippodrome : for a carriage with one horse 15, with two horses 20 fr. ; each rider 5 fr. ; pedestrian 1 fr. ; pavilion 5 fr. ; weighing-place (pesage) 20 fr. There are three circular race-courses (1, 11 / 2 ? and 1^/4 M.) and one straight course (5 furlongs). — Reviews take place here occasionally. Behind the race-stands are the Chalets du Cycle^ a cafe much frequented by cyclists. The Seine may be crossed here either via the Pont de Suresnes (p. 298), or by b, Footbridge (Passerelle de VAqueduc de VAvre)^ constructed in 1893 near the race-stands, on the side next Boulogne and St. Cloud. The Route de Neuilly (p. 155), at the opposite end from the race-course, passes between the Champ d’Entrainement and the park of the little chateau of Bagatelle, constructed in one month by the Comte d’Artois (Charles X.) in consequence of a wager with Marie Antoinette. The Bagatelle is now private property ; the pretty park and the collections of art may be visited only by permission. — The part of Xeuilly adjoining this side of the Bois de Boulogne is known as Madrid, a name derived from a chateau which once stood in this neighbourhood, built by Francis I. after the Battle of Pavia, and said to be thus named as a reminiscence of his captivity in Spain. Bridge to Puteaux^ see p. 298. At the Porte de Madrid is a Restaurant. To the right of the Route de Madrid is the Skating Club (see below) ^ to the left lie the Mare de St. James and, a little farther on, the Jardin d’Accli- matation (see below). The wide AlUe de Longchamp (side -alleys preferable) leads straight from the Hippodrome, passing the Cascade on the right, to the (2 M.) Porte Maillot (p. 154). To the right, a little way on, is the Pre Catelan, an enclosed space where fetes used to be given in summer, but now a ‘dependance’ of the Jardin d’Acclimatation. Farther on, to the left, is the Cercle des PatineurSy a pond and pigeon- shooting grounds belonging to a club known as ‘Les Acacias’. Near the end of the Allee a path to the Jardin d’Acclimatation diverges to the left. The *Jardin d’Acclimatation is an enclosed part of the Bois de Boulogne adjoining the Boulevard de Maillot, situated to the S. of the Avenue de Neuilly, and between the Porte des Sablons and the Porte de Madrid, and affords one of the most attractive promen- ades in the environs of Paris. It was founded by a company ‘in order to introduce into France and acclimatise foreign plants and animals suitable for domestic or ornamental purposes’, and covers an area of 50 acres. It suffered severely during the second siege of Paris in May, 1871. Visitors who hire a cab in Paris may dismiss it at the Porte Maillot, before the line of the fortifications is crossed-, otherwise, the fare to the Jardin is higher, and 1 fr. additional must be paid as ‘indemnity de re- tour’ (see Appx.). Miniature tramway from the Porte Maillot to the (Va M.) entrance of the Jardin 20 c., to the lake in the Jardin 35 c. 3. JARDIN D’ACOLIMATATION. 159 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. The principal entrance is on the E. side, near the Porte des Sa- hlons, hut there are others to the left of the Palmarium (see below) and at the end near the Porte de Neuilly. — The following itiner- ary includes most of the objects of interest. All the houses are open to visitors, hut the monkey-house and some of the smaller stables are somewhat close and ill-ventilated. Comp, the Plan, p. 156. On entering, we find ourselves in a handsome walk, 11 yds. wide, which runs round the whole garden. On the left is the Qrande Serre{V\, 15), or winter-garden, and the * Palmar ium{V\. 14), a handsome structure opened in 1893, in which the orchestra plays in bad weather (seats 1 fr., 50, 25c.). The building includes a Cafe- Restaurant (ascertain prices beforehand). Behind are Birds j and on the sunk floor is an Aquarium. Opposite, or to the right as we enter, are two Small Hothouses., the Offices (PI. 1) of the company, to which purchasers address their orders, a Museum adjoined by the Galeries de Vente (sale rooms), and the Vivarium (Pi. 2). The Museum (Musie de Chasse et de Peche) illustra tes hunting and fish- ing, in five divisions^ viz.., Weapons, Traps, Accessories, Sporting Animals, Symbols. On the wall are paintings of different kinds of sport. The glass cases contain a small collection of natural history and a stuffed orang- outang and a stuffed chimpanzee that died in the gardens. The Vivarium is a small room reserved for rare animals j in 1898 several hamadryad monkeys were shown here. Farther on, to the right, is the Singerie, or monkey-house (PI. 3), which is entered from the rear. To the left are the Storks, Flamingoes, Cranes, Herons, Ostriches, Marabouts, and other long-legged birds. Behind are Aquatic Birds (^Swans, Geese, Bucks of all kinds) and the Pigeon House, in which carrier-pigeons are reared. Then, a pavilion with caymans, turtles, a python and other serpents. To the right of the walk is the Faisanderie (PI. 4), in front of which is a statue in white marble of the naturalist Daw&cnton (d. 1799), by Godin.- This building contains parroquets, herons, ibises, mandarin ducks, and several other kinds of birds, besides the pheasants. Next follow the Antelopes; Llamas; Yaks; various kinds of foreign Goats; and, behind, the Poulerie (PI. 5), a semicircular concrete building and the Ecuries, near which diverges the walk leading to the entrance on the side next the Porte de Neuilly. At the end of the garden are the Ecuries (PI. 6), or stables, and enclosures connected with them, containing quadrupeds trained for the purposes of the garden or the amusement of visitors. A great source of delight to children here is a ride on the back of an el- ephant or dromedary, or a drive in a carriage drawn by ostriches, llamas, etc. (Charges fixed by tariff : dromedary 50 c., elephant 25 c. , ostrich-carriage 50 c., small carriage 25 c., pony 50 c.'i During 160 3. JARDIN D’ACCLIMATATION. summer tlie adjoining lawn is generally occupied by encampments of natives of various savage tribes. Beyond this lawn is a small lake, on the bank of which rises a Tower. Farther on are the Quayga, Zebra, and Giraffe Houses. To the side, the Porcupines, Agoutis, Blue Foxes, and various other animals. Then, to the right, is the Panorama du Monde Antediluvien (PI. 7 ; adm. 50 c.), by Castellani, and beyond that again the Antelopes, Kangaroos, and Llamas, to the left, and the Reindeer and the Cattle- Shed, to the right. Farther on, to the left are the basin of the Ottaries or sea-lions (PI. 8), which are fed at 3 p.m., and a rocky enclosure for Chamois (PI. 9), Mountain Goats, and other climbing animals. Behind are Antelopes, Llamas, and Alpacas. To the right of the circular walk is the Laiterie, or dairy (cup of milk 40 c.^. The Aquarium (PI. 10) is not very interesting. Behind are a Seal, the Penguins, the fish-ponds, and the Myopotami. Farther on is the Buffet (PI. 11), opposite which is the summer Kiosque des Concerts, where the band plays at 3 p. m. on Sundays. Then come the Deer Paddocks, and (in summer) the Parrots. Finally, to the right, is the Kennel (PI. 13), containing thorough-bred dogs, whose pedigrees are carefully recorded. Beyond this, to the right, are the Palmarium and the Grande Serre already mentioned. We may return to the town by the same route to view the crowd in the Bois and the Champs-Elys4es, but if the day be unfavourable for this we may take the Chemin de Fer de Ceinture (.p. 25), or we may return via the Trocadiro (p. 165). 4. The Trocadero, Passy, and Auteuil. (Bois de Boulogne.) The following public vehicles ply in this direction from the Place de la Concorde; the Teamwats from the Louvre to Passy (T J), to St. Cloud, Sevres, and Versailles (TAB), and from the Madeleine to Auteuil (TAE). The omnibus from the Gare de PEst to the Trocadero (B) is also con- venient. The Steamboats on the Seine may also be used. I. FROM THE PLACE DE LA CONCORDE TO THE TROCADERO. Musee de Galliera. Musee Guimet. Musees du Trocadero. The Musde Galliera, the Musee Guimet, and the two Musees at the Trocadero are open at the same hours only on Sun. and Thurs. ; though admission may be obtained to the Ethnographical Museum daily except Monday. Luncheon may be taken at one of the cafes near the Trocadero or in the Place de PAlma. Place de la Concorde, see p. 82. The direct route to tbe Tro- cadero is by the Cours-la-Reine, a fine avenue formed by Marie de Medicis in 1610, and traversing the Quai de la Conference from end to end. The quay derives its name from an old gate through which the Spanish ambassadors entered Paris in 1660, to confer with Ma- zarin on the betrothal of the Infanta Maria Theresa with Louis XIY. To the right are the new Palais des Beaux Arts (building; p. 163). To the left are the new Pont Alexandre III (p. 163) and the Pont 4. MAISON DE FRANgOIS I. 161 des Invalides (PI. R, 14, 15; //), the latter adorned with Victories by Dieboldt and Yilain. Hotel des Invalides, see p. 279. To the right, at the corner of the Cours-la-Reine and the Rue Bayard , is the house known as the *Maison de FrariQois 15; /i), a very pleasing example of the domestic architecture of the Renaissance. Francis I. caused this building to be erected at Moret, near Fon- tainebleau, in 1527, for the reception of Diane de Poitiers, or ac- cording to others for his sister Margaret of Navarre, and in 1826 it was transferred to its present site. The facade, the style of which is quite unique and very unlike that of contemporary buildings, finds its closest parallel in the palaces of Venice. On the ground- floor are three large arched windows, to which the three square- headed windows of the upper floor correspond. The ornamentation on the pilasters between the windows and at the corners is singu- larly rich and elegant. Many of the medallion-portraits (including that of Margaret of Navarre, between the arms of France and Na- varre) have been restored. The back is also worthy of inspection, but the sides have been modernised. The Pont de VAlma (PI. R, 11, 12; J), at the end of the quay, was constructed in 1856 and named in memory of the Crimean cam- paign. The buttresses are embellished with handsome figures of a zouave and a private of the line by Dieboldt, and an artilleryman and a chasseur by Arnaud. From the Place de I’Alma the Avenue Montaigne leads N.W. to the Rond-Point des Champs-Elysees (p. 153). In a garden in this avenue is the bronze statue of a wounded warrior repairing his sword, by Chretien. The next quay, the Quai Debilly, leads to the foot of the Tro- cadero Park; the Avenue du Trocadero, to the right, is, however, a preferable approach. To the left is the Pompe a Feu de Chaillot, supplying the city-reservoirs from the Seine. Farther on in the Avenue du Trocadero, on the right, is the ‘^Musee de Galliera or Brignole-Galliera (PI. R, 12; /), in the Ital- ian Renaissance style, by Qinain, built by the munificence of the Duchesse de Galliera (d. 1888; comp. pp. 304, 302). The facade towards the avenue is embellished with statues of Sculpture, Archi- tecture, and Painting, by Cavelier, Thomas, and Chapu. There are other sculptures at the sides : to the right, Pan and a bear, by Pec- quet, The Earth, by A. Boucher; to the left. Education of Bacchus, by Perraud, Protection and the Future, by Icard. — The entrance, which is in the Rue Pierre-Charron, is preceded by a small square in which is a bronze group representing ‘Wine’, by Holweck. The museum was originally intended for the collections of the Duchesse de Galliera, but these having been bequeathed to the city of Genoa, it now contains the nucleus of a municipal museum of art and in- dustry. Admission daily, except Mon., 12-4. Vestibule, Five marble statues: Ouilhert, Daphnis and Cbloe*, Vital Cornu (to the right), A woman; Roufosse, The first thrill; B6guine, Sor- Baedeker, Paris. 13th Edit. II 162 4. MU SEE DE GALLlllRA. ceress; Fontaine, Fascination. — Large Saloon. This and the following rooms contain chiefly Tapestries. The best are the five tapestries of SS. Ger- vais and Protais, hung above the others. These were executed in the studios of the Louvre about 1650-1655, i.e. shortly before the establishment of the Gobelins (p. 273), and represent the flagellation of the saints, after Lesueur; their execution, after S. Bourdon^ the translation of their relics, their appearance to St. Ambrose, and the discovery of their relics, after Ph, de Champaigne. In the intervening spaces, above the doors : August, from the ‘Hunts of Maximilian', after B. van Orley (p. 331) • Faubourg St. Marcel); Rape of Helen; Ulysses recognizing Achilles among the daugh- ters of Lycomedes (Brussels). Below, from right to left: Achilles armed and consoled by Thetis (Brussels; ca. 1775); Gipsy camp, The falconer (Beauvais; 1770 and 1774); Bivouac, Breaking up camp (Gobelins; 1763); Snares of Marriage, Repast (Faubourg St. Marcel; ca. 1600); Swoon of Ar- mida (Gobelins, 1739). — In the centre, statue of Diana, by A. Boucher, The glass-cases contain modern articles : to the left, porcelain and earthen- ware by Chaplet and Delaherche.^ glass by L. Tiffany; to the right, pewter articles by Baffier., Besbois, Charpentier, and Ledru, damascened casket by Gauvin., Renaissance goblet by Barri. — Next Gallery. Ancient Tapestry : in the middle, March (Faubourg St. Marcel); to the right and left. The Perilous Slumber and Pan and Amymone (Gobelins). Sculptures (from left to right): Labuttut^ Cato of Utica; B. L. Hercule^ Primroses; Demailley Love; B. de la Vingtrie^ Pandora; Barreau, Matho andSalammbo; Pezieux., Oh, youth! Boisseau, Fruits of war; M. Moreau., The future; Qaspari., Desolation. — The Small Rooms at the ends contain two Tapestries: Au- tumn and Summer (Gobelins) after paintings by Mignard, destroyed with the palace of St. Cloud. Sculptures: Hercule., Turenne as a boy; Gaudez, Lully as a boy; Girard., Iphigeneia. — Last Room, next the vestibule. Tapestries: Summer (in silk and wool) and a Pastoral Scene (Gobelins). Marble sculpture representing Ivy, by A. Moncel. Pewter fountain, by Charpentier; shell in pewter by Also water-colours, wood-carvings, enamels, engraved glass, cameos, etc. Gallery of the Court. Sculptures (from left to right) ; E. Chatrousse^ The Nurse; H. Peyrole., Contest; Gh. Perron, The Stray; Vital Cornu, Archi- medes. — Ghatrousse, History; Hugues, Potter; A, dHoudain, War; Gor- donnier. Maternity. In the Place d’lena, a few yards farther on, rises the handsome Musee Guimet (PI. R, 12; i), a classical building, less richly de- corated hut not devoid of originality, with a rotunda at the angle, sur- mounted by a colonnade and cupola. It contains the extensive and valuable collections presented to the state in 1886 by M. Em. Gui- met of Lyons , consisting mainly of a Museum of the Religions oj India and Eastern Asia, but including also a Library and collec- tions of Oriental Pottery and of Antiquities, — The museum is open daily, except Mon., from 12 to 4 or 5 (see p. 56), but only one of the three divisions (groundfloor, 1st floor, 2nd floor) is shown on any one day. The days of the week on which each division is open are regularly alternated; thus if the groundfloor be open on Tues. in any particular week, the 1st floor will be open on the next Tues., and the 2nd floor on the Tues. following, etc. The chief objects only are noticed here. Explanatory labels are attached to the ex- hibits. Short illustrated catalogue, 1 fr. Sticks and umbrellas must be given up (no fee). — Public Lectures are given here at 2.30 p.m, on Sun. in winter. Ground Floor. The Rotunda contains a few Roman sculptures. Galerie D'lfiNA, to the right : ^Chinese lottery. The inscriptions above the 4. MUSlilE GUIMET. 163 glass-cases refer to the sections. — 1st Section: Modern ware from Nankin (right) and Canton (left) ; Chinese enamels , turquoise-hlue, violet, etc. ; pale-green from Nankin (15th cent.). — 2nd Section : to the right, porcelain with European patterns, 'East India Company’s ware’ j earthenware (‘hoc- caros’), white Chinese porcelain, old blue porcelain*, to the left, as we return, blue, red, green, yellow, and pink varieties. — 3rd Section, from right to left: Faience and porcelain from the 10th cent, to the present day, the finest dating from the time of Khien-Long (1736-69). Galerie Boissi^:re, to the left: * Japanese Pottery. 1st and 2nd Sec- tions: modern faience, porcelain, and stoneware from Yokohama; ^Bronze temple-lamp; large lacquered vase in faience. To the right, articles used in the ceremony of presenting tea. — 3rd & 4th Sections (continuation of the same) : ^dagoha’ or bronze reliquary, of the 16th cent. ; large modern vases in Avata faience. — 5th Section : various kinds of porcelain, ancient and modern ; large lacquered vase in faience. — 6th Section : modern ware from Kioto 5 Bizen stoneware in imitation of bronze. — Tth Section: faience made by ladies and other amateurs ; Hizen and Kioto ware, etc. ; to the right, at the end, works by the potter Ninsei (18th cent.); bronze lamp. The Court, reached by a door under the staircase, contains casts of the large door of a Buddhist temple at Sanchi. The Galerie du Siam et du Cambodge, at the end of the court, con- tains statues of Cambodgian deities, casts, and a model of the gates of the citadel of Angkor-tom. The Lecture Room is to the left of the vestibule to this court. First Floor. In the Rotunda is the Library. At the entrance are sta- tues of Mondshu and Fughen, the two chief disciples of Buddha, upon a lion and an elephant; and two reliquaries. The Paintings in the Rotunda and following galleries, by Regain ey, represent Oriental scenes, religious ceremonies, priests, etc. A small room to the left of the entrance to the Galerie d’lena con- tains additional porcelain, less important objects of the kind already noticed, paintings of curious phases of American Christianity, etc. Galerie d’I^na, to the right, as we face the staircase: ’^Religions of India and China. — Room I. Cult of Brahma , Vishnu, and Siva, the triad representing the creating, preserving, and destroying principles. Wood-carvings from chariots of Brahma ; articles used in religious ser- vices; representations of temples. In the centre is a bronze figure of Lak- shmi, the Indian Venus (16th cent.); to the left, recumbent Vishnu ; Scanda, god of war. — Room II. Buddhism, the worship of Sakya-Mooni or Bud- dha, the ‘perfect sage’, a cult with four sects. 1st Section: In the centre, bronze statuette of Siva Tandava; six glass-cases devoted to Brahmanism (centre) and the sects of the Jains and Buddhists. Statues and statuettes, utensils, etc., some notable as works of art; MSS., sacred books; paint- ings. In the glass-case to the left of the entrance: Vishnu borne by Garouda, his fabulous bird; marionettes and ornaments from Java. Glass case at the end, to the right : Genesa, god of science ; Karttikeya or Scanda, god of war. — 2nd Section: to the right and left, Buddhism continued. Buddha in his three states : birth, penitence, transfiguration ; transforma- tions and cult of Kouanyin, goddess of charity ; drawings extending back to the 11th or 12th cent. ; statuettes and portraits of the propagators of Buddhism in China. To the left : Taoism, or Chinese pantheistic idolatry ; statuettes (two of the philosopher Lao-Chu mounted on a buffalo, and one of Huang-tien-Chang, god of the sky, in the first glass-case) ; MSS., coloured drawings, geomantic compasses (for soothsaying), votive sabres from Cochin China ; small statuettes in bronze and gilded copper, etc. ; fly-flapper of a lama, made of a yak’s tail in a valuable jade handle (see p. 164), adorned with precious stones and silver; fine bronze figure of the goddess of de- struction. Two glass-cases devoted to Lamaism (religion of Tibet and Mongolia). In the centre, some tasteful Persian paintings and a large model of a Buddhist temple. — 3rd Section : Taoism continued. Idols of all kinds; MSS. In the centre, two boxwood statuettes: Huien-Huien Biaou-.lin, god of alchemy, and Tha-mo Buddhi-Dharma, the apostle of Buddhism in China. Between these, collection of buckles made of precious 11 =" 164 4. MUSJ&E GUIMET. stones and ivory. To the left, ^Eleven boxwood statuettes (18th cent.), representing celestial deities ^ paintings on silk*, Chinese coins, the most ancient, in the shape of hells and of knives, dating from 2000 B. C. In the glass-cases at the end: Confucianism, the imperial religion in China, involving ancestor-worship ; here represented by statuettes (to the right), sepulchral urns, etc. — Boom III. "Salle de Jade or Gem Room, with numerous articles of jade, a stone highly prized in China, many of which come from the imperial Summer Palace in Pekin. The glass-cases at the back contain sceptres of mandarins, etc. Galleries at the Back, overlooking the court, recently opened. 1st Gallery, divided into sections: Indian and Chinese Collections^ arranged according to the place of origin — Cambodia, Laos, Burma, Siam, Annara, Tonkin, S. China, etc. The collections in the last sections are specially noteworthy for their models of temples and the numerous statuettes of gods, etc. The musical instruments, marionettes, etc., may also be mentioned. At the end of the gallery are two figures of genii and an arm-chair garnished with iron spikes, used for exorcisms. — The Rotunda contains farther Chinese Collections: temple of the god of fertility, domestic altars and articles used in ancestor-worship. — 2nd Gallery. The Japanese Collection which begins in the Galerie Boissiere (see below) is concluded here. 1st division : statuettes and statues of founders of sects and priests ; masks ; temple-drum in antique cloisonne-work. On the wall is a screen of the 17th cent., with paintings representing the arrival of the Portuguese in Japan. — 2nd division: statues of priests; lacquered boxes, etc., in- cluding a travelling - trunk ; small ivory carvings; sabre -hilts; bronze dragon. — We now pass through the Galerie Boissiere, in order to begin at the end next the staircase. Galerie Boissiere : "Religions of Japan. — Room I. 1st and 2nd Sec- tions : fine statue of Ida-Ten, god of the grace before meat; Shintoism (to the left), the national religion, which has no idols but only symbols of the Supreme Being, and the temples of which are always closed; Buddhism, six different sects; statues, statuettes, tissues, priests’ vestments; fine bronze statuettes ; books. At the end of the 2nd section are two bronze statues of the god of travellers, and two bronze vases, with representations of the death and ascension of Buddha. — Room II. Model of a Mandara or pantheon, with nineteen personages. The central group represents Dainiti, the highest perfection, and beings who have become ‘buddhas’, with the eye of wisdom in the centre of their foreheads; those to the right and left represent his transformation into beings whose end is the salvation of souls by gentleness or by violence. Around are brasiers, fountains, gongs, statue of Sakya-Mooni dying, other figures of deities, etc. — Boom III. 1st Section: Japanese and Chinese legends; curious statuettes, often of admirable execution (in the glass-case to the right, in front, the devil grown old becomes a monk). — 2nd Section: statue of a kind of nun; historical articles, very interesting statuettes; lacquer work; weapons; two palanquins belonging to princes; wooden statue of a pilgrim (to the left). — Room IV. Chapel in gilded wood; statues of Amida, one of the immortal ‘buddhas’; bronze lanterns. In the centre, curious figure of the philosopher Dharma rising from his tomb. Behind, bronze groups illustrat- ing Japanese legends: gods of wisdom (soul wandering through the world), strength, water (with long legs), fishing (with long arms), hunting, and war. Behind are several fine large paintings. To the left, group represent- ing a Japanese duel. — Gallery to the right, see above. Second Floor. The Rotunda, supported by caryatides, contains Paint- ings of religious scenes in China, Ceylon, etc., by Regam ey. Galerie D’lfiNA : Japanese Paintings. Paintings, drawings, albums, and engravings (chiefly 17th and 19th cent.) ; also some interesting sculptures. Graeco-Roman Antiquities. Statuettes of .^sculapius, Bacchus, Apollo, and Juno; busts; terracottas; black Etruscan pottery; Greek vases; bronze .statuettes and helmets; paintings; glass; jewels; votive statuettes; etc. A gallery to the left (closed at present) contains the Collection Varat., an interesting but not intrinsically valuable collection of articles from i. TEOCAD^EO. 165 Corea; furniture, costumes, agricultural implements, utens Is, musical in- struments, weapons, etc. Galerie Boissiere: Egyptian Antiquities. Coffins with mummies^ ob- jects found in graves^ reproductions of sepulchral paintings (6th cent. B. C.); marble statue of Diana of Ephesus ^ small bronzes^ historical ar- ticles; figures of kings, etc.; textile fabrics ; statue of Isis; Assyrian cylin- ders and seals. To the right, sacrificial table; Alexandrian deities; etc. A little to the right of the Musee Gruimet the Avenue d’lena passes the Place des Etats-Vnis (PI. R, 12; 1), at the other end of which is a fine bronze Group of Washington and Lafayette ^ by Bartholdi, presented by several Americans in 1895 in commemora- tion of the assistance rendered by France in securing the independ- ence of the United States. The Rue Galilee, passing in front of the group, leads to the left to the Avenue Kleber, near the Trocadero. The *Troca.dero (PL R, 8 ; I), which bears the name of one of the forts of Cadiz captured by the French in 1823, was down to 1866 a piece of waste ground descending rapidly to the Seine. Napoleon I. entertained the idea of building a marble palace here for the King of Rome. In 1867, when the Great Exhibition was held in the Ohamp- de-Mars , the undulating ground of the Trocadero was laid out in terraces; and in 1878 these were added to the exhibition-grounds of that year, and the present park and palace were constructed. The Avenue du Trocadero ends on the height behind the palace, at the Place du Trocadero (PI. R, 8, 9 ; I; tramways D, J, and A omnibus-line R), in which is a fountain. Here also converge the Avenue Richer leading to the Arc de I’Etoile (p. 154), the Avenue Malakoff^ leading to the Avenue du Bois-de- Boulogne (p. 156), and the Avenue Henri Martin^ leading straight to the Bois (p. 156). We may reach the park in front of the Trocadero palace hy taking the Avenue d'lena, opposite the Musee Guimet. The Palais du Trocadero (PI. R, 8; /), which occupies the summit of the plateau, is a huge building in the Oriental style, de- signed by Davioud and Bourdais. The central portion consists of a circular edifice 63 yds. in diameter and 180 ft. in height, sur- mounted by a dome, and flanked with two minarets 270 ft. high. On each side is a wing in the form of a curve, 220 yds. in length, so that the whole edifice presents the appearance of an imposing crescent. On a level with the spring of the dome is a gallery adorn- ed with thirty statues representing the arts, sciences, and various industries. The dome itself is surmounted by a colossal statue of Fame, by A, Mercie. The balcony in front of the central building is embellished with six figures in gilded bronze : Europe, by Schoene- werk, Asia by Falguiere, Africa by DeZapianc/ic, N. America hyHiollej S. America by and Australia by Moreau, Below the balcony gushes forth a large ^Cascade, which descends to a huge basin, 196 ft. in diameter, surrounded by a bull, a horse, an elephant, and a rhinoceros in bronze, by Cam, Rouillard, Fremiet, and Jacque- 166 4. PALAIS DU TROCADfiRO. mart. 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 im- mense organ by Cavaille-Coll and has seats for 6000 persons (adm. at other times by order from the secretary of the Beaux- Arts, Rue de Yalois 3). The galleries and balconies command an admirable *View of Paris (best at sunset). Visitors may ascend by a lift (50 c., on Sun. 25 c.). The Palais du Trocadero contains important museums of Com- parative Sculpture (casts) and of Ethnography. The *Museb de Sculptueb Comparee, or Musee des Moulages^ occupies the right wing and part of the left wing of the building. The casts are mainly illustrative of the chief types of monumental sculpture since the middle ages, but, for the sake of comparison, there are a few casts of ancient and other works of a different class. The sculptures are arranged chronologically. Explanatory labels are attached to each cast. Admission, see p. 56. E-ooms I & II (Salles A & B). The finest examples here are from French churches , enabling the visitor to form a tolerable idea of works of art in towns that he may never have an opportunity of visiting. The cathedrals of Chartres, Amiens, Paris, and Rheims are well represented ; but there are also casts from the less-known cathedral of Autun , the churches of the Madeleine at Vezelay, St. Lazare d^Avallon (Yonne) and Ste. Croix a la Charite; and the portal and capitals of Notre Dame-du-Port at Clermont-Ferrand. In the centre are ancient sculptures, and round the room are Gallo-Roman steles and mediaeval sarcophagi. In R. II are casts from the cathedrals of Sens, La on, and Strassburg ^ the statue of Mausolus from Halicarnassus (4th cent. P.C.)^ a caryatid from the Erechtheum at Athens; and sepulcnral statues from St. Denis, Amiens, etc. R. III. Pier (reduced) from the cathedral of Rheims. Photographs of monuments and sculptures, of which no casts have yet been made. St. George, from the cathedral of Bale. R. IV (C). Sculptures from the cathedrals of Strassburg and Naum- burg ; pediment from the cathedral of Bourges ; tomb of St. Stephen, from the abbey-church of Aubazine, in the department of Correze; portal of the cathedral of Bordeaux. *R. V (D). Portals of St. Maclou at Rouen; gate of the ducal chateau at Nancy. In the middle; St. George, by Donatello; fountain with figure of Moses at Dijon, by Claux Sluter; tomb of the children of Charles VIII. at Tours ; tomb of Francis II. of Brittany at Nantes ; statues from the tombs of Henri II and Catherine de Medicis at St. Denis. At the end of the room, screen from the cathedral of Limoges. To the right, in returning; Bas- reliefs from the Fontaine des Innocents (p. 172), by Jean Goujon ; Tomb of Duke Louis de Breze (cathedral of Rouen) ; statues, by Sluter, from the Carthusian convent at Dijon; bas-reliefs from the chateau at Ecouen (p. 356) ; pulpit from the cathedral of Coimbra (Portugal) ; reliefs from St. Nicholas, at Troyes; group of children with musical instruments, by Luca della Rol3bia (Florence); angel from the chateau of Lude (Sarthe); SS. Anna and Mary from the cathedral of Bordeaux; high-reliefs, from the cathedral of Siena, by Nic. Pisano. — In the front row: Madonna from Notre Dame at Bruges; Female figure from the Rathhaus at Nuremberg. — On the other side; Numerous Italian busts; the Fall, by L. A. della Robbia; reliefs by Mino da Fiesole, from the tomb of Paul II. at Rome; door-panels of the Baptistery at Florence, by A. Pisano; Visitation, by Andrea della Robbia, from Pistoja. In front of the busts: Tomb of Gaston de Foix at Milan. Then, choir-stalls from the cathedral of Amiens ; Visita- 4. PALAIS DU TROCAD^IRO. 167 tion, from St. Jean at Troyes ; bas-reliefs from the Hotel du Bourgtberoulde at Rouen and from tbe tomb of Cardinal Duprat at Sens^ sepulchral slab from Rbmbild near Meiningen in Saxony; monks from tbe tomb of the dukes of Burgundy at Dijon, by Sluter. In front: David, by Verrocchio, and the tomb of Soccino, at Florence. Then, statues from tombs ; doors of Beauvais cathedral ; stall from the old chateau of Gaillon in Normandy (p. 403); tomb of Guillaume du Bellay, at Mans; etc. R. VI (Dbis). Fountain of the 16th cent.; tomb of St. Just at Nar- bonne ; bas-reliefs from the Hotel du Bourgtberoulde at Rouen ; Hermes with the child Bacchus, by Praxiteles, from the temple of Juno at Olympia; dying Adonis, by Michael Angelo. — R. VII (E). Vases, statues, busts, groups, and bas-reliefs from Versailles. To the right, St. Bruno by Houdon, at Rome; portal of the town-hall of Toulon, by Puget; bas-reliefs from the fountain in the Rue de Grenelle and from old Parisian mansions; models of the sculptures by Arthus Quellyn on the town-hall at Amster- dam. — R. VIII. Pinnacle from St. Pierre at Caen; ornamental sculptures and photographs ; chimney from the chateau of Ecouen ; Romanesque portal of Ste. Marie-des-Dames, at Saintes (12th cent.). — Finally a Library^ including numerous photographs (open daily, 11-4, except Sun. and Mon.). The rest of the collection is in the other wing of the palace beyond the Rotunda. — Room I. Inside the entrance, Portal from the chateau of La Fertd-Milon; to the right and left, and behind, portals from the churches of Carennac (Lot), Aulnay (Charente-Infer.), and St. Pierre de Moissac (Tarn), and fragments from the churches of St. Trophime at Arles, Souvigny (Allier) and Souillac (Lot). — R.II. Sculptures from the cathedral of Chartres and the church of Souillac; portals of Rouen cathedral and of the abbey-church of Charlieu (Loire). — R. III. Pediment from St. Urbain at Troyes ; church portal from St. Gilles (Gard). Reproductions of decorative paintings. — R. IV. More decorative paintings. Doors of the cathedral of Aix, in Pro- vence; casts from the Hofei Lallemand; doors of the sacristy of the cathedral of Bourges; Holy Sepulchre from the abbey-church of Solesmes (Sarthe); casts from the former cathedral of Toul; vaulting of the clock tower at Rouen. — R. V. Chimney, at Bruges ; mausolea of Charles the Bold and Marie of Burgundy, also at Bruges; choir -screen from the cathedral at Rodez; statues from the Hotel d’Escouville (Exchange) at Caen ; chimney from the Musee Historique at Orleans ; door of the church of Oiron (Deux-Sevres); chapel-screens from the cathedral at Evreux; frag- ments from the old Hotel de Bernuy (now the Lycde) at Toulouse. — R. VI. Cross from Auvergne; model of the interior of St. Denis (tombs); models of Notre-Dame at Paris and of part of the abbey-church of Mont St. Michel. — R. VII. Fountain from the clock-tower at Rouen. Casts of modern sculptures. Fountain of Neptune at Nancy. The army departing in 1792, by Rude, from the Arc de Triomphe de PEtoile (p. 154). The Mus^e Carribodgien or Mus4e Khmer^ which occupies the following rooms, is closed at present. The Ethnographical Museum is on the first floor, behind the rotunda of the Salle des Fetes. To reach it we ascend the staircase nearly opposite the entrance to the Museum of Casts. Explanatory labels. Admission, see p. 56. The Staircase is embellished with fine stained-glass windows, as is also the corresponding staircase by which we descend (inscriptions). — Vestibule I. Casts of sculptures from S. Lucia Cosumalhuapa, in Hon- duras. Native hut from Tierra del Fuego. Figures and other objects from various parts of Oceania and Africa. Relief-plan of the district of the Pyramids in Egypt; ancient Egyptian fabrics; collection from Somali- land, etc. — Room to the left of the staircase (to the right as we re- turn). Africa. Articles of all kinds, from the rich costumes etc. of the N. (Algeria; Tunis) to the rude sculptures and primitive implements of the almost unknown tribes of central and S. Africa. The first-named are to the right. In the centre : relief-plans of Roman tombs in Algeria, tomb 168 4. PASSY. of a Berber cbieftain and a subterranean palace at Tunis, of the plain of Gizeh (Egypt) with the pyramids, etc. Also three remarkable figures of kings of Dahomey and a curious deity from Wydah. Galleries on the other side (to the right as we enter). America. Left Gallery: Indian boats from the Orinoco; twenty-one figures of Indians, etc.; sculptures and other large objects, interesting merely as illustrating the history of civilization among the primitive races that created them ; a remark that applies also to the works of art on the other side. Relief-plans; textiles, implements, vases, etc. — Main Gallery. 1st Section : Figures, arms, utensils, and ornaments of the natives of Guiana. Sec. 2, 3, 4 : Mummies, vessels, ornaments, and cloth from Peru and Ecuador. Sec. 5: Objects from New Granada, Venezuela, Columbia, and Central America. Sec. 6: Mexican sculptures. In the centre, facsimile of a Mexican MS. Sec. 7: Mexican antiquities, including a curious terracotta idol; articles in obsidian. Sec. 8: Flint weapons and vessels from New Mexico and California ; grave of a Californian chief; modern gold monument, made at the centenary of the French Revolution. Sec. 9: Figures, cloth, etc. made by Indians of the United States and Canada. Vestibule II. Europe. Various curiosities from N. Europe and Rus- sia, and some also from central and S. Europe. — In the next room : France. Interesting ’“Costumes , ornaments , and implements. Shepherd from the Landes (to the right); woman from Aube; Breton interior (12 figures), Breton head-dresses; group from Ariege (to the left); head-dresses and implements from Lorraine and Alsace (to the right); group of Savoy- ards; woman from the neighbourhood ofBourges; objects from Auvergne; Auvergnat interior, mountaineer from the Aveyron; Norman group and head-dresses; mason from St. Claude and woman ofBesancon; Burgundian interior (7 figures); groups from the Pyrenees (7 figures) and the Alpes Maritimes. On the staircase on this side are objects from Portugal and Turkey and Cyclopean monuments from the Balearic Islands. At the foot of the staircase are objects from Labrador, Alaska, and Greenland; also two Esquimaux. The Parc du Trocadero is not large , but it is tastefully laid out and well kept up. It contains, to the left in descending from the palace, beyond the broad walk below the Cascade, a subterranean * Aquarium^ stocked with fresh-water fish (adm., see p. 56). The salmonidae are especially well represented. Below the middle of the park the Seine is crossed by the Pont d’lena (PI. R, 8 j /), constructed in 1809-13 to commemorate the victory of that name (1806). It is adorned with eagles and with four colossal horse-tamers (Greek, Roman, Gaul, and Arab). Beyond the bridge is the Champ -de~ Mars (p. 287), with the Eiffel Tower and various buildings now being constructed for the exhibition of 1900. II. PASSY AND AUTETJIL (BOIS DE BOULOGNE). Passy, in which the Trocadero is situated, is one of the com- munes annexed to Paris in 1860. Its lofty and healthy situation has long made it a favourite place of residence, and it contains numerous handsome private mansions near the Bois and the Troca- dero, many of them built since the last two exhibitions here. The Avenue Henri Martin ( 3/4 M. ; tramway N), continuing the Avenue du Trocadero, leads straight from the Trocadoro to the Bois. 4. AUTEUIL. 169 On the height to the left, near the palace, is the Cemetery of Passy (PI. R, 8; /J, with some fine monuments. Entrance in the Rue des Re- servoirs, reached by ascending a flight of steps from the Place du Trocadero. Immediately to the right, inside, is the mausoleum of Marie BasJikirtseff (d. 1884), by Emile Bastien-Lepage, the exterior of which is covered with allegorical and other details in doubtful taste. Within is a good bust of Mile. Bashkirtseff, with a MS. vol. of her diary, her palette, and other relics. The Avenue Henri Martin passes near the Lycee Janson de Sailly (on the right) and, a little farther on, the.Mairie of the 16th Arron- dissement (on the left), the latter of which contains paintings by Oh. Chauvin. Farther on, to the right, between this Avenue and the Avenue Victor Hugo, is a square with the copious Artesian Well of Passy (covered), adjoining which is a Statue of Lamartine (1790- 1869), in bronze, by Yasselot. At the point where these avenues meet, a few yards farther on, is the Avenue du Trocadero Station (PI. R, 6 ) of the Chemin de Fer de Ceinture. At this point diverges the branch-line running direct to the Champ- de-Mars. It is mostly underground^ one of the tunnels under Passy is about 1 M. in length. There are to be stations in the Rue Singer (PI. R, 5) and on the right bank, and a bridge at the He des Cygnes (p. 170). The Porte de la Muette, not far from the great lake (p. 157), is one of the chief entrances to the Bois de Boulogne on this side. La Muette (PI. R, 5) is a relic of a former royal hunting-lodge, where there was perhaps a kennel of hounds (‘muette’ for ‘meute’). Its pretty park is now private property and closed to the public. To the S.E. is the Ranelagh^ a triangular grass-plot occupying the site of the public establishment of that name, which, like its London namesake , was famous at the end of last century for its banquets, masquerades, and fetes. Adjacent are the station of the Chemin de Fer de Ceinture and the office of the tramways, near which is the handsome Monument of La Fontaine (1621-96), with his bust, a statue of Fame, and figures of the fabulist’s favourite animals, in bronze, by Dumilatre. Adjacent, to the left, a statue of Cain by Caille; to the right, a Fisherman, with the head and the lyre of Orpheus, by Longepied'^ ‘Fugit Amor’, by Hame, etc. A military band plays here on Thurs. in summer (see p. 36). Auteuil, annexed, like Passy, to Paris in 1860, a quiet suburban district with numerous villas, lies to the S.E., between the Seine and the Bois de Boulogne. A pleasant route leads thither from the Ranelagh, passing between the lakes in the Bois de Boulogne (p. 157) and the race-course of Auteuil (p. 157). It may also be reached from the station of Passy via the handsome Rue Mozart (1 M. ; PI. R, 5, 4), which is traversed by a tramway. From the station of Auteuil, near the Bois (PI. R, 1), tramways run to the Madeleine, St. Sulpice, and Boulogne (p. 299). Here also begins the immense * Viaduct of the Chemin de Fer de Ceinture, IY 4 M. long, constructed through- out of masonry, with several galleries for foot-passengers beneath the line, and 234 cross-arches. It ends with the *Pont-Viaduc d'Au^ teuil, where the viaduct proper rises between two carriage-roads. 170 5. BOURSE DE COMMERCE. In the Rne d’Anteuil rises the Romanesque church of Noire Dame (TAuteuil, restored in 1877-81 by Yaudremer. To the right is the Maison Char don- Lag ache ^ and behind are the handsome In- stitution Ste. Ferine and the Maison Rossini, three charitable houses. The Pont Mirabeau (PI. R, 4), an iron bridge built in 1895-97, crosses the Seine at the end of the Rue Mirabeau. The central arch has a span of over 300 feet. We may return from Anteuil either by the Chemin de Fer de Cein- ture (see the Appx., p. 24), by tramway (p. 160), or by steamer (Appx. p. 32). — At the lower end of the lie des Ct/gnes, on the Pont de Orenelle (PI. R, 4, 7), is a reduced copy in bronze of the statue of Liberty en- lightening the World, by Bartholdi, which stands at the entrance of New York harbour. At the other end of the island is the Passerelle de Passy (PI. K *, 8, 1), a foot-bridge near the Champ-de-Mars (p. 287), where the steam- ers also touch. The island will also be crossed by the branch-railway (p. 169) to the Champ-de-Mars, at the point now marked by a temporary bridge. 5. Halles Centrales, Conservatoire des Arts et Metiers, and F^re>Lachaise. The best time to visit the Halles Centrales is early in the morning. For this walk a day should be chosen on which the Conservatoire des Arts et Metiers is open (i.e. Sun., Tues., or Thurs.)- — Luncheon may be taken near the Conservatoire des Arts et Metiers, in the Boul. St. Denis or the Boul. St. Martin, or near the Place de la Republique, in the Boul. St. Martin or the Boul. du Temple (see pp. 14, 16). I. FROM THE PALAIS-ROYAL TO THE HALLES CENTRALES. ST. ETJSTACHE. Palais-Royal, p. 60. Following the Rue de Rivoli or the Rue St. Honore to the E. , we soon reach the newer part of the Rue du Louvre (PI. R, 20, 21 ; III), constructed in 1888 , which is to be continued to the Rue Montmartre. To the right rises the Bourse de Commerce (PI. R, 20; ///), formerly the Halle au BIS or corn-exchange, converted to its pre- sent use in 1888-89 by Blondel. The nucleus is a rotunda, 46 yds. in diameter, 106 ft. high, with an iron roof, originally built in 1662, burnt down in 1802, and rebuilt in 1811. Fronting the Rue du Louvre is a new fagade, with four Grreek columns, 65 ft. high, above which is a pediment with sculptures, by Croisy, representing Paris , Trade , Industry, Art, and Architecture. The interior of the dome is embellished with frescoes of the East and West , by Clairin and Luminais, the North and South, by Laugee and Lucas. The exchange is open daily, except Sun., from 9 to 6 (to 7 on Wed.; business-hours 1-3). — In front, on the other side of the street, is a fluted Doric column, 100 ft. high and 10 ft. in diameter, erected in 1572 by order of Catherine de Mddicis, for the purpose, it is said, of astrological observations. — Behind the Bourse de Commerce are the Halles Centrales (p. 171). The Hdtel desPostes etTeUgraphes (PI. R, 21 ; III), rebuilt in 5. HALLES CENTRALES. 171 1880-84, to the right of the Rue du Louvre, a little farther on, cannot lay claim to great architectural importance. It is, however, of immense size . occupying the whole of the area enclosed hy the Rue Etienne-Marcel on the N., the Rue du Louvre on the W., the Rue Gutenberg on the S. , and the Rue Jean-Jacques-Rousseau on the E. The main public entrance is in the Rue du Louvre. All the different offices in direct communication with the public are united in the same colonnade or hall. Behind is the loading-yard , used by the post-vehicles ; the sunk floor accommodates the stamping offices, the apparatus for the pneumatic post, and the stables. On the first floor are the sorting and distributing offices; on the second, the diligence offices and official dwellings ; and on the third, the archives and stores. — The Poste Restante and enquiry offices are at the end of the main hall, to the right from the Rue du Louvre entrance. — Postal regulations, etc., see p. 26. In the adjacent Rue Gutenberg is the new Hotel des Telephones, built of glazed bricks like those of the monuments from Susiana and Chald®a in the Louvre (p. 1413. — Place des Yictoires, etc., see p. 197. The *Halles Centrales (PI. R, 20, 23; HI), a vast structure, chiefly of iron , and covered with zinc , erected by the architect Baltard (d. 1874), are reached hence via the Rue Coquilliere, which diverges to the left from the Rue du Louvre a little farther down. These ‘halls’ consist of ten pavilions (to which two more are to be added), between which run covered streets, 48 ft. wide, and 48 ft. in height, and they are intersected by a boulevard 105 ft. in width, descending towards the Rue de Rivoli. The six pavilions on the E. side of the boulevard occupy a space of 182 by 136 yds., and the whole market when complete will cover an area of 22 acres. Under the Halles are cellars of similar area and 12 ft. high, chiefly used for the storage of goods, etc.; those under the pavilion next the Rue Berger contain municipal electric motors. The front pavil- ions are occupied by retail-dealers, those behind by wholesale mer- chants, whose business also extends into the neighbouring streets in the early morning-hours. The provisions for the daily market begin to arrive on the previous evening, and by daybreak the market is fully stocked. It is estimated that about 15,000 vehicles are employed in this traffic. The sales by auction to wholesale dealers last from 4 till 10 a.m. in summer (5-11 in winter) 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 show of cut flowers, especially in summer, is a charming sight. The produce annually brought to the Halles Centrales represents but a fraction of the food consumed in Paris, as not only are there several other ‘Halles’’, but many dealers import their own goods without the intervention of a market. According to the most recent calculations the average annual consumption per head of the population amounts to 325 lbs. of bread, 188 quarts of wine, etc., 187 lbs. of meat, and 23 lbs. of fish. Reckoning the population at 2,536,800, we find that this amounts in round numbers to 172 5. ST. EUSTACHE. 824,400,000 lbs. of bread, 456,000,000 quarts of wine, 538,700,000 lbs. of meat, and 67,500,000 lbs. of fisb, of the value of fully a milliard of francs. Thus the daily bill of Paris for meat, wine, and bread alone amounts to about 3 million francs or 120,0002. The ^Church of St. Eustache (PL R, 21,20; I/i), situated at the Pointe SL EustacJie, to the N.W. of the Halles Centrales and at the end of the Rue Montmartre and Rue de Turbigo, is one of the most important churches 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 one above another. The ornamentation is in the Renaissance style. The chief portal is a mediocre work of the 18th century. The funeral rites of Mirabeaii 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 turned into a temple of agriculture. The Interior (entrance by the chief portal or by a side-door near the Rue Montmartre) consists of a graceful and lofty nave and double aisles, and is 348 ft. in length, 144 ft. in width, and 108 ft. in height. The cha- pels, entirely covered with painting, contain some fine ’"Frescoes, illustrat- ing the history of the saints to whom they are dedicated. The paintings in the 4th and 5th chapels to the right are by Gourlier and Magimel. The former also contains a Marriage of the Virgin, carved by Triqueti^ and the latter an Ecce Homo by Etex and a figure of Resignation by Chartrousse^ — In the S. transept are bas-reliefs by Levers^ six statues of Apostles by Dehay ^ and frescoes by Signol. — Farther on are five chapels adorned by LarivUre^ Vaugelet^ Lazerges^ Cornu^ Pils^ Damery^ Biennoury^ and Signol. — The Chapelle de la Vierge^ which we next reach, was added at the beginning of the present century. Over the altar is a fine statue of the Virgin by Pigalle (d. 1785). The frescoes are by Couture (d. 1879). — The next chapel, with frescoes by Bizard.^ contains the monument of Colbert (d. 1683), the able minister of finance of Louis XIV., consisting of a sarcophagus of black marble, with a kneeling figure of Colbert in white marble, by Coyzevox (d. 1720). At one end is a statue of Abundance by Coyzevox.^ at the other end one of Religion by Tuby (d. 1700). — The five other chapels flanking the choir contain frescoes by Delorme., Basset (early frescoes restored), Perruz., "^Pichon (St. Grenevieve), and '^F^lix Barrias (St. Louis). — The short X. transept is also adorned with bas-reliefs and frescoes by the same masters as those in the S. transept, and statues of Apostles by Crauk and Husson. Above a benitier is a fine group of Pope Alexander I., by whom the use of holy water was introduced. — Handsome X. iiortal, which faces a lane leading to the Rue Montmartre. Reyond the transept is the chapel of St.Eustache, who was a Roman general under the Emp. Titus, with frescoes by Le H&naff. Lastly, four chapels with paintings by Basset (restorations), Biesener., 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 perhaps the leading church in Paris for Religious Music^ which is performed with the aid of an orchestra on important festivals. The Halles occupy the old Marche des Innocents, which was once adorned with the Fontaine des Innocents, a tasteful Renais- 6. CONSERVATOIRE DES ARTS ET M^.TTERS. 173 sance work by Pierre Lescot^ but frequently altered. The fountain now occupies the centre of a square to the S.E. (PI. R, 23; //i), on the other side of the Halles. It originally stood with its back to the church of the Innocents (demolished in 1783), and had three arches only. It now presents the form of a square pavilion, the S. side, as well as the six steps of the base, having been added. The older figures of Naiads on the piers of the arches are by Jean Ooujon. Above are a rich entablature and an attic story with reliefs by different artists. II. FROM THE HALLES CENTRALES TO THE CONSERVATOIRE DES ARTS ET METIERS AND THE PLACE DE LA REPUBLIQUE. The Rue de Turbigo (PI. R, 21 ; //i) , a handsome new street about 3^4 M. long, beginning at the Pointe St. Euslache^ at the end of the Rue Montmartre, leads to the Place de la Republique (p. 74). It soon crosses the Rue Etienne-Marcel (p. 171), in which rises the Tour de Jean sans Peur, a fine specimen of the defensive archi- tecture of the 15th century. This tower, with its pinnacles and pointed arches , once belonged to the Hotel de Bourgogne, where the Confreres de la Passion established their theatre in 1548. Cor- neille’s ‘Cid’ and Racine’s ‘Andromaque’ and ‘Phedre’ were here performed for the first time. A handsome spiral staircase in the in- terior leads to the top. (Apply at 23 Rue Tiquetonne, at the back.) Farther on, the Rue de Turbigo crosses the Boulevard de Se^ bastopol , w^hich we follow to the left. At the end of a side-street, on the right, rises St. Nicolas-des- Champs (p. 179). Farther on, also on the right side of the boulevard, is the pleasant Square des Arts et Metiers (PI. R, 24; III). In its centre rises a lofty column surmounted by a Yictory in bronze, by Crauk, with a pedestal bearing the names of the Crimean victories. On each side are small basins, adorned with bronze figures of Agriculture and Industry, by Gumery^ and Commerce and the Arts, by OUin. On the S. side of the square is the Theatre de la Oatte (p. 33). The ^Conservatoire des Arts et Metiers (PI. R, 24 ; III) , the great industrial museum of Paris and also important as a teaching institution, was founded by decree of the Convention in 1794. The first idea of such an institution is attributed to Descartes (1596- 1650), and it was put in practice by the celebrated engineer Faw- canson, who bequeathed to the state in 1783 his collection of ma- chines, instruments, and tools, for the instruction of the working classes. Since 1799 the collection has occupied the former Cluniac PWory of St. Martin des Champs, built in 1060 on the site of an earlier abbey and secularized in 178^ The building, though restored, altered, and completed in 1845, is not yet quite disengaged from other edifices. The former church and refectory are the most interesting of the extant 174 5. CONSERVATOIRE DES ARTS ET METIERS. ancient parts. A small portion of the fortified enceinte (12th cent.) still stands on the N.,-hut can hardly he seen; one of its towers has been re-erected to the left of the facade towards the Rue St. Martin. The former Churchy an interesting structure of the 11-1 3th cent., to the S., cannot be satisfactorily seen except in the interior (p. 175). In front of the facade is the Monument of Boussingault (1802-1887), the chemist and agricultural writer, consisting of a bust on a pedestal preceded by bronze statues of Science and an Agriculturalist, by Dalou. The old Refectory (13th cent.), to the right of the main court, a beautiful Gothic hall with aisles, is attributed to Pierre de Montereau, the architect of the Sainte-Chapelle (p. 225). It may be inspected on Mon.; but the Library (over 40,000 yoIs.) which it contains is open on Sun., 10-3, and on week-days, except Mon. and holidays, 10-3 and 7.30-10. The projecting edifice with a platform, in the Cour d'Honneur, ill which is the entrance to the *Museum, is a handsome modern addition, but so planned that the visitor has to ascend twenty-two steps and descend twenty -four before reaching the groundfloor. Beside the first staircase, to the right, is a bronze Statue of Papin (1647-1714), discoverer of the elasticity of steam, by Millet ; to the left, one of Nic. Leblanc (1742-1806), the inventor of the process of extracting soda from sea-salt, by Hiolle. Admission, see p. 56. Sticks and umbrellas may, and parcels must, be left at the entrance (gratis). — The exhibits (upwards of 12,000) are divided into 24 categories, distinguished by capital letters , each category embracing several sub-divisions denoted by small letters. The section devoted to Physics (P), which is larger than the others, has ten sub - categories (PA, PB, etc.), each of which is subdivided as above. All the articles bear explanatory labels. The accompanying plan will enable the visitor to choose his own course; and only the main divisions of each part are here mentioned. — Recent alterations and enlargements have introduced changes in the arrangements, which are still to some extent pro- visional only. Ground Floor. — Main Building. The Vestibule and Room I, or ^ Salle de VEcho\ which adjoins it, contain ploughs, a model of the screw-steamer ‘Danube’ (1855), and a fine collection of Siberian jade and graphite, illustrating the numerous industrial applications of the latter mineral. Several busts. The acoustic properties of the Salle de I’Echo resemble those of the Whispering Gallery at St. Paul’s ill London : words spoken quite softly in one corner of the saloon are distinctly audible in the angle diagonally opposite. South Side op the Central Building (to the right from Room 1). — Salle 1. Collection illustrating Mining. In the centre, to the right and left : tools, machinery, and apparatus for sinking mines, excavating coal, working petroleum, and treating the pro- ducts. Round the room, specimens of minerals; farther apparatus. K n Grave etiiirprinie pax ‘liysiqiie (P.^etpge) Hons civile s <^T*ez de-ch kWfB ttmimm. Ecltelle de 1:1000 30 25 30 R VI e S ^ a r t i n Wagner -S- Debes, Leq)zig. 5. CONSERVATOIRE DES ARTS ET METIERS. 175 — Salles 2-6. Metallurgy. Salle 2 (to the right of Salle 1). Plan of the iron-works of Creusot; specimen of a blindage or mantelet; models of artillery, turret- forts, etc. — Salle 3 (next S. 1). In the centre, to the right and left (hy the windows) : air-pumps for mines ; to the left, furnaces and coke-ovens (hy the windows); to the right and left, steel-making, puddling, founding, casting metals ; refining copper; lead-working, etc. Side next the windows: zinc furnace; metallurgical trophy in nickel, pile-drivers of various kinds. On the other side: two pile-drivers; minerals. — Salle 4. Apparatus for forging and welding wheel-tires ; wrought iron ; locksmiths’ work. — Salle 5 (parallel to S. 3). Iron and steel rolling and forging; etc. Salle 6 (interesting). In the centre, smelting, forging, and rolling metals; gun-harrel making. To the right; models of foundries, and of workshops of lead- workers, nail-makers, and locksmiths; a forge and various samples; then a section devoted to the cutting of metals; taps and spigots; the manufacture of small metal articles; farther on the production of jewellery and engraving upon metal; goldsmith’s workshop. — Salle 7 (next S. 4). Wood Industries : specimens of wood ; wooden articles and tools. The Form-er Church, at the end of Salle 6, contains the Machin- ery that used to he set in motion; now only a few of the machines are worked hy electricity. To the left (in the choir): Hydro-electric machine; gas-motor; ploughs; old hydraulic wheel. In the centre of the choir, Ougnot’s steam-carriage (1770). At the entrance to the choir is an electric ‘Pendule Foucault’, showing the movement of the earth. This hall also contains printing-machines; model of an iron-factory; illustrations of fenced machinery; old fire-pump hy Bramah, etc. South Gallery (to the right as we return). Agriculture. Valu- able collection of ploughs and other agricultural implements ; heads of various breeds of cattle ; dairy implements ; anatomical spec- imens ; samples of grain and fruit. — We now enter the — Galeries Vaucanson, in the building next the Rue Vaucanson. Galerie I. Continuation of the agricultural collection. Rural Con- structions: granaries, silo, model farm of the Duke of Bedford, sheep farm, farm-dwellings ; wine-press, hydraulic lifts, etc. Then, Civil Constructions : Appliances for water, heating, and ventilating ; ovens, cooking, washing, baths; school- furniture; hospital furniture and appliances ; heating and lighting apparatus ; cooking utensils and stoves. Central Room : Social Economy.^ illustrated mainly by pictures and diagrams : provident institutions, savings banks, [pre- ventive measures against accidents, benefit associations and societies, workmen’s dwellings, etc. [For another Musee Social of this kind, see p. 278.] To the left is a staircase ascending to the corresponding rooms on the first floor (p. 177). Galerie II. Continuation of Civil Construction and Engineering : Models of locks and weirs ; models of the sewers of Paris ; models 176 5. CONSERVATOIRE DBS ARTS ET METIERS. of viaducts and bridges , including a large model of tbe Yiaduct of Garabit (Oantal); appliances for tbe handling of heavy weights: cranes, capstans, winches, block-and-tackle, etc. North Gallery. Civil Construction (continued) and Mensura- tion^ in five rooms and a corridor parallel with these. — Salle 1. Tools used in building; materials for scaffoldings; house under construction ; workshops and sets of tools. — Salle 2. Bridges and other hydraulic works; diver’s costume. — Salle 3. Stone-cutting; timber-work and frames (interesting models). — Salle 4. Geometry and perspective; fixed and moveable models for teaching; drawing instruments and machines. — Salle 5. Woods used in veneering and inlaying; marble; cements; lime-kiln; iron used in building, etc. — Corridor. Lime-kilns; cement-works; models of scaffolding, bridges, and bridge construction; boring-machine, dredgers, steam excavator. Salle 6 of this gallery and the adjoining corridor are devoted to Geodosy and Horology. North Side of the Central Building. Upper Gallery (next the preceding Salle). Continuation of Horology and Geodosy; Astronomy. Clocks with handsome cases of the 18th- cent. ; astro- nomical clocks ; pendulum clocks ; chronometers ; escapements ; automaton playing on a zither; planetaries. To the right, globes moved by clock-work, mariners’ compasses, and other navigating instruments. In the centre, instruments for dividing straight lines and circles ; to the left, theodolites and other geodetic instruments ; astronomical glasses, etc. — Lower Gallery and adjoining Cor- ridor (beside a staircase ascending to the Weaving Section, p. 178). Weights and Measures^ ancient and modern, French and foreign. The series begins at the other end, next the Salle de I’Echo (p. 174). Many of the specimens here are standards ; but the prototypes of the metric system are preserved on the first floor (see below). In the middle are various instruments for precise measurements. Round the room are balances and scales on various systems. First Floor. Central Room, or Salle d'Honneur^ at the top of the main staircase. 1st Glass Case : Apparatus made by Lavoisier, the chemist, or used in his laboratory. Case to the left: Models of Vaucanson-Jacquaid looms (p. 178); clock of F. Berthoud; chrono- meter of P. Leroy ; hydraulic pumps of the 18th cent. ; fire-pump of the Abbe Nollet. Central Case : Standards of the metre, made on the establishment of the metric system ; standards of the cubic decimetre, the litre, and the kilogramme. Case to the right : Orig- inal pneumatic machines; fountains of the Abbe Nollet; the orig- inal Voltaic pile ; natural magnet, capable of supporting llO lbs., etc. South Side of the Central Building (to the right). Mechan- ical Recipients of force, such as wind-mills, water-wheels, turbines, etc. Steam Engines and parts of steam-machines. Railway Col- lection.^ including a model of the first locomotive with a tubular 5. CONSERVATOIRE DES ARTS ET METIERS. 177 boiler, constructed by Marc Sdguiii in 1827 (at the end, to the right). Next Room. Dynamometers and similar appliances, planimeters, apparatus for the study of ballistics, or the science of missiles 5 etc. South Gallery. General Physics. On tbe entrance wall and the right wall, small hydrostatic apparatus, areometers; appliances for measuring the pressure and passage of liquids and gases; small pneumatic machines. Then Electricity, exemplifying the action of electric currents : compasses, galvanometers, electro-magnets, electric motors. In the centre, before and after the large cabinet, static electricity, electric machines, batteries, etc. The cabinet contains : on the right, small electric and magnetic appliances of all kinds ; on the left, appliances for the study of Ueat^ expansion, radiation, vaporization. On the left side, static electricity continued; Mag- netism; Sieai (continued): calorimeter, apparatus for employing solar heat for industrial purposes and for measuring conductibility ; appli- ances for experiments with heat, etc. — Room at the end : Meteor- ology: hygrometers, barometers, thermometers, electrometers, ane- mometers, rain-gauges, etc. In the centre, other electro-magnetic machines. Galeries Yaucanson. Passage and Salle 1: Acousiks; appa- ratus for the study of sound and musical instruments. — Galerie 1. Acoustics continued: to the left, tuning-forks, organ-pipes, wind-in- struments; to the right, phonograph and graphophone. Then, to the left. Optics: apparatus for the study of light, mirrors, microscopes, etc. To the right. Mechanical Physics : instruments for the study of the laws of gravity, impact, and momentum ; hydrostatics and the compression of gases; pneumatic machines. At the end. Electricity, Telegraphy, Telephones. Central Room. Tools md. Machine Tools, including numerous turning-lathes. In the first glass-case to the left, beautiful specimens of turned work. On the same side are several machines by Vaucanson. On the right side, lathes for engine-turning and reducing. — To the left at the exit from this room is the Staircase descending to the new parts of the groundfioor (p. 175). • Galerie 2. Continuation of the Machine Tools', especially those used in working wood and metal. Then, Motors and machinery connected with the transformation of motions. Pumps; Hydraulic Machines. — The last room on this side contains two glass-cases of fine Glass and Pottery, belonging to the collections in the following rooms. North Gallery. Chemical Arts. — Salles 1-2. Glass: glass and crystal; curiosities; valuable glass and pottery. — Salle 3. Porcelain : models of work-shops, machines, and furnaces for porce- lain and pottery; ‘Coupe de Travail’, a large vase in Sevres porcelain designed by Dieterle; porcelain statue of Bernard Palissy; hard and soft porcelain; enamels; faience. — Salle 4. Dyeing Processes: Baedeker. Paris. 18th Edit. |2 178 5. CONSERVATOIRE DES ARTS ET METIERS. cLemical apparatus and products, dyeing and printing of textile fabrics and of wall -papers. Matches, artificial coal, charcoal. ■ — Salle 5. Miscellaneous machines, for working indiarubber, etc. Paper-making machinery. North Wing, at the end of the preceding gallery. Three rooms here contain the continuation of the Chemical ArtSy and four are devoted to the Graphic Arts. — Salles 1-2. Paper- Making : raw materials, machinery^ and finished products. The windows to the right afford a view of the old fortified enceinte of the abbey. — Salle 3. Photography : cameras and other apparatus. — Salles 4-5. Typography^ Engraving y Lithography^ etc.: tools, apparatus, machi- nery, and finished products ; composing machines ; writing machines ; engraving machines, etc. — Salles 5-7. Photography: apparatus and specimens ; various applications. North Side of the Central Building, leading from the end of the N. Gallery to the main staircase. Industrial Chemistry: ap- paratus used in the manufacture of foods, drinks, domestic appli- ances, etc. Brewing (to the left), saponification (to the right) ; manu- facture of candles, sugar, etc.; distilling; corn-mills. (Gallery to the right, see below.) Manufacture of artificial fuel; potash, soda, gases; apparatus for gas-lighting, etc. Second North Wing, to the left as we return to the middle of the preceding gallery: Spinning and Weaving. — Section 1. Kaw materials ; tools and machines for the preparation of textile fabrics. — Section 2. Spinning and weaving looms ; in the middle, to the right, Vaucanson's Loom, intended to supersede the earlier looms in weaving cloth with patterns. This loom suggested to Jacquard the idea of the Jacquard loom with its cards. To the left, between the windows, is a large ribbon-weaving loom, behind which are three models connected with Jacquard's Loom. Specimens of woven fabrics. — Section 3. Silk fabrics; velvets; tapestry from the Gobe- lins and from Beauvais. Courses of free Public Lectures, embracing the various provinces of industrial activity, for the benefit of artizans and others, are delivered at the Conservatoire in the evening by competent authorities in the different subjects, sometimes by members of the Institute (see notices at the entrance). Some of the courses have audiences of 600; the average attendance is 250-300. The building to the N. (left) of the principal entrance contains the Portefeuille Industriel (open daily, 10-3, except Mon.), where drawings of the newest machinery are exhibited for copying or study. The plans and specifications of expired patents are deposited and trade-marks are registered here. — The Conservatoire is also charged with the inspection of weights and measures; and carries on experiments as to the capacity of resistance of different materials, etc. The Rue St. Martin, which passes in front of the Conservatoire des Arts et Metiers, leads to the N. to the neighbouring boulevard and the Porte St. Martin (p. 75). To the S. of the Conservatoir runs the Pu Reaumur (PI. R 5. ST. NICOLAS-DES-CHAMPS. 179 24-21; II1\ which begins at the Square du Temple (p. 215), and is continued (since 1896) in the direction of the Bourse, where it joins the Rue du Quatre- September, thus forming an important thor- oughfare parallel with the boulevards. To the right in this street, near the Conservatoire, is situated the church of St. Nicolas - des- Champs, a Gothic church, which was enlarged in the 15th cent., with a choir reconstructed in the Renaissance style. The handsome portal is flanked with a square tower on the right. The paintings in the interior are scarcely visible in the usual obscurity of a Paris church. The woodwork of the organ is also worthy of mention. The Rue Reaumur, to the left of the church, leads us back to the Rue de Turbigo, about 500 yds. from the Place de la Republique. At the end of a short side-street to the left is the large Ecole Cen~ trale des Arts et Manufactures, built in 1878-84 by Deminuid and Denfer. This school, which was founded in 1829, is designed for the training of managers of industrial establishments, engineers, superintendents of public works, and teachers of industrial subjects. The pupils are admitted by competitive examination, and the course lasts three years. — Farther on the Rue de Turbigo passes the Ecole Municipale Turgot, and the back of the church of Ste. Elisa- beth, and soon reaches the Place de la Republique (p. 74). III. FROM THE PLACE DE LA REPDBLiaUE TO PERE-LACHAISE. The Cemetery of Pere-Lackaise being nearly IV 2 M. distant from tlie Place de la Republique, tke visitor is recommended to drive tkitker, a cab being preferable to the tedious omnibus-route (tramway F, ‘en cor- respondance’ with omnibus P). — Luncheon, see p. 170; the restaurants near the cemetery are inferior. The Avenue de la Republique, prolonged as far as the cemetery in 1892, offers a slightly shorter route and is traversed by the new electric tramway to Romainville (see the Appx.), but it is on the whole un- interesting. It contains a few handsome new houses, an Ecole Commerciale (building), and the Lpc^e Voltaire. The last is situated near the W. side gate of the Cemetery (comp. Plan), by which the visitor may quit the latter. We follow the Boulevard Voltaire (PI. R, 26, 29; III), a handsome modern street, 1^/4 M. long, leading straight from the Place de la Republique to the Place de la Nation (p. 306). In about 7 min. from the former Place we cross the Boulevard Richard - Lenoir, beneath which passes the Canal St. Martin (p. 205). Here stands the Monument Bobillot, erected to the memory of French soldiers killed in Tonkin in 1883-85, with a bronze statue, by Aug. Paris, of Sergeant Bobillot, who fell at Tuyen-Quan. — A little farther on, to the left, rises the handsome Romanesque church of St. Am- BRoisE (PL R, 29), erected by Ballu in 1863-69. The facade is flanked by two fine towers, 223 ft. high. Mural paintings in the interior by Lenepveu and stained glass by Marechal. — We next reach the Place Voltaire (PI. R, 29), with the Mairie of the 11th Ar-^ rondissement and a. Statue of Ledru-Rollin {d. 1874), the ‘organiser of universal suffrage’, by Steiner. To the left is the Avenue Par- 12 ^ 180 5. PfeRE-LACHAISE. mentier^ which passes near the Square Parmentier^ embellished with several statues, viz. The Conqueror of the Bastille, by Choppin ; The Straw-binder, by Perrin, and ‘Non omnes morimur’, by Pezieux. Crossing the Place to its N.E. angle, we next follow the Rue de la Roquette , near the middle of which rise two massive, castellated edifices. That on the right is the Prison de la Eoquette, in which condemned convicts await their execution or deportation. On the left is the Prison des Jeunes Detenus or Petite Roquette. Between these two prisons, which are to be removed outside Paris (the for- mer to Fresnes, p. 364), is the public place of execution, marked by five oblong paving-stones. On 24th May, 1871, during the Communard h’eign of terror’, the Prison de la Roquette was the scene of the murder of the venerable Msgr. Darhoy, Archbishop of Paris, the President Bonjean, the Abbe Deguerry, and three other priests, who had been seized by the Commune as ‘hostages’. On 26th and 27th May thirty-seven persons imprisoned here by the Commune under various pretexts were also shot, and on the night of the 26th twenty- eight gendarmes were conveyed from the Roquette to Pere-Lachaise, where they shared the same fate. On the afternoon of the 27th all the convicts confined in the Roquette were liberated. Arms were placed in their hands, and they at once proceeded to massacre the persons imprisoned by the Commune, including seventy gendarmes. The approach of the troops, however, fortunately saved many who would otherwise have fallen victims to the same spirit of revenge. Depots of tombstones and shops for the sale of wreaths and flowers now indicate that we are approaching the cemetery , which lies at the end of the Rue de la Roquette. **Pere-Lachaise (PI. R, 32), or the Cimetiere de VEst, the largest and most interesting of the Parisian burial-grounds, lies on a hill at the N. E. end of the town, and is named after Lachaise, the Jesuit confessor of Louis XIY., 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 the N.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 between Russian and French troops, in which the former were victorious. On the 25-27th May, 1871, a series of violent struggles took place between the Communards, who had taken up and barricaded a position here, and the Versailles troops advancing from the Place de la Republique and the Bastille. With the help of a heavy bombardment from the batteries of Montmartre the latter succeeded in dislodging the insurgents. Paris possesses 22 burial-grounds, of which the most important are those of Pere-Lachaise, Montmartre (p. 211), and Montparnasse (p. 292). These, however, would hardly suffice for the 80-100 graves required daily, were it not that the poor who are buried gratuitously, forming nearly two-thirds of the community, are committed to the Fosses Communes., or large pits, each containing 40-50 coffins. Burials in ‘common’ graves now take place in the cemeteries outside the precincts of the city only, such as those of St. Ouen (p. 214) and Ivry. A Concession Trentenaire., providing tath the grave shall remain undisturbed for 30 years , costs 300 fr. ; a Concession Temporaire., for 5 years, costs 50 fr, A Concession it perpituiU., or private burial-place, may be secured for 1000 fr. These spaces are very ■Ar.delaEiyxibl^ J^0Ta.Qa:BeIIeTiIIfi,:Bu1tesrCli PI^ ce ^ &aml) etta ■M c ly °<^rANT S'fribe 'iD'Jfmn'i-gaj JSelhgr f'm£^4 :\'WV'33.#: ^ 39 ca yy Carlier ; Physics, \>y Lefeuvre ; Mathematics, by Suchetet; History, by Cordonnier; Geography, by Marqueste; Philosophy, hy Longepied ; and Archseology, by Paris. The vestibule on this side contains statues of Homer, by Pelaplanche^ and Archimedes, by Falguilre. In the centre are the principal entrance and the staircase to the galleries of the great amphitheatre (see below). The upper vestibule is adorned with mural paintings illustrating Literature, by Flameng (to the right of the principal door), and Science, by Ghartran (to the left). Flameng’s paintings represent: Founding of the Sorbonne; Abelard and his school 5 Establishment of the first printing-press at the Sorbonne^ Etienne Dolet, Amyot Eonsard, Marot, Rabelais, Ramus, La- boetie, Brantome, Budeeus, L’EstOile, and Montaigne ; Richelieu laying the foundation of the Sorbonne chapel; the Rector of the Sorbonne and Henri IV Larochefoucauld, Rollin, principal of the College de Beauvais (at Paris); Quinet, Willemain, Guizot, Michelet, Cousin, and Renan. At the side, a statue of the Republic , by Delhomme. Chartran’s paintings, also beginning at the door, represent : Louis IX. studying mathematics ; Ambroise Pare tying arteries; B. Palissy teaching mineralogy; Buffon, De Jussieu, Daubenton, Pascal and Descartes, Lavoisier and Berthollet, Cuvier, Laennec (inventor of the stethoscope), Arago. — The Large Amphi- theatre (adm. Sun. 10-1, Thurs. 11-2), which holds 3500 persons, is frequently the scene of meetings and public functions. It contains six statues: Sor- bon by Craul\ Richelieu by Lanson, Descartes by Coutan., Pascal by Barrias.^ Rollin by Chaplain , and Lavoisier by Dalou. The end of this hall is decorated with a large allegorical "Painting (‘The Sacred Grove’) by Puvis de Chavannes.^ the cupola by Oalland. The other rooms (not shown to the public) have paintings by Wencker.^ Benj. Constant., Lerolle., Cazin., Johbi- Duval, VHermitte., Roll., and Raph. Collin. The Church of the Sorbonne, tbe usual entrance of which is ill the Place de la Sorbonne, is the only part of the original build- ing that has been preserved. It was built by Richelieu in 1635-59 and is surmounted by a conspicuous dome. — In the interior, to the left of the entrance, is a large picture by Hesse: Robert de Sorbon presenting young students of theology to St. Louis ; to the right, the tomb of the Due de Richelieu (d. 1822), who distinguished himself in the Russian service and as minister under Louis XVIII. The left transept contains the History of Theology, a large picture by Timbal, and the marble *Tomb of Cardinal Richelieu (d. 1643), designed by Lebrun, and executed by Girardonin 1694. The car- dinal is represented in a semi-recumbent posture, supported by Religion, while Science stands by in an attitude of grief. The last statue has been particularly admired. In the right transept is a Scourging of Christ, in marble, by Ramey the Younger, etc. The pendentives of the dome are painted by Ph. de Champaigne. To the left of the church is the entrance to the Fcole des Charles, a school for the training of palseographers, now incorporated with the Sor- bonne (comp. p. 217). A public passage, to the right of the church, leads through the Sor- bonne (to make room for which a street was demolished here), emerging opposite the Lycee Louis-le-Grand (p. 245). Opposite the church of the Sorbonne is the small Place de la Sorbonne, beyond which, in the Boul. St. Michel, is the Lycee St. Louis, formerly the College d’Harcourt, fonnded in 1280. A little farther on, to the right of the Boul. St. Michel and beside the 9. PANTHEON. 245 Luxembourg Garden (p. 266), is the little Place Midicis^ in wliicli a Statue of Pasteur (p. 293), by Falguiere, is to be erected. The Rue Soufflot leads hence to the Pantheon (see below). Behind the Sorboime, in the Rue des E coles, is the College de France (PL R, 19; F), founded by Francis I. in 1530, entirely re- built at different times between 1611 and 1774, and restored and extended in 1831. The original name, ‘College des trois langues’, denoted its dedication to students from different provinces. The in- scription ‘Docet omnia’ over the entrance indicates that its sphere embraces every branch of science. The lectures are intended for the benefit of adults, and are of a popular character. The public are admitted gratis, ladies included. The college, which contains 40 chairs, is not connected with' the university, but is under the direct control of the minister of public instruction. Many illustrious men have taught here : Ampere, Barthelemy-St- Hilaire, Michelet, Quinet, Ste. Beuve, Renan, Berthelot, etc. — A bronze statue of Claude Bernard (1813-78), the physiologist, by Guillaume, has been erected in front of the side of the College facing the Rue des Ecoles. Adja- cent, to the right, is a statue of Dante (1265-1321), by Aube. In the court on the side next the Rue St. Jacques is a statue of Budaeus {Bude; 1467-1540), one of the learned founders of the institution, by L. Bourgeois. Farther on, the Rue des Ecoles passes the Square Monge (p. 249) and ends behind the Halle aux Vins (p. 272), near the Jardin des Plantes (p. 268). We now ascend the old Rue St. Jacques, to the right of the College de France. On the right is the massive new pile of the Sor- bonne, with the tower of its observatory ; on the left is the Lycee Louis-le-Orand (rebuilt by Le Coeur in 1887-96), formerly the Col- lege de Clermunt belonging to the Jesuits. Farther on, to the left, is the Ecole de Droit, or school of jurisprudence connected with the university, rebuilt in 1892-97, and extending to the Place du Pan- theon. We then reach the wide and handsome Rue Soufflot, which leads to the Jardin du Luxembourg (p. 266) and to the Pantheon, with its imposing dome. The ‘^Pantheon (PI. R, 19, F; admission , see below) stands on the highest ground in the quarters of the city on the left bank, occupying the site of the tomb of Ste. Genevieve (422-512), the patron saint of Paris. The chapel erected over her tomb was succeeded by a church , which having fallen to decay was remov- ed about the middle of last century. The present edifice , de- signed by Soufflot, was built in 1764-90. The new church was also dedicated to Ste. Genevieve, but in 1791 the Convention resolved to convert it into a kind of memorial temple, which they named the ‘Pantheon’, inscribing on it the words, ’•Aux grands hommes la patrie reconnaissante\ It was restored to religious uses in 1806, but was again made a temple after the July Revolution in 1830. Once 246 9. PANTHfiON. more consecrated in 1851, it was finally secularised in 1886 for tlie obsequies of Victor Hugo. Admission. The Pantheon is open daily, except Mon,, from 10 to 5 (4 in winter). For the dome and vaults an order is necessary from the Administration des Beaux Arts, Rue de Valois 3 (Palais-Royal), fur which application should be made in writing. Exterior. The edifice is of most imposing dimensions, and its form is that of a Greek cross (with equal arms), 370 ft. long and 276 ft. wide , surmounted by a dome 272 ft. in height and over 75 ft. in diameter. The dome rests on a lofty cylinder or drum en- closed by an open Corinthian colonnade, and is crowned with a lantern. A huge colonnade consisting of twenty-two fluted Corin- thian columns, 81 ft. in height, resembling that of the Pantheon at Rome, forms the portico, to which eleven steps ascend. The tympanum, 117 ft. long and 23 ft. high, contains a fine *Group of sculptures David d’Anpers (d. 1856), illustrative of the inscription mentioned above. The principal figure, 16 ft. in height, represents France distributing wreaths to her sons, who form spirited groups on each side. To the left, under the protection of Liberty, are a number of illustrious men, including Malesherhes^ Miraheau^ Monge^ and F4nelon; theni/awweZ; Carnot^ the celebrated general of the Republic ; Berfhollet^ the chemist, and Laplace^ the astronomer. In the second row are the painter David^ Cuvier^ Lafayette^ Voltaire, Rousseau, and the physician Bichat. To the right, beside the figure of History, are soldiers of the Republic and of the Empire, with Bonaparte (the only portrait) among them; behind him an old grenadier, emblematic of discipline, and the drummer-boy of Areola as the representative of youthful bravery. In the angles of the pediment are students of the University and the Ecole Polytechnique. Under the portico are two groups in marble by Maindron (d. 1884) : Ste. Genevieve imploring Attila, the leader of the Huns, to spare the city of Paris; and the Baptism of Clovis by St. Remigius. Interior. Three handsome bronze doors form the entrance to the simple but majestic interior. On each side of the aisles is a Corinthian colonnade, bearing a gallery running round the church. Over the centre of the edifice rises the dome, which, according to Soufflot’s design, was to have rested on columns, but these proved too weak for the weight of the superstructure. J. Rondelet, who succeeded Soufflot in 1781, substituted pillars, connected by massive arches, for the original columns, to the detriment, however, of the general effect produced by the nave. The dome consists of three sections, one above the other, the second of which is adorned with paintings (see p. 247). The paintings on the spandrels, by Carvalho, after Gerard, represent Heath, France, Justice, and Glory. The interior of the Pantheon is decorated with paintings and other works of art of a national and historical character (some still unfinished). The paintings are not frescoes, but oil-paintings on canvas fastened to the wall by a coat of white-lead (Hoile maroufli.e' ) . Beside the principal door are statues of St. Denis, by Perraud, and St. Remigius, by Cavelier. On the wall of the nave, to the right. Preaching of St. Denis, by Oaland; ♦Childhood of Ste. Genevieve, by Puvis de Chavannes. On the left, Martyr- dom of St. Denis , by Bonnat ; Attila on the march to Paris , and Ste. 9. PANTHfiON. 247 Genevieve encouraging the Parisians during the approach of Attila, by Delaunay. Above these and the following paintings are smaller composi- tions, more or less related to the lower scenes (here, French saints). At the first pillars, to the right and left, statues of St. Martin, by Gahtt and Becquet^ and St. Germain, by Chapu. Right transept : Coronation of Charle- magne, and Charlemagne as restorer of literature and science, by H. Livy ; at the end, Pilgrimage to Ste. Genevieve and Procession with her relics, by Maillot^ and a piece of tapestry, ‘Gratia Plena’; to the left. Baptism of Clovis and his Vow at the battle of Tolbiac, by Blanc. To the right of the choir. Death of Ste. Genevieve, by J. P. Laurens; and a statue of the saint, hy . Guillaume. By the pillar, statues of St. Gregory of Tours, by Frimiet., and of St. Bernard, by Jouffroy. Ti.e paintings on the left side, by Puvis de Chavannes., will probably also refer to Ste. Genevieve. In the apse is a model of a colossal statue of Liberty (V), by Falguiere. On the vault is Christ showing to the Angel of France the destiny of her people, a mosaic by Hihert. Left transept : St. Louis as a boy, administering justice, founding the Sorbonne and the Quinze-Vingts (a hospital for 300 blind men), and a captive of the Saracens, by Cahanel. To the right: Joan of Arc at Domre'my, before Orleans, at Rheims, and at the stake in Rouen, by Lenepveu; at the end, famous Frenchwomen, by Humbert^ and a piece of tapestry, ‘Pro Patria’. — Against the pillars are placed statues of St. Jean de Matha, by Hiolle.^ and of St. Vincent de Paul, by Falguiire. The Dome is reached by a staircase (425 steps) in the left (N.) transept. We ascend 139 steps to the roof, and then 192 more to the first section of the dome, where we obtain a view of the paint- ing in the second section , executed by Qros , in 1824. This large composition, which finds many admirers, covers a surface of 352 sq. yds., and represents Ste. Genevieve receiving homage from Clovis (the first Christian monarch) , Charlemagne , St. Louis , and Louis XVIII. ; above are Louis XVI., Marie Antoinette, Louis XVII., and Madame Elisabeth, the victims of the Revolution. — We may now ascend by 94 steps more to the lantern , which commands a mag- nificent view of the city and environs , but less interesting than that from the Tour St. Jacques or Notre-Dame , as its position is not so central. The entrance to the Vaults (Caveausc), which are uninteresting, is at the end of the building, to the left. They are supported by 20 pillars, and divided by partitions of masonry. Mirabeau was the first person whose remains were deposited here (1791), and near him was placed Marat^ the most furious of the Jacobins, who fell in 1793 by the hand of Charlotte Corday; but their bodies were afterwards removed by order of the Convention. To the left, near the entrance, is a monument in poor taste, erected to J. J. Rousseau (1712-1788), and on the other side, to the left, is a mon- ument to Voltaire (1694-1778), with a statue by Houdon. Both tombs are, however, empty, the remains of the two philosophers having been secretly removed after the Restoration, and interred in some unknown spot, as a kind of paltry retaliation for the desecration of the tombs of St. Denis. — Opposite Voltaire’s tomb is that of Soufflot (1713-1781), the architect of the Pantheon, a plaster-model of which is shown beneath the left transept. Farther on, to the left, is a vault in which are placed the remains of General Lazare Carnot (1753-1823), ‘organizer of victory’, member of the Convention, General Marceau (1769-1796), La Tour d' Auvergne (1743-1800), ‘the first gre- nadier of France’, Baudin (1811-1851), representative of the people (p. 213), and President Carnot (1837-1894). Then the tomb of Victor Hugo (1802-1885). On the other side are the tombs of Marshal Lannes (1769-1809), Lagrange (1736-1813), the mathematician, Bougainville (1729-1811), the circumnav- igator, and a number of senators of the first Empire. In these vaults a 248 9. BIBLIOTHfiQUE STE. GENEVlilVE. remarkably loud echo may be awakened. The egress from the vaults is on the W. side, near the principal portal (fee optional). The Pantheon was the headquarters of the insurgents in June, 1848, and was also one of the chief strongholds of the Communards in 1871 ^ and on both occasions the neighbouring barricades were only stormed by the troops after a severe struggle. On the latter occasion the insurgents had placed gunpowder in the vaults for the purpose of blowing up the build- ing, but were dislodged before much damage had been done. Opposite the portal of the Panth(Jon, to the left, are the Mairie of the 5th Arrondissementj erected in 1849, and the bronze Statue of J. J. Rousseau (1712-1778), by P. Berthet, erected*in 1889. On the right are the old buildings of the Ecole de Droit (p. 245), begun by Soufflot in 1771. A little to the left, in the Rue d^Ulm (l?o. 45), is the Ecole Normale Superiture (PI. G, 19; F), founded in 1794 for the training of teachers for the ‘lycees’. It has produced many famous writers and savants. The build- ing dates from 1845. There are now about 130 students. The course lasts 3 years. — Not far off is the Val-de-Grace (p. 291). The Bibliotheque Ste. Genevieve, a long building on the N. side of the Place du Pantheon, was built by Labrouste in 1843-50. On the walls are inscribed names of celebrated authors of all nations. The collection of books wa^ founded by Cardinal de la Rochefoucauld in 1624 in the Abbey of Ste. Genevieve, and greatly augmented by the library of Cardinal Le Tellier, archbishop of Rheims, in 1710. The library now contains 35,000 MSS., (on the lower floor), of the 11th to the 17th cent., some of them illuminated with beautiful mini- atures; numerous ‘incunabula’, or specimens of the earliest printing (1457-1520); and about 25,000 engravings and curiosities, including a portrait of Queen Mary Stuart, presented by herself to the abbey. The printed books number 200,000 vols., including a nearly complete collection of Aldines, or books by the celebrated firm of Manutius at Venice (so called from Aldus, the elder member of the firm; 15th and 16th cent.), and Elzevirs, or books printed by the family of that name at Leyden and Amsterdam (16th and 17th cent.) ; and also most of the periodicals published in the 17th and 18th centuries. The vestibule contains busts of famous French authors ; and on the staircase is one of Gering ^ who in 1469 established at the Sorbonne the first printing press used in Paris. Above the landing is a copy, by Balze^ of RaphaeFs School of Athens in the Vatican. At the sides are medallions (also by Baize) emblematic of Science, Art, Theology, and Jurisprudence, and busts of Larochefoucauld and Labrouste. At the entrance to the hall is a fine piece of Gobelins tapestry. Study surprised by night, after Baize. The "Reading Room (Salle de Lecture) on the first floor, 330ft. in length, 66 ft. in width, and 42 ft. in height, is very skilfully constructed. The vaulting is borne by seventeen iron girders, supported in the centre by sixteen slender columns; and 420 readers can be accommodated. — The library is open to the public daily, except in the vacation (1st to 15th Sept.), from 11 to 4, and from 6 to 10 p.m. ; in the evening it is frequented almost exclusively by students. On the tables to the right are about 300 periodicals (nearly all French) for the use of readers. At the N. E. corner of the Place du Pantheon rises — *St. Etienne-du-Mont (PI. R, 22; 7), a late-Gothic church, the choir of which was begun in 1517. The incongruous Renaissance 9. ST. ETIENNE-DU-MONT. 249 facade was added in 1620. To the left of the portal is a tower, flanked with a round turret, probably part of an earlier building. The Interiob consists of a nave and two aisles. Slender round pil- lars, twelve on each side, united by a gallery halfway up, bear the lofty vaulting, from which spring the ribs terminating in pendent key-stones. The choir is separated from the nave by a or rood-loft, of exquisite workmanship, by Biard (1600-05), round the pillars of which two graceful spiral staircases ascend. — The Pulpit^ by Lestocart^ from designs by La- hire (d. 1655), is borne by a Samson, and adorned with numerous statuettes. Most of the paintings are of the 18th cent. ; but the S. chapels con- tain some modern works. The stained glass (restored) dates from 1568 and is ascribed to Pinaigrier. The 5th Chapel on the right contains a ‘Holy Sepulchre’ with lifesize figures in terracotta, dating from the end of the 16th century. Farther on, to the right on the wall of the choir-ambulatory, are three large pictures, two of them being votive offerings to Ste. Genevieve presented by the city, hy LargillQre (1696) and Be Troy (1726), and the third, the Stoning of St. Stephen, by Abel de Pujol. — The 2nd Chapel on the same side contains the Tomb of Ste. Genevieve (p. 245), with a sarcophagus, which is said to date from the period of her death, but is probably not earlier than 1221. The first chapel on the left side of the choir contains the Martyrdom of ten thousand Christian soldiers under Maximian. a mural painting of the 16th century. On the fete of Ste. Genevieve (ord Jan.) numerous wor- shippers flock to St. Etienne-du-Mont. On 3rd Jan., 1857, Archbishop Sibour was assassinated in this church by Verger, an ex-priest. A relic of the old Abbey of Ste. Genevieve still exists in the square tower, in the transitional style, to the right of St. Etienne, which now forms part of the Lycee Henri IV (formerly the Lycee Napoleon), and is separated from the church by the Rue Clovis. In the Rue du Cardinal Lemoine and facing the lower end of the Rue Clovis is the College Ecossais, the great seat of Scottish con- tinental learning from the 14th cent, and latterly a centre of Jacobite influence. The building, dating from the 17th cent., is now occupied by the Institut Chevallier, a classical seminary. The Chapel of St. Andrew, on the first floor, contains tablets to the memory of James II. and the Duchess of Tyrconnel. In an adjoining room is a portrait of Prince Charles Stuart and his brother. Visitors are admitted on ap- plication to the concierge (fee). Nearly at the back of St. Etienne , to the N.E. , is the Ecole Polytechnique (PL R, 22; P), for the education of military and naval engineers, artillery officers, civil engineers in government employ, telegraphists, and officials of the government tobacco-manufactory. It was founded by Monge in 1794. On the other side of the building is the Rue Monge^ which con- nects the Boul. St. Germain with the Avenue des Gobelins. At the angle formed by the Rue Monge and the Rue des Ecoles is the Square Monge, with bronze statues of Voltaire, after Houdon, and F. Villon, by Etcheto, two stone statues from the old H6tel de Ville, etc. A little lower down, to the right of the Rue Monge, is the Eg- Use St. Nicolas-du- Chardonnet, dating from the end of the 17th cent- ury. Beyond this are the Boul. St. Germain and the Place Mau- 250 10. INSTITUT. hert^ where a hronze statue , hy Guilhert, was erected in 1889 to Etienne Dolet^ a printer burned in 1546, in the reign of Francis I., for ‘impiety and atheism’. The reliefs represent Paris raising Free- dom of Thought, and the Arrest and Execution of Dolet. The Rue Lagrange leads straight on to Notre-Dame (p. 229), passing behind St. Julien-le-Pauvre (p. 233). The Boul. St. Germain leads, on the left, to the Boul. St. Michel , and, on the right , to the quays in front of the Jardin des Plantes. 10. Cluarters of St. Germain and the Liu^embourg. I. INSTITUT. HOTEL DES MONNAIES. ECOLE DES BEAUX-ARTS. In this route, which includes several museums, the visitor should begin with the collections that are opened at the earliest hour. Tuesday and Friday are the only days on which all the museums are open; but the collection at the Ecole des Beaux-Arts is public only on Sunday. The museum at the Mint is of little interest except to specialists. — Luncheon may be taken near the Luxembourg (pp. 14, 15). The Pont des Arts (PI. R, 20 ; IF), between the Old Louvre and the Institut, an iron bridge for foot-passengers only, constructed in 1802-4, derives its name from the ‘Palais des Arts’, as the Louvre was once called. It commands a fine view up and down the river. The Institut, a somewhat clumsy edifice, covered with a dome, is situated on the left bank of the Seine, at the S. end of the Pont des Arts, and opposite the Louvre. The crescent-shaped facade is flanked with wings adorned with arcades. In front of the Corinthian portico rises a Statue of the Republic^ by Soitoux (1848 or 1850). The institution was originally founded by Cardinal Mazarin for the education of youths from the newly-acquired provinces of Roussillon, Pignerol, Flanders, and Alsace , and was called the College Ma~ zarin^ but was popularly known as the College des Quatre Nations. The building was erected in the latter half of the 17th cent., on the site of the Hotel de Nesle^ to which, according to tradition, Margaret of Burgundy, wife of Louis X., used to cause young strang- ers to be brought to minister to her pleasures, and afterwards to be assassinated and thrown into the Seine. During the Revolution it was used as a prison, but in 1795 it was ceded by the Convention to the Academies, or societies of savants, who had hitherto met in the Louvre. Its name was then changed to the Palais de I’lnstitut, and it was not again employed as a school. The Institut de France embraces five different academies : the Academie Frangaise, the Academic des Inscriptions et Belles-Lettres, the Academie des Sciences, the Academie des Beaux-Arts, and the Academie des Sciences Morales et Politiques. Each of these has 40 ordinary members, except the Academie des Sciences, which has 66 ; and all except the Academie Fran^aise have honorary , cor- responding, and foreign members. The annual meetings are open to the public. Each ordinary member receives a salary of 1200 fr. Vacancies are filled by the votes of the members in whose depart- ments they occur, subject to the approval of government. 10. INSTITUT. 251 The title of ‘Membre de rinstituf is an object of ambition for every literary and scientific Frenchman. All the meetings of the Academies take place at the Palais de Vlnstitut^ and are, of course, extremely interesting, as the most eminent French savants take part in the discussions. The grand meeting of the five departments combined is held on 25th October. Tickets of admission to this and to the other annual meetings are issued at the secretary’s office^ and in order to secure a place it is necessary to take up an early position (in person or by deputy) in the long ‘queue’ of expectants. The Institut has the control of a large number of money- prizes, amounting in the aggregate to about 525,0(X) fr. (21;000^.) per annum. 1. The Acaddmie Frangaise is mainly occupied with the superintend- ence of the French language and its orthography, and with the publication or revision of the Dictionnaire de la Langue Frangaise or de VAcaddmie^ and the Dictionnaire Historique de la Langue Frangaise. It also distributes various prizes, such as the Prix Montyon^ a sum of 19,000 fr. annually, bequeathed by a famous philanthropist of that name for the purpose of being awarded to the poor man who should be held to have done the most vir- tuous action during the year. The money, however, is nov/ divided among a considerable number of deserving persons. Another Montyon prize of the same amount is awarded to the author of the literary work considered most useful to the cause of public morality. The Prix Qohert (10,000 fr.) rewards the most eloquent work on the history of France. The annual meeting takes place in November; the weekly meetings are on Thursday, 3 to 4.30 p.m. 2. The Acaddmie des Inscriptions et Belles-Lettres is chiefly devoted to the study of the ancient languages and to archaeological research , and publishes its Mdmoires periodically. Prix Qohert (10,000 fr.) for the most erudite work on French history; etc. Annual meeting in November; weekly meeting every Friday, 3-5 p.m. 3. The Acaddmie des Sciences cultivates the study of mathematics and natural science. Its publications consist of Mdmoires and Comptes-Rendus des Sdances. The Prix Brdant (109,000 fr.) is to be bestowed for the solution of certain problems relating to Asiatic cholera. This prize has not yet been won; the accumulations of interest are divided among meritorious workers in the same field. Annual meeting in December ; weekly meetings on Mondays, 3-5 p.m. 4. The Acaddmie des Beaux-Arts., for the promotion of painting, sculp- ture, architecture, and musical composition. One of its tasks is the public- ation of a Dictionnaire de la Langue des Beaux-Arts. Annual meeting in October ; weekly meetings on Saturdays, 3-5 p.m. 5. The Acaddmie des Sciences Morales et Politiques.^ for the study of philosophy, history, and political economy, publishes Mdmoires. Prix Carnot (11,()00 fr.), to be divided annually among 55 workmen’s widows with families to support. Annual meeting in December; weekly meeting every Saturday, 12-2 p.m. The Prix Jean Reynaud (10,000 fr.) is decreed by each Academic in turn to the author of the most meritorious work published within the preced- ing five years. The important Acaddmie de Mddecine does not belong to the Institut. It distributes a number of prizes at its annual meeting about the middle of December; and since 1896 it has held in trust the Prix Audiffret (24,000 fr. per annum)., to be bestowed on the discoverer of an efficacious cure for tuberculosis. This Academy has its present seat at 49 Rue des Saints-Peres, in a former chapel of the Freres de la Charite, dating from the 17th cent., but it is about to remove to No. 46 Rue Bonaparte. In the small squares to the W. and E. of the Institut are statues of Voltaire (1694-1778), by Caille, and Condorcet (1743-1794), by J. Perrin. The courts of the Institut are used as a public thoroughfare. The first on the right contains the entrance to the Salle des Seances 252 10. HOTEL DES MONNAIES. Solennelles, formerly the chapel, situated under the dome. This saloon and the vestibule are embellished with statues of authors, scholars, and artists. On the other side of the court is the Biblio- theque Mazarine^ which is open to the public daily, 11 to 4 or 5 o’clock, except on Sundays and holidays (vacation from 15th Sept, to 1st Oct.). It contains 300,000 vols. and 5800 MSS., 80 models of Pelasgic monuments from Italy, Greece, and Asia Minor, and several ancient works of art. — The second court contains the rooms in which the ordinary meetings are held and the library of the In- stitut (no admission). In the pavilion next the statue of Voltaire, is the small Musee de Mine, de Caen (not open to the public; adm. on request at No. 1 Rue de Seine). The Countess de Caen (d. 1870) bequeathed the greater part of her proper- ty to the Institut, for the support of art-students in Rome, on the condi- tion that each beneficiary should contribute an original work to the musee, which now contains a considerable number of paintings , sculptures, and architectural designs. The Hotel des Monnaies (PI. R, 20; iP), or La Monnaie, the Parisian Mint, is a large building to the left of the Institut and near the Pont-Neuf (p. 2‘28), erected in 1771-75. The facade, 132 yds. in length, and adorned with Ionic columns, is surmounted by allegorical figures of Peace, Plenty, Commerce, Power, Wisdom, and Law. The Monnaie contains a Musee Monetaire, or collection of coins, which is shown on Tuesdays and Fridays, 12-3 o’clock, to visitors provided with an order from the Director. This order, which must be applied for in writing, also admits to the workshops ; it is avail- able for 4-5 persons. The Museum is reached by the staircase to the right of the entrance. The vestibule contains specimens of the metals used in coining. — A cabinet to the right of the vestibule contains a glass-case with ancient coins, and presses with medals. The cabinet to the left contains speci- mens of postage-stamps. The numerous glass-cases in the principal saloon contain an interest- ing collection of French Coins^ arranged chronologically, from the earliest times down to the present day, those of Louis XIV. and Louis Philippe being most numerous ; a collection of Foreign Coins of every country (in- cluding a Chinese coin of B.C. 1700), and another of Medals of various kinds. The series begin on the left. The coins are in the centre, and the medals near the windows. Farther on is a passage containing Essais d'' Argent^ and a room with models of Instruments and Furnaces used in coining. The following room contains Dies^ and, in the cabinets, the Medals of the Consulate and the Empire. The wax models of the reliefs on the Vendome Column preserved here, and the small model of the column itself, afiord a better idea of the details than the originals. A bust of Napoleon I. by Canova^ executed in 1806, and a cast of the emperor’s face taken 20 hours after death are also shown. The models of former weighing machines and a good collection of models and examples of contemporary engraviug may be mentioned. The Ateliers, with their steam-engines, furnaces, and machinery, are well worth visiting. Those only are shown in which silver pieces and medals are struck. Each of the six furnaces in which the silver is melted is capable of containing from 15 to 22V2 cwt. of metal, worth 160,000 to 240,000 francs. The machines invented by M. Thonnelier are highly in- 10. EOOLE DES BEAUX-ARTS. 253 geniuu,<3, sixty pieces of money being struck by each of them per minute, while the whole of them in operation at once are capable of coining two million francs per day. In the Monnaie are also performed all the opera- tions of assaying and stamping the gold and silver wares of the jewellers. The ‘Atelier du Monnayage’ contains a marble figure of Fortune, by Mouchy. Returning to tlie Institut, we soon reach the Rue Bonaparte, the second street to the left beyond that building. No. 14 in this strete is the — Ecole des Beaux -Arts (PI. R, 17, 20; 7F), or Palais des Beaux- Arts ^ founded in 1648, for the teaching of painting, sculpture, engraving, gem-cutting, and architecture (open to the public on Sun., 12-4, but not on holidays; strangers admitted also on week- days, 10-4, on application to the concierge, who provides a guide ; fee). The pupils who obtain the first prizes in the different depart- ments are sent to Rome at the expense of government for four years. The works they send home, termed ‘grands prix de Rome’, are ex- hibited here annually in summer. The school has a staff of 40 pro- fessors, and is attended by upwards of 1200 pupils of different nationalities. It contains a valuable and extensive Collection of Copies of sculptures and paintings, forming an admirable supplement to the collections of the Louvre. The building, erected in 1820-38 by Dehret and his successor Duban, occupies the site of the old Convent des Petits- Augustins, In 1860-62 a new wing facing the Quai Malaquais was added by Duban, and the old Hotel Chimay, adjoining this wing (at the place occupied by the ‘Ldgende’ in the PI. p. 254), was acquired in 1885 for the workshops. 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. 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.). On the wall to the left is a fresco painted on lava by the brothers Baize , after the work at- tributed to Lo Spagna formerly in the Villa Magliana (p. 118). 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 15^, by order of Henri II; it now forms the en- trance to the old abbey-chapel (see below). At the end is the facade from Gaillon (p. 255). The former Chapel contains part of the Musee des Copies,^ con- sisting of reproductions of the finest sculptures and paintings of the Renaissance, chiefly of the Italian school. 254 10. ECOLE DES BEAUX-ARTS. 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 Fra Angelico , of the battle of Heraclius against the Persians, by Piero della Francesca^ and of the battle of Constantine, by Giulio Romano, Also a number of casts and other copies of paintings. — Among the casts we ob- serve, on the right, that of the pulpit of the cathedral of Pisa, by Giov, Pisano (1302-11) ^ numerous busts, bas-reliefs, and medals; candelabrum of the cathedral of Milan (16th cent.); St. George, by Donatello (1386-1466), from Or S. Michele at Florence ; monument of Fil. Decio, by Stagio Stagi (about 1530); John the Baptist, by Ben. da Majano (1442-97); Children, by Desiderio da Settignano. A small side-chapel contains copies of the Moses, the Slaves, the monuments of Giuliano and Lorenzo de’ Medici, the Pieta, Bac- chus, CJupid, and other works of Michael Angelo., and of Ghiberti's doors of the baptistery at Florence. In the centre: Dying Adonis and Virgin and Child. — m €out..iiiijerieiir.e Platres mu 2 Grand vestibule * Cour X6g-en.de. l.JF&rm^de ireZ’-^e.'cJumsse^) . 2 (J^ kcLge^). 3 . SaJlJ^,»dS' J^ouLsJI^ . SaJU&.djubjMiise^^ 5 ^YestUndje>^desFa)^^(Tezyde:'cfv.). 6. d 'expressmv d& - c?v. /. 7 1 Statues ^ }ras^r(2, lrez-de,~cJh.}. H.PeinXJJcre^ (veZir.Sbehdimcsseey J. 9 SxDositu/Tis tdnparccures . lO des diirv. et de^ eocposWi Principal^chapel: David as the conqueror of^Goliath, by Donatello; same subject, by Verrocchio; allegorical figure of Love, by Donatello; alto-reliefs, by Luca della Robbia; Relief of Jonah, by Lorenzetto., and others; Last Judg- ment of Michael Angelo.^ by Sigalon ; in front of it, cast of the statue of Gaston de Foix from his tomb, by Bambaja (1515), and casts of statues at St. Denis and in the Louvre, that of Ilaria de Caretto by Jac. della Quercia (1377-1438). — On the other side. Bas-reliefs, by Jean Goujon; the Graces, by Germain Pilon (16th cent., Louvre); heads from the Well of Moses and statuettes from the tomb of the dukes of Burgundy (Dijon; 16th cent.), \>Y Sluter; statuettes from the shrine of St. Sebaldus, at Nuremberg, by P. Vischer; Apostle from the Sainte-Chapelle (13th cent.) ; statuesfrom the cathe- dral of Chartres (13th cent.) ; two Madonnas from Notre-Dame at Paris ; nu- merous casts of ivory carvings; fonts ft*om Hildesheim. In the middle are numerous bas-reliefs: Descent from the Cross, Niccolb Pisano; behind, Madonna and Child, by Desiderio da Settignano and St. Cecilia by Donatello; at the side, Perseus, hyRew. behind. Madonna and Child with St.John and other saints, by Mino da Fiesole; reliquary from Aix-la-Chapelle ; font from Siena, by Ghiberti., Donatello , Michelozzo., Giac. della Quercia., Turint di Sano and his son; reliquary of St. Zenobius, by Ghiberti; Miracles of St. Antony, by Donatello; tomb of the children of Charles VIII., finished by Jean Juste. — Besides the copies of paintings already mentioned : (right) P. della Francesca., Discovery of the True Cross; Melozzo da Forli, Platina 10. EOOLE DES BEAUX-ARTS. 255 at the feet of Sixtus IV.; Fr. Penni^ Clemency and Justice; Raphael, Venus, Juno, and Ceres; Poetry, Jupiter, and Cupid. Left, in returning: Raphael, Sibyls; Mantegna, St. James conducted to martyrdom; Qhirlan- dajo, Adoration of the Magi; Sodoma, Goths destroying the monastery of Monte Cassino ; Raphael, Sistine Madonna. The Second Court is separated from the first by part of the fa- cade of the chateau of Gaillon (p.403), which was erected in 1500 by Pierre Fain of Rouen for Cardinal d’Amhoise, 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 Reyolu- tion. Beyond it are other fragments of French architecture and sculpture , statues copied from antiques , and a fine stone basin, 13 ft. in diameter, adorned with heads of gods or heroes, animals, and the four elements, a work of the close of the 12th cent., brought from the abbey of St. Denis. The principal ^Facade, which flanks this court on the W., de- signed by Duban, and completed in 1838, is a good example of modern French architecture. It is adorned with two series of ar- cades, one above the other, with Corinthian semi-columns and pilas- ters, and is crowned with an attic. The Yestibule contains copies of ancient Pompeian and other paintings and casts of sculptures of the Parthenon and the temple of Minerva in ^gina, the originals of which are in London and Munich, and of the Children of Niobe, at Florence. — We next enter an Inner Court , roofed with glass , containing numerous casts from famous antiques at Rome and elsewhere : to the right, the Greek gallery; to the left, the Roman gallery (inscriptions). At the ends are restored columns from the Parthenon, with the entablature, and from the temple of Jupiter Stator at Rome. — In the corridor opposite the entrance to the inner court is the Monu^ ment of Duban^ the architect (p. 253), by Guillaume. Behind is the Amphitheatre, adorned with the celebrated *He^ micyle of Paul Delaroche (d. 1856), an encaustic painting which represents distinguished artists of all ages and nations, and contains in all 75 colossal figures (23 ft. in height). On a lofty throne in the centre are the great Greek masters, Phidias the sculptor, Ictinus, the architect of the Parthenon, and Apelles the painter. Four female figures in front represent (left) Greek, Gothic, and (right) Roman , and Renaissance art. The Muse of Gothic art , with long fair hair, is a portrait of the artisfs wife, a daughter of Horace Vernet. To the right, beginning from the end, are the most famous painters and (under the columns) architects, and the chief masters of the French school. On the left are sculptors and landscape-painters and (towards the centre) colourists of every school. Delaroche spent 3V2 years on this work, and received for it 80,000 fr. It was much injured by a fire in 1855, but has been skilfully restored by Mercier and Fleury. — The Walters Gallery at Baltimore contains a reduced replica of this work. Opposite the Hemicycle is a large painting by Ingres, represent- ing Romulus victorious over Acron, King of the Sabines. ■— In an adjoining room, to the left as we quit the Amphitheatre, are casts of 256 10. ECOLE DES BEAUX-ARTS. the sculptures of the temples of Zeus at Olympia and Nike Apteros at Athens, of the statue of Mausolus (now in London), etc. Next follow a corridor and a gallery, with casts of Greek sculp- tures. The corresponding corridor and gallery on the other side, also containing casts, are not open to the public. — A staircase, to the left of the entrance to the inner court, ascends to the — First Floor. — On the wall of the staircase is a copy of a fine fresco by Pinturicchio^ representing the Betrothal of Emp. Fred- erick III. and Eleanor of Portugal. The Library at the top , to the left, is reserved for students of the Ecole. — On the S. and N. sides of the glass-roofed court are galleries adorned with fifty-two copies from Raphael’s logge in the Vatican, by the brothers Baize. The S. side, opposite the staircase, contains a valuable collection of casts from small antiques and Renaissance works (explanatory labels). — The parallel gallery, partly occupied by the library, contains copies of paintings: Rembrandt, Directors of the Clothworkers’ Guild ; Potter, Bull ; Fr. Hals, Officers of St. George ; three copies after Velazquez; Guido, Aurora. Also *Drawings by the old masters ; and cork-models (by Pelet) of Roman buildings. \ The rooms on the E. side also contain copies of paintings in foreign countries. 1st Room. Van Dyck, Children of Charles I. \ Rembrandt, Sol- dier of fortune ; Velazquez, Surrender of Breda ; Correggio, Madonna and Child with Mary Magdalen and St. Jerome 5 P. Veronese, Venice receiving Justice and Peace; Van der Heist, Banquet of Civic Guards; P. Veronese, IMartyrdom of St. George; Poussin, Death of Germanicus; Velazquez, Oli- varez; Turner, Building of Carthage; P. Veronese, Triumph of Venus (on the ceiling). Also drawings , engravings , photographs of paintings by Baudry, and busts. — The following passage contains small copies, and beyond it is a gallery affording a good survey of the Hemicycle of P. Delaroche. — Salle du Conseil : Portraits ; busts ; copies of three scenes from the life of St. Ursula, by Carpaccio (others in the above-mentioned passage); eight torch-holders in wood (time of Louis XIV.); clock in the style of Boule. — We return to the entrance by the N. gallery. The Vestibule dbs Ecoles, beside the chapel, contains a Monu- ment to Ingres, with his bust in bronze, and medallions of Flandrin and Simart by Guillaume. We next enter the — CouR DU Murier, with galleries containing sculptures executed at Rome by former pupils and casts of ancient bas-reliefs. At the end is the *Monument of Henri Regnault, the painter , and other pupils killed during the defence of Paris in 1870-71 ; between the columns bearing the names are a bust of Regnault and a statue of "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 Seven Works of Mercy, from the Ospedale del Ceppo at Pistoja, by the Della 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 10. ST. germain-des-pk£s. 257 this room may also be entered from the Qual Malaquais (PI. 10). The rooms on the first floor on this side ate also used for exhibitions. The vestibule next the Cour du Murier contains copies of six frescoes by Giotto in Santa Maria dell’ Arena at Padua; also, Assembly of the Gods and other paintings, after Raphael; and Descents from the Cross, after Andrea del Sarto and Garofalo. Principal copies (from right to the left): Velazquez^ Don Fernando and Philip IV.; Filippo Lippi^ Madonna; Giov. Bellini^ Virgin and saints; Michael Angelo (above), Sibyls and Prophets; P. Veronese (below). Adoration of the Virgin; Correggio^ Madonna and Child with Mary Magdalen and St. Jerome; Titian^ Patron saints of Venice, Death of St. Peter the Do- minican; Palma Vecchio^ St. Barbara; Titian^ Heavenly and earthly love. Assumption; Raphael^ Jurisprudence; A. del Sarto^ Last Supper (fresco); Perugino^ Marriage of the Virgin; Verocchio^ Baptism of Christ; Masaccio or Filippino Lippi^ Miracle of St. Peter; Raphael^ Attila expelled from Rome; Bm. Gozzoli^ Teaching of St. Augustine; Raphael^ ‘La Belle Jar- diniere’; Fil.Lippi^ Vision of St. Bernard; Raphael^ Venus, Ceres, and Juno; Perugino ^ Group from the Baptism of Christ; Raphael^ Entombment, Psyche fetching water from the Styx; Holbein^ His wife and children; Rem- brandt^ Lesson in anatomy; Raphael^ ‘Disputa’, Marriage of the Virgin; Botticelli^ Adoration of the Magi, Strength; Mantegna^ Virgin, angels, and saints ; Raphael^ School of Athens ; Sodoma^ Swoon of St. Catharine ; Masaccio^ St. Paul in the prison of St. Peter; Raphael^ Leo X.; Masaccio^ Liberation of St. Peter. — The small room at the end, to the left (PI. 6), contains prize- works in painting and sculpture. — In the next room (PL 7) are prize- works in sculpture and engraving. — Third Room (PL 8) : prize-works in painting since the end of the ITth cent. — Vestibule next the Quai Mala- quais : Copies of Michael Angelo's frescoes in the Sistine Chapel at Rome ; casts from the antique and reproductions in marble. II. FROM THE ECOLE DES BEAUX-ARTS TO THE LUXEMBOURG. St. Germain-des-Fres. St. Sulpice. The Rue Bonaparte leads in 3 min. from the Ecole des Beaux- Arts to St. Germain-des-Pres (PI. R, 19; JF), one of the most ancient churches in Paris. It belonged to the powerful abbey of St. Germain , founded in the 6th cent. , the abbots of which were sometimes cardinals and even kings , as in the case of Hugh Capet and Casimir Y. of Poland. The abbey was originally dedicated to St. Vincent, but afterwards to St. Germain, a bishop of Paris, and was once surrounded by meadows, including the famous ‘ Pre~aux-Clercs\ The nave is said to belong to an edifice of 1001-1014, but the style is rather that of the end of the 11th century. The choir, consecrated in 1163, was afterwards altered, particularly in the windows, which show a tendency to Gothic. During the Revolution the church was used as a saltpetre-manufactory, and fell into a very dilapidated con- dition, but it was restored in 1824-36. Tbe Inteeior was redecorated in 1852-61 with gilding and polycbrom- atic paintings, and with admirable ="Mural Paintings, by (d. 1864) and other masters under his superintendence. There are ten on each side of the Nave, placed in pairs over the arches, representing parallel scenes from the Old and New Testament. On the left side of the entrance: the Burning Bush and the Annunciation; the Promise of a Redeemer and the Nativity; the *Prophecy of Balaam and the Adoration of the Magi; the ^Passage of the Red Sea and the Baptism of Christ; Melchizedek’s offering of bread and wine to Abraham and the Institution of the Eucharist. — On the other side , returning towards the entrance : Baedeker. Paris. 13th Edit. 17 258 10. ST. GERMAIN-DES-PR^:S. the Sale of Joseph and the Betrayal of Christy the Offering of Isaac and the Death of Christy *Jonah issuing from the whale’s helly and the Resur- rection^ the Scattering of the nations and the Dispersal of the Apostles; the Ascension and Preparations for the Last Judgment. — Above are figures from the Old Testament, on a golden ground. The 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. 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), the learned Mahillon (d. 1707), and Montfaucon (d. 1641), all of whom are interred here. — Behind the high-altar is the modern Lady Chapel, with grisaille paintings in imitation of reliefs of the Adoration of the Magi and the Presentation in the Temple , by Heim. — In the chapel of SS. Peter and Paul is the monument of the poet Boileau (d. 1711), whose remains were brought here from the Sainte-Chapelle. — The following chapel contains a second monument of the Douglas family. The S. Transept contains, on the right, the tomb of Olivier and Louis de Castellan (d. 1644, 1699), by Girardon. To the left, above the altar, is a marble statue of St. Margaret, by J. Bourlet (1705). In the N. Transept are paintings by Cornu (d. 1871) , more recently executed, representing on the right Christ among the children, the Mission of the Apostles, the Transfiguration, and the Descent into hell; and on the left the Finding of the Cross. This transept also contains a statue of St. Francis Xavier, by Gr. Cous- 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-Pres. On the wall of the X. aisle, opposite the pulpit, is the monument of Hippolyte Flandrin (d. 1864), painter of the frescoes mentioned above. Near the door, in the N. aisle, is a marble statue of the Virgin of the 14th century. Behind the church of St. Germain is the Palais Abbatialj dating from the latter half of the 16th cent., a relic of the ancient abbey. It is in private possession. The Abbey Prison^ notorious for the massacres of Sept., 1792, was situated farther back, on a site now traversed by the Boulevard St. Germain. The small square to the right of the church is embellished with a bronze Statue of Bernard Palissy (p. 141), by Barrias. The S. side of the church adjoins the Boul. St. Germain (p. 233), in which is a Statue (1713-84), in bronze, by Gautherin. To the S.W. runs the handsome Rue de Rennes^ leading to the Gare Montparnasse (p. 293). We continue to follow the Rue Bona- parte, to the left, and in a few minutes reach the Place St. Sulpice. *St. Sulpice (PI. R, 19; /7), situated in the Place of that name, is the richest and one of the most important of the churches on the left bank of the Seine. The rebuilding of the church was begun in the reign of Louis XIY. and finished in 1749, chiefly after the plans of Servandoni. The church is remarkable for its imposing dimensions (length 462 ft., width 183 ft., height 108 ft.). The facade, which is considered one of the best of the early part of the 10. ST. SULPICE 259 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 Ohalgrin, and 224 ft. high, is alone finished. When the gate in front is closed, visitors enter by the S. portal or by a small door to the left behind the choir. The Intekior consists of nave, aisles, transept, and eighteen lateral chapels. The spherical vaulting is borne by Corinthian pillars. Adjoin- ing the second pillar are benitiers consisting of two enormous shells (/rz- dachna gigas)^ presented to Francis I. by the Republic of Venice, resting on rock-work of marble designed by Pigalle. The chapels contain in- teresting frescoes. Right Aisle. *lst Chapel: Jacob wrestling with the Angela Heliodo- rus expelled from the Temple 5 on the ceiling, St. Michael; all by Eugkne 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 Ahel de Pujol (1821). — 4th Chapel: Scenes from the life of St. Maurice, by Vinchon (1822). — 5th Chapel: Marble 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 Savoy, and Ste. Chantal receiving from the saint the constitution of a new order of nuns, by Hesse (1860). — 3rd Chapel: St. Paul’s Conversion, and St. Paul on the Areopagus, by Drolling (1850). — 4th Chapel: St. Vincent de Paul recommending foundlings to the care of sisters of charity, and the saint at the death-bed of Louis XIII., by Ouillemot (1825). Transept. Left arm : Betrayal by Judas, and the Crucifixion. Right arm: Resurrection and Ascension, and Prophets. These are all by 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. Choir Chapels, X. or left side. 1st: Martyrdom and Triumph of St. John the Evangelist, by Olaize (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). — 3rd. St. Joseph, by CTi. Landelle. — 4th: St. Louis. King of France, carrying a dying man during the plague, and The King administering justice under the oak of Vincennes , by Matout (1870). — Above the side-entrance : Death of the Virgin, by Bin (1874). Choir Chapels, S. or right side. 1st: St. Denis preaching to the heathen Romans , and Condemnation of the saint, by Joibhi-Duval (1859). — 2nd : St. Martin dividing his cloak with a beggar , and The saint resuscitating a dead man, by Mottez (1863). — 3rd: Ste. Genevieve suc- couring Troyes (Champagne) , and Miracles wrought by her relics during a procession, by Timbal (1864). — 4th: Nativity of the Virgin, and Her presentation in the Temple, by Lenepveu (186i). — Above the door of the Sacristy : Assumption by Bin (1874). The statue of the Virgin on clouds in a recess in the chapel behind the high-altar, by Pajou (d. 1809), is lighted from above. The fresco of the As- sumption on the dome of this chapel is by Lemoine (d. 1737). The statues in the choir are by Bouchardon. — The pulpit is supported solely by the steps which ascend to it. — The organ-case was designed by Chalgrin., with statues by Clodion. The fine organ, originally built by Cliquot, was reconstructed by Cavaille-Coll. The organist is M. Widor, and the choir has a reputation for its ‘plain song’. The Place St. Svlpicb in front of the church is adorned with the handsome Fontaine St. Sulpice , designed by Visconti , and erected 17 ^ 260 10. PALAIS DU LUXEMBOURG. 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 Flechier (d. 1710). The long building on the S. side of the Place is the Seminaire de St. Sulpice^ for the edu- cation of priests. On the W. is the Mairie of the 6th Arrondisse- ment; the ceiling-painting in the Salle des Fetes is by H. Levy. The Rue Ferou, to the left of this building, leads straight to the Musee du Luxembourg (p. 262). Or we may follow the Rue St. Sulpice, to the left of the church, and take the Rue de Tournon, the second cross-street to the right, which ascends to the Palais du Luxembourg. III. PALACE GALLEKY, AND GARDEN OF THE LUXEMBOURG. 1. Palais du Luxembourg. The Palais du Luxembourg (PI. R, 19; IF), now the seat of the French Senate., was erected in 1615-20 for Marie de Medicis, widow of Henri lY, by Jacques Debrosse, one of the ablest French architects of the beginning of the 17th century. It occupies the site of the old Hotel de Luxembourg, a mansion from which it derives its name. It bears some resemblance to the palaces of Florence, and particularly to the court of the Pitti Palace, Marie’s ancestral home , but is at the same time an unmistakably French creation. The principal facade, which notwithstanding many restor- ations still reveals the original design, looks towards the Rue Yau- girard on the N. side, opposite the Rue de Tournon. It is nearly loo 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 1831-34 by A, de Oisors, 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 XYIII., left it in June, 1791. The Convention converted it into a state-prison. In 1795 the building was named the Palais du Directoire., and afterwards, in 1799, the Palais du Consulat. The Consulate, however, sat here for a short period only, as Bonaparte removed his residence to the Tuileries in February, 1800. During the first Empire the palace was occupied by the sen- ate, and styled Palais du Senat-Conservateur . After the Restor- ation, and under Louis Philippe, the Chamber of Peers met here. From 1852 to 1870 it was named Palais du Senat, that body having again sat here during the second Empire. It was next occupied by the offices of the Pre'fet de la Seine, after the destruction of the Hotel 10. PALAIS DU LUXEMBOURG. 261 de Yille in 1871; but in 1879, on the return of the Chambers to Paris, the senate resumed its old quarters here. Part of the palace is shown daily, except on Sundays and during the sittings of the senate, from 9 a.m. till dusk. We cross the court to the foot of the staircase in the corner to the left, where one of the custodians is to be found (gratuity). We are first escorted to the first floor. The rooms on the left are used by dif- ferent committees of the senate. We obtain a glimpse only into the Library^ the dome of which is adorned with fine paintings by Eugene Delacroix, representing the infernal regions according to Dante. — The *Salle des Seances is one of the most interesting apartments. Visitors are admitted during the sittings of the senate by tickets obtainable through a senator or on written application to the ‘se- cretaire de la questure’, or, if the sitting is not of special importance, even without a ticket. 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 back is adorned with statues of Turgot, d’Agues- seau , I’Hopital , Colbert , Mole , Malesherbes , and Portalis. On each side of the president’s seat is a painting by 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 Buvette , formerly the room of Na- poleon I. , which contains the paintings which adorned it at that period (the Chancellor de I’Hopital returning the seals to Charles IX.; Achille de Harlay rejecting the proposals of the Due de Guise; Charlemagne; St. Louis; Louis XIV.). Adjoining the gallery and the buvette is the * Salle des Pas-perdus , formerly the Salle du Trone, now divided into three parts. The handsome modern deco- rations 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, byBrune; at the ends, the Apotheosis of the kings of France , by Lehmann. Handsome chimney-piece of 1880. The Orande Oalerie^ formerly occupied by the Mus^e du Luxembourg (see p. 262), on the first floor of the E. wing, has a ceiling adorned with an Aurora by Callet (18th cent.) and the Months by Jordaens. Descending to the groundfloor, we visit, in the W. part of the palace, the small *Chambre de Marie de Medicis, adorned with paintings by pupils of Rubens. The medallions on the walls are attributed to Van Thulden and Van Huden. The Apotheosis of the queen and other ceiling-paintings are by Hoeck. — The Chapel^ on the same side, dating from 1844, is also richly decorated. Opposite 262 10. MUS£E DU LUXEMBOURG. 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. To the W. of the palace is a wing known as the PetiULuxem- hourg, now the residence of the president of the senate. It also was probably built for Marie de Medicis. Her chapel, which is seen from the Rue Vaugirard, has been used by the Maronite community since 1893. 2. Musee du Luxembourg. The Luxembourg Gallery is open daily, except Mondays and the chief holidays (p 56), 10-4, and in summer 9-5 o’clock ; on Sundays and ordinary holidays 10-4 only. It is usually closed for ten days or a fortnight about November for cleaning and re-arrangement. The entrance is nearly oppo- site the Rue Ferou. The *Musee du Luxembourg, a collection of Works of Living Artists, consisting chiefly of paintings and sculptures, occupies the former Orangery, to the W. of the Petit-Luxembourg , on the left side of the Rue Vaugirard. The building has been enlarged and altered, and in 1897 two new rooms for paintings were added on the right of the sculpture-gallery, one being devoted to the French ‘impressionists’, the other to the foreign schools. The works ex- hibited at the Luxembourg are generally transferred to the Louvre, or sent to provincial galleries, about ten years after the death of the artists, so that a comprehensive survey of modern French art cannot be obtained in one place. This rule, however, is not very strictly observed. At the foot of the staircase, to the right, Orpheus charming Cer- berus to sleep, to the left, Judith, bronzes by Peinte and Aizelin^ At the sides, to the right, Despair, hy Sicard, and a statue ofBailly, by Aube ; to the left. Hero and Leander, by Gasq, Vulture on the the head of a sphinx, by Cain, and Dogs, \>y Fremiet and Lami. On pediment. Fame distributing crowns to the plastic arts , by Crank. The arrangement of the works is so often changed that to prevent confusion we shall enumerate the most important of them in the alphabetical order of the names of the artists , that being also the order in which they are arranged in the catalogue (75 c. ; illustrated 4 fr.). Each work bears the name of the artist. Sculptures. Aizelin, Hagar and Ishmael. Ai^ar, Death of Alcestis. Allouard, Far from life. Barrias (L. E.J, Young girl of Megara, Mozart as a boy (bronze). Becquet, Ishmael, St. Sebastian. Berteaux (Mme.), Psyche. Bloch, Martyr (wood). Bonnassieux, Meditation. Boucher (Alf.), Rest; In the Fields. Captier, Despair. Carles, Youth; Abel. Carlier, Gilliatt seized by the octopus. Carrier-Belleuse , *Hebe asleep. Cavelier, Mother of the Gracchi. Chapu, Mercury inventing the caduceus ; Joan of 10. MUSEE DU LUXEMBOURG. 263 Arc at Domr^my. Charpentier^ Meditation. Chatrousse, Girl read- ing. Christophe, The last kiss. Cordier^ Busts of a negro and ne- gress. Cordonnier, Joan of Arc. Coutan, Cupid. Crauk, Youth and Love. Croisy, The nest. Duponet, Eve after the Fall. Damply St.John; Grandmother’s kiss. Delaplanche, Eve before the Fall; Virgin with the lily; Dawn. Deshois^Leda. Dubois, *Infant St. John, in bronze; Narcissus; ^Florentine singer of the 15th cent., bronze gilt. Falguiere (J. A.J.), *Tarcisius the Martyr; *The victor in a cock- fight, in bronze. Francesc/ii, Fortune. Fremict, Pan with bear-cubs. Gardet, Tigers fighting. Gerome ( G. L.), Tanagra, painted mar- ble; Bonaparte (bronze-gilt equestrian statuette). Guillaume, Ana- creon; The Gracchi, in bronze. Hanneaux, Death of Orpheus. Hiolle, Arion seated on the dol- phin. Hugues (J.), ORdipus at Colonna. Idrac, Mercury inventing the caduceus ; Salammbo (from Flau- bert). Inj albert, Hippomenes. Lanson, Age of iron. Lemaire (H.), Morning. Longepied, Im- mortality. Marqueste, Cupid; Galatea; Perseus wrestling with the Gorgon. Mercie, David, in bronze; Souvenir. Moreau (Math.), Spinner; Bacchante; Gallia, bust in ivory, gold, and silver, with topazes. Moulin, A Pompeian discovery. Petre, Marechal, former maire of Metz, bust. Peynot, ‘Pro Pa- tria’. Puech (Denys), Siren; Muse of Andr^ Chdnier (beheaded dur- ing the Revolution). Rodin, John the Baptist, in bronze; Bust of a woman. Saint-Marceaux , Youth of Dante; Genius guarding the secret of the tomb.